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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.


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Simmons_Assetthumb
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During the revival of An Die Musik in 2000, Simmons discusses the origins of the original production and the process of its creation and compares it with the process of recreating it 25 years later.
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Pearson 1
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Pearson takes a group of practitioners through the many exercises that formed the central concerns of Brith Gof. These include physical training, spatial and temporal awareness and group choreography.
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Contact Improvisation for Actor Training
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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. 
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Contact Improvisation for Actor Training - Movement with Text
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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.
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Directions for Directing. Theatre and Method—Fundamentals of Directing
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In this video presentation, Avra discusses her book and some fundamental principles that permeate the directing art.
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Directions for Directing. Theatre and Method—Making Robot Theatre
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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. 
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Odin Teatret - Oxyrhincus Evangeliet - Asset Thumbnail Image
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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.’
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The Bridge of Winds. International Group of Theatrical Research Led by Iben Nagel Rasmussen
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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.
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
Practitioner
An international touring company co-founded by Simon McBurney in 1983, Complicité has helped shape the landscape of contemporary theatre, with acclaimed physical, devised and multimedia work.
Practitioner
Nature Theatre of Oklahoma is an OBIE-winning New York performance group led by Pavol Liska and Kelly Copper. They create unsettling situations that demand total presence from everyone in the room.
Practitioner
Pip Simmons set up his own experimental company in 1968. It made intense, physical and musical work through collective devising. The group split up in 1973, and Simmons increasingly worked abroad.


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