Category

Ensemble is a term often applied to a grouping of performers or theatre-makers, preferably with a extended professional commitment, working either as part of an individual performance or as part of an established company. In the ensemble, performers work as a team with the group agenda being of foremost importance. Ensemble companies grew in direct opposition to a ‘star’-driven production system in the early decades of the twentieth century. In this model the production was subservient to the talents or needs of individuals as opposed to being a group work. A number of modernist practitioners and theatre organisations – such as Konstantin Stanislavsky and the Moscow Art Theatre, Bertolt Brecht and the Berliner Ensemble, and Vsevolod Meyerhold – wanted to develop ensemble companies as a means of creating a committed group working through an agreed system of training, sharing similar ideological beliefs and aesthetic preferences. A number of long-lasting ensemble companies developed in the latter half of the twentieth century, including Odin Teatret, the Wooster Group and Goat Island.

Image: Photograph © Marcella Fava, 2011


00:59:30
Adriano Shaplin
Video
Combining the insights of a playwright, actor, sound designer and an artistic director, this interview with Adriano Shaplin provides a distinct perspective on ensemble.
00:13:56
Andrei Droznin Physical Actor Training
Video
This film covers basic acrobatics.
00:13:04
Andrei Droznin Physical Actor Training
Video
This film covers basic acrobatics using furniture and objects.
00:20:50
Andrei Droznin Physical Actor Training
Video
This film covers an interview with Andrei Droznin.
00:13:54
Andrei Droznin Physical Actor Training
Video
This film covers locomotion techniques.
00:24:09
Andrei Droznin Physical Actor Training
Video
This film covers partner work.
00:25:18
Andrei Droznin Physical Actor Training
Video
This film covers preparation and stretches for physical activity.
00:35:21
Odin - Ascent... - thumbnail
Video
A film following the street performance Anabasis in Peru. It was an itinerant performance, based on exploiting the connections between the actors and the spectators who they encounter on their way.
00:01:03
Contact Improvisation for Actor Training
Video
This video is documentation taken from a weekly contact jam session with the actors in the MFA Actor-Training program at UC Irvine. Contact Improvisation is a large part of the movement arc in the first year of actor training, and jam sessions are held weekly, integrating all three years of MFA actors.  Someone happened to video this session, and I give a brief description of our use of contact as a tool for actor training in the voice-over. 
00:04:02
Contact Improvisation for Actor Training - Movement with Text
Video
This video is documentation of an exercise with 3rd year graduate actors at the UC Irvine Actor-Training program, speaking a monologue while contacting with a silent partner. At a moment of heightened activity, the silent partner is removed, and the resulting delivery of the monologue is focused and intensely communicated. The athleticism and sensitivity of the contact created a culture of expressivity. Tenderness as well as rage and challenge emerged in the contact session and remained present in the solo monologue. So, the complexities of emotion that were embodied metaphorically and rhythmically in the extreme lifts and rolls and balances of the partnering could be seen as an emotional “rehearsal” for the solo performance. But once the partner was removed, the speaker had to reach out to us, and address each deeply felt idea to the audience in the room. No longer in a contact with the literal “other,” we, the audience, now become the necessary focus.
00:05:58
Directions for Directing. Theatre and Method—Making Robot Theatre
Video
This video presentation features playwright and director Oriza Hirata’s concept of robot theatre. Making Robot Theatre: An interview with Oriza Hirata of Tokyo-based Seinendan. 
00:19:04
Directions for Directing. Theatre and Method—Movement Work for the Actor
Video
This video is from a workshop which brought together performer Miranda Manasiadis and choreographer Malia Johnston. The workshop took place at Footnote Dance and Deirdre Tarrant Studios.
00:19:52
Garzienice natural environment thumbnail
Video
This film, shot in the early part of the 1990s by leading Polish film-maker Jacek Petrycki, shows Gardzienice on the road in the Carpathian mountains in the Ukraine, rehearsing and training.
