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The substance of rehearsal time is mainly contingent on the requirements made of actors: to learn lines; to enter into roles; to establish movements and interactions; to create the ‘world of a play’.

Peter Hall on Greek theatre and his own mask practice. He discusses his theories of Greek drama, including the use of the Chorus, Phallus, and the nature of tragedy and comedy.
An Interview with William Gaskill
William Gaskill interviewed by Michael Billington. Gaskill discusses his theatre-going during the war, his experiences at Oxford University, and his work with the Royal Court and National Theatre.
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Katharina Seyferth introduces the forest-based work space of Brzezinka, as she recounts her experience of Grotowski's post-theatrical research known as "Paratheatre" and "Theatre of Sources."
Contact Improvisation for Actor Training
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. 
Contact Improvisation for Actor Training - Movement with Text
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.
Directions for Directing—Directing Shakespeare at “Hamlet’s Castle”
Lars Romann Engel, artistic director of “HamletScenen,” in conversation with Dr. Anne Sophie Refskou, lecturer at University of Surrey, describes his process of working on Shakespeare’s Hamlet. He analyzes the process of working with the text and understanding the context of the play and its significance today. The interview took place in Elsinore, Denmark, in August 2017.
Directions for Directing. Theatre and Method–Working with a Set Designer
This video workshop, which took place in Athens in July 2017, is the result of a process of working on possible ideas for set design for Henrik Ibsen’s The Lady from the Sea. Athena Stourna shares her intuitions in front of a model she built for the purposes of this book, shedding light on fundamental questions that permeate the director-scenographer collaboration.
Directions for Directing. Theatre and Method—Fundamentals of Directing
In this video presentation, Avra discusses her book and some fundamental principles that permeate the directing art.
Directions for Directing. Theatre and Method—Movement Work for the Actor
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.
Directions for Directing—Theatre and Method - Building Character
This workshop took place at East Hampton, NY, in October 2016, part of an attempt to address different ways of looking at the character of Blanche du Bois. 
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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.
The Shadow Drone Project
Back to Back Theatre creates new forms of contemporary performance imagined from the minds and experiences of a unique ensemble of actors with disabilities, giving voice to social and political issues that speak to all people. Based in the regional centre of Geelong, the company is one of Australia’s most globally recognised and respected contemporary theatre companies. Seeking to make a body of work that exists in repertoire across time, the company tours extensively locally, nationally, and internationally.
Konstantin Stanislavski. After My Life in Art, Part 3: The Return
The third episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
Konstantin Stanislavski. After My Life in Art, Part 4: The System
The fourth episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
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The fifth episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
Manshin: Ten Thousand Spirits
The film is a documentary about the life of a female shaman Kim Keum-hwa, who was shunned for being possessed by spirits as a girl and oppressed for following superstitions as an adult. It depicts how she grows to be a great shaman who embraces the pain of all people, and how she comes to be honoured as a national treasure of Korea because of her outstanding artistic talents throughout Korea’s tumultuous history. The film is based on the autobiography “Bidankkob Neom-Se” by Kim Keum-hwa.
Meyerhold Theatre and the Russian Avant-garde
Part of an overall documentary series about Russian Theatre in the 1920s, Meyerhold Theatre and the Russian Avant-garde uses archive material to demonstrate acting techniques.
Zarrilli’s Psychophysical Acting methodology focuses on the relationship between the actor-as-doer and what the actor does. It (re)examines in practice and theory a psychophysical approach to acting.
Sequence 1 ‘Introduction to the Narrative company’
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.
Sequence 10 B ‘Onomastic authorship’
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.
Sequence 10 ‘Authorship of an audition: the Footmouse Dance’
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.
Sequence 11 B ‘Affective memory in operation’
This video clip shows actor Zawe Ashton employing the Affective Memory rehearsal technique while running a scene with actor Olly Rix.
Sequence 11 ‘The Box Therapy improvisation’
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.
Sequence 12 ‘The Random Objects improvisation’
This video is the first time the company run the improvisation concerning the arbitrary items found in the rehearsal space.
Sequence 13 ‘The actors discuss Box Therapy’
In this video actors Christine Entwisle and Zawe Ashton discuss the Box Therapy improvisation.
Sequence 14 ‘Box Therapy in performance’
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.
Sequence 15 ‘Perspectives on improvisation’
Anthony Neilson and Brian Doherty talk about Neilson’s use of improvisation in his rehearsal process in this video.