00:19:04
Glenda Dickerson
Video
Since 1981, I have been conducting research on black women behind the scenes in the American theatre. As a black female lighting designer, I am aware of our invisibility within the larger American theatre and have made an effort to expose these women to a wider audience. I have interviewed numerous black women who have made significant contributions to the American theatre. These women include designers, producers, directors, playwrights, artistic directors, and other individuals working behind the scenes. This is a rare interview I conducted with Glenda Dickerson (1945-2012) during a rehearsal of her adaptation of The Trojan Women, performed with an all-black cast during January 1983. This interview is very dear to me as Dickerson was a mentor. I followed her career with various interviews, tapings at conferences, and the publication of one of her plays. Glenda Dickerson was a director, folklorist, actress, adapter/conceiver, and educator. With a career of nearly 40 years she was known for her unique adaptations of Greek classics, African American folktales, the feminist theatre approach, and ensemble work. She was the second black woman to direct on Broadway with the 1980 musical Reggae. Her work has also been presented nationally and internationally. In the commercial arena she was constantly presented with racial and gender challenges. After working in mainstream theatre for many years, Dickerson chose to focus her talents on educational and community-oriented theatre. She also began to concentrate on feminist/womanist theatre. She taught at Howard University, Spelman, Rutgers, and the University of Michigan. Only in recent years is her work finally gaining recognition, but as with many other black women, Dickerson’s contributions are largely unknown.
01:10:42
Odin Teatret - Oxyrhincus Evangeliet - Asset Thumbnail Image
Video
A narrow catwalk between two flanks of spectators: ‘Maran Ata! The Lord is coming! A child is born in Bethlehem. He will destroy Jerusalem. Kyrie Eleison. He has not come to bring peace.’
00:26:11
Konstantin Stanislavski. After My Life in Art, Part 3: The Return
Video
The third episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
00:26:08
Konstantin Stanislavski. After My Life in Art, Part 4: The System
Video
The fourth episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
00:26:14
Life in Art Thumb
Video
The fifth episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
00:15:21
Gardzienice training thumbnail
Video
Gardzienice’s physical and vocal training hinges on two main ideas: mutuality and musicality. It usually begins with song, perhaps discovered on a rural expedition or taken from ancient Greek music.
00:43:32
Lisa Mayo: Between the Layers
Video
Lisa Mayo: Between the Layers is an interview reflecting on the training, accomplishments, experiences, and the life of Lisa Mayo.
00:26:00
Michael Chekhov, The Sense of Wholeness. A TV series by Anatoly Smeliansky
Video
Michael Chekhov's final years living, acting, and writing in the United States.
00:25:54
Michael Chekhov, The Sense of Wholeness. A TV series by Anatoly Smeliansky. Episode 5: The Other Moscow Art Theatre
Video
The First Studio becomes an independent theatre with Michael Chekhov as its artistic director.
00:25:52
Michael Chekhov, The Sense of Wholeness. A TV series by Anatoly Smeliansky. Episode 5: The Other Moscow Art Theatre
Video
Chekhov in one of signature roles, Muromsky in The Case.
00:25:56
Michael Chekhov, The Sense of Wholeness. A TV series by Anatoly Smeliansky
Video
Michael Chekhov goes to German and meets with Stanislavsky in Berlin and discussion between their different views on acting techniques.
00:27:53
Michael Chekhov, The Sense of Wholeness. A TV series by Anatoly Smeliansky
Video
The pre-war years and Michael Chekhov moves his studio moved to a similar location in the United States.
00:33:27
Alexander Technique_Assetthumb
Video
With its underpinning in the principles of the Alexander Technique, this workshop introduces a somatic framework for movement training for performance which develops Alexander’s directions.
00:24:01
Odissi P1
Video
A film made by Rekha Tandon’s company, Dance Routes, that begins with a description of Odissi’s background as a temple dance tradition, and an account of its basic form and ornamentation.
00:03:07
Sequence 1 ‘Introduction to the Narrative company’
Video
This video is an introduction to the company of Anthony Neilson’s Royal Court show Narrative in 2013: Anthony Neilson; Zawe Ashton; Imogen Doel; Brian Doherty; Christine Entwisle; Barney Power; Olly Rix and Sophie Ross.
00:18:17
Sequence 10 B ‘Onomastic authorship’
Video
This video provides a window into other aspects of Neilson’s authorial propensities via a snapshot of rehearsal room discussion concerning what to name the characters in the show.
00:02:50
Sequence 10 ‘Authorship of an audition: the Footmouse Dance’
Video
This video shows how Neilson authors and develops his script in the moment during rehearsals. This process occurs as actors Barney Power and Zawe Ashton work on a scene where Power’s character is humiliated while attending an advert audition conducted by Ashton’s maliciously bored character.
00:18:44
Sequence 11 B ‘Affective memory in operation’
Video
This video clip shows actor Zawe Ashton employing the Affective Memory rehearsal technique while running a scene with actor Olly Rix.
00:01:55
Sequence 11 ‘The Box Therapy improvisation’
Video
This video features Neilson and actors Zawe Ashton and Christine Entwisle’s work on developing a newly-written scene in which Ashton’s character attends an unconventional counselling appointment. It contains excerpts of discussion, as well as a full-length improvisation where Ashton’s head is masked by a cardboard box.
00:03:02
Sequence 12 ‘The Random Objects improvisation’
Video
This video is the first time the company run the improvisation concerning the arbitrary items found in the rehearsal space.
00:02:23
Sequence 13 ‘The actors discuss Box Therapy’
Video
In this video actors Christine Entwisle and Zawe Ashton discuss the Box Therapy improvisation.
00:07:05
Sequence 14 ‘Box Therapy in performance’
Video
In this video Anthony Neilson, Christine Entwisle and Zawe Ashton finalise the performance of the therapy session during the technical rehearsal in the Jerwood Theatre Upstairs at the Royal Court.
00:01:30
Sequence 15 ‘Perspectives on improvisation’
Video
Anthony Neilson and Brian Doherty talk about Neilson’s use of improvisation in his rehearsal process in this video.
00:11:10
Sequence 16 ‘The Human Soundscape Improvisation’
Video
In this video the whole company conduct an improvisation run by music and sound designer Nick Powell. During the improvisation the participants attempt to create a multi-layered vocal score by splicing together various random sounds articulated by individual company members.
00:03:35
Sequence 17 ‘Perspectives on Neilson’s directorial approach’
Video
Anthony Neilson, Brian Doherty and Christine Entwisle discuss features of Neilson’s methodology as a director.
00:24:35
Sequence 18 B ‘What did you expect’
Video
This video shows the similarities between the beginning and the end of Narrative.
00:01:02
Sequence 18 ‘Ask the Audience: the ending of the show’
Video
This video contains rehearsal room footage of the company discussing the idea of having some kind of audience participation as the ending to Narrative. Then the video moves to the technical rehearsal in the Jerwood Theatre Upstairs at the Royal Court, where Neilson directs a different way of concluding the show.
00:03:56
Sequence 19 ‘Perspectives on process’
Video
In this video Anthony Neilson, Imogen Doel and Sophie Ross discuss the interaction between the actor’s process and Neilson’s directorial/authorial approach.
00:06:25
Sequence 2 ‘Perspectives on the pro-filmic event’
Video
In this video the assistant director of Narrative, Ned Bennett, and actors Brian Doherty, Zawe Ashton, Sophie Ross, Barney Power and Olly Rix, discuss the effects of being filmed while rehearsing the show. Then the video moves into the rehearsal room, where Rix is running a scene from the play.
00:08:09
Sequence 20 ‘Neilson’s Motivational Speech’
Video
In this video the Narrative company have come to the end of the rehearsal period. Here Neilson discusses with the cast how the following week-long technical rehearsal will be conducted and attempts to allay any concerns they may have about the forthcoming opening and subsequent run of the show.