Sequence 16 ‘The Human Soundscape Improvisation’
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.
Sequence 17 ‘Perspectives on Neilson’s directorial approach’
Anthony Neilson, Brian Doherty and Christine Entwisle discuss features of Neilson’s methodology as a director.
Sequence 18 B ‘What did you expect’
This video shows the similarities between the beginning and the end of Narrative.
Sequence 18 ‘Ask the Audience: the ending of the show’
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.
Sequence 19 ‘Perspectives on process’
In this video Anthony Neilson, Imogen Doel and Sophie Ross discuss the interaction between the actor’s process and Neilson’s directorial/authorial approach.
Sequence 2 ‘Perspectives on the pro-filmic event’
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.
Sequence 20 ‘Neilson’s Motivational Speech’
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.
Sequence 21 ‘Changes for Press Night’
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.
Sequence 3 ‘A different perspective’
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.
Sequence 4 ‘Indirect authorship: synaesthesia’
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.
Sequence 5 ‘Revisiting the Random Objects Improvisation’
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.
Sequence 6 ‘Indirect authorship: malapropisms’
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.
Sequence 7 ‘Everything feeds in’
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.
Sequence 8 ‘Direct authorship: Elastic-Man’
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.
Sequence 9 ‘How the actor shapes the text’
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.
small metal objects
A public domain theatre show, part voyeuristic meditation, part urban thriller, it unfolds amidst the high volume pedestrian traffic of a public space. 
Stanislavsky and The Russian Theatre
This film explores the main themes which led to the founding of The Moscow Art Theatre and the formation of Stanislavsky’s system of acting.
Sweet Sugar Rage
Sistren Theatre Collective concerns itself with women sugar cane workers in and around Hayes Newton "New Sugar Town," Clarendon, Jamaica. After interviewing the women in the fields, the group analyses its findings on conditions in the sugar belt and the scenario for a play emerges. Their performances speak directly to the daily experiences of women -- the least empowered workers, who labour long hours for low wages with no benefits or rights to organize for better conditions. Using role-play and interviews with female cane workers, the collective develops dramatizations which analyze social issues and pinpoint their concerns.
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The Neutral Mask workshop Houben led for the International Workshop Festival in Edinburgh was the only one of this kind he ever attempted. It was an experiment.
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Bella Merlin’s practical presentation uses Stanislavsky’s Six Fundamental Questions to contextualise a demonstration of ‘practice as research’ riffing off his work, as well as Maria Knebel’s.
ResDance Series 4: Episode 2: The dialogue between access and creativity in dance practice with Susanna Dye
In this episode, Susanna reflects upon her thinking and experiences working with movement and dance in community, education and interdisciplinary performance contexts. Through exploring her ways of working, she shares insight into her processes of identifying and dismantling access barriers she experiences in her professional practice.  Underpinned by her question of “what is moving me in the space”, she considers ways of transforming access barriers; her Stimming performance research project, the dialogue of the body with the environment and her future research interests.  Throughout the episode, Susanna highlights the importance of asking questions and acknowledging needs.  
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
by Maria Shevtsova
Analysis of Dodin's as influenced by Chekhov and growing uncertainty of early 20th century Russian society.
by Avra Sidiropoulou
Directions for Directing: Theatre and Method lays out contemporary concepts of directing practice and examines specific techniques of approaching scripts, actors, and the stage. Addressed to both young and experienced directors but also to the broader community of theatre practitioners, scholars, and dedicated theatre goers, the book sheds light on the director’s multiplicity of roles throughout the life of a play — from the moment of its conception to opening night — and explores the director’s processes of inspiration, interpretation, communication, and leadership. From organizing auditions and making casting choices to decoding complex dramaturgical texts and motivating actors, Directions for Directing offers practical advice and features detailed Workbook sections on how to navigate such a fascinating discipline. A companion website explores the work of international practitioners of different backgrounds who operate within various institutions, companies, and budgets, providing readers with a wide range of perspectives and methodologies.
by Calvert, Dave
Reflections on Ganesh versus the Third Reich by Dave Calvert discusses the work created by back to back.
by Calvert, Dave
Reflections on small metal objects by back to back.
by Maria Shevtsova
An examination of the five complex novels behind Dodin's ‘theatre of prose’.

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As part of his research into the nature and processes of performance, Stanislavsky invented the term ‘psychophysical’ to describe acting focussed equally on the actor’s psychology and physicality.