00:11:15
Sequence 21 ‘Changes for Press Night’
Video
This video contains footage of the note session before Press Night where Neilson introduces an entirely new scene to be performed by actors Imogen Doel and Zawe Ashton that evening. The video then shows the only rehearsal of the scene before the performance.
00:03:28
Sequence 3 ‘A different perspective’
Video
In this video actress Christine Entwisle talks about her experience of being filmed rehearsing her role in Narrative. The video then shows the impact Entwisle discusses, during the technical rehearsal in the Jerwood Theatre Upstairs at the Royal Court.
00:12:01
Sequence 4 ‘Indirect authorship: synaesthesia’
Video
Anthony Neilson considers how actors can influence the authorship of his work in this video. Then the video moves to the rehearsal room where the Narrative company throw various ideas around concerning how one of the characters being out of sync with reality can be theatrically rendered.
00:04:14
Sequence 5 ‘Revisiting the Random Objects Improvisation’
Video
This is a video of the Narrative company’s second discussion and running of an improvisation using some chance items found in the rehearsal room.
00:12:20
Sequence 6 ‘Indirect authorship: malapropisms’
Video
In this video the company and music and sound designer, Nick Powell, continue to explore the ways in which the character being out of sync with reality can be theatrically rendered. The footage then proceeds to show how this idea is audio-visually represented for the on-stage performance.
00:05:54
Sequence 7 ‘Everything feeds in’
Video
In this video Anthony Neilson, assistant director Ned Bennett and the actors Imogen Doel, Sophie Ross, Barney Power and Christine Entwisle, reflect on the tangential properties of Neilson’s authorial process.
00:03:11
Sequence 8 ‘Direct authorship: Elastic-Man’
Video
This video shows the authorial input of actor Olly Rix, as he works on a speech in the rehearsal room and then during the technical rehearsal at the Jerwood Theatre Upstairs at the Royal Court.
00:02:25
Sequence 9 ‘How the actor shapes the text’
Video
Anthony Neilson and actors Olly Rix, Brian Doherty and Imogen Doel give their views on the connection between the actor and Neilson’s authorship in this video.
00:50:29
Goats asset soldier - Thumbnail Asset
Video
Soldier, Child, Tortured Man (1989) was Goat Island’s first performance. It considered the physical and mental conditioning that militarises first the individual and then the social structure.
00:26:11
Sun, Moon and Feather - The Film
Video
Sun, Moon and Feather presents a musical comedy-documentary about three Native American sisters growing up Native in an Italian neighbourhood in Brooklyn during the 1930s and 1940s.
00:58:20
The Bridge of Winds. International Group of Theatrical Research Led by Iben Nagel Rasmussen
Video
This film documents the work of Iben Nagel Rasmussen (Odin Teatret) with her international group The Bridge of Winds during a two-week closed work session held in December 2011.
01:35:51
Goats asset lastmaker - Asset Thumbnail
Video
The Lastmaker (2007) was Goat Island’s ninth and final performance, composed by the group with ending in mind. The piece took its inspiration from the historical trajectory of the Hagia Sophia.
01:23:47
Odin Teatret - The Whispering Winds - Asset Thumbnail Image
Video
A performance-demonstration about the difference between theatre and dance. European culture suffers from the division between theatre and dance. They are, in fact, a single world.
00:01:48
Mike Alfreds
Audio
An interview lasting almost two hours, covering the extraordinary breadth of Mike Alfreds’s experience as a theatre director working across different decades, cultures and continents.
Commentary
by Annie Loui
Contact improvisation is a form of dance improvisation based on energy and weight exchange, incorporating elements of aikido, jitterbugging, child’s play, and tumbling


Related Items

Practitioner
Having worked with Grotowski for five years, Wlodzimierz Staniewski founded Gardzienice in 1977. Based in a Polish village, it is now one of Europe’s most innovative and distinguished theatre groups.
Category
Devising is a method of making performance that is not dominated by text, and includes the collaborative participation of the whole creative company in all stages and aspects of the creative process.