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Directors aim to find a dramaturgical and rhythmical shape to their work to cultivate focussed performers and a sense of shared purpose among the company, and to build a staging consistent with this.

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.
Peter Hall discusses the West End theatre of the 1950s, antipathy towards the RSC coming to London to perform, and the staging of the first English production of Waiting for Godot and its aftermath.
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.
Smelianski Interview - Asset Image Thumbnail
In which Prof. Smeliansky outlines the importance of Stanislavsky’s work in the history of Russian theatre, including Stanislavsky’s relation to Chekhov, Gordon Craig, Meyerhold and others.
Andrei Droznin Physical Actor Training
This film covers basic acrobatics.
Andrei Droznin Physical Actor Training
This film covers basic acrobatics using furniture and objects.
Andrei Droznin Physical Actor Training
This film covers an interview with Andrei Droznin.
Andrei Droznin Physical Actor Training
This film covers locomotion techniques.
Andrei Droznin Physical Actor Training
This film covers partner work.
Andrei Droznin Physical Actor Training
This film covers preparation and stretches for physical activity.
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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.
Pearson 1
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.
CoNCrEte (2009)  screendance reveals how the environment affects our emotions and ever-changing lived experience. 
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.
Designing Musical Theatre: Madeleine Girling
George Rodosthenous Interviews theatre designer Madeleine Girling and discusses different design approaches to musical theatre.
Directing Musical Theatre: An Interview with Michael Fentiman
George Rodosthenous Interviews theatre director Michael Fentiman and discusses different directorial approaches to musical theatre.
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 – Adapting the Classics
This video features snapshots from two different directing workshops conducted in October 2017 with two groups of directing students at RESAD (Real Escuela Superior de Arte Dramático de Madrid) in Madrid, Spain. The workshops focused on strategies of recontextualization of classical works and of determining directorial point-of-view.  
Directions for Directing. Theatre and Method—Can Directing be Taught?
Vanessa Christodoulou talks about her experience of being taught directing in a distance-learning context. She shares audiovisual material taken from her directing work, which was produced especially for class projects.
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—The Work of Elevator Repair Service
John Collins, award-winning artistic director of ERS, shares his ideas on directing, working with an ensemble, adapting the classics, and developing a directorial style. 
Directions for Directing. Theatre and Method—Working with a Lighting Designer
In this master class video, New York-based lighting designerMaria Cristina Fusté discusses in detail her process of lighting a theatre production, and the different stages involved therein. 
freedom (2008)
Walking Gusto Productions explores the marginalised and disempowered female voices of South Africa by using the body as a “site of resistance”
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.
Glenda Dickerson
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.
Zinder 3 asset
A workshop concentrating on the structured approach that is the basis of ImageWork training, leading the participants from simple forms of improvised physical expression to complex forms.
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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.
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This interview sees Jean Benedetti discussing some of the main precepts of Stanislavsky’s work, including Stanislavsky’s relation to Chekhov, Shchepkin, Meyerhold and others.
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
Life in Art Thumb
The fifth episode of After My Life in Art, originally broadcast by The Culture Channel, Russia
Lisa Mayo: Between the Layers
Lisa Mayo: Between the Layers is an interview reflecting on the training, accomplishments, experiences, and the life of Lisa Mayo.
Chekhov 3
A film about Michael Chekhov. Part one covers his early years, family, upbringing, drama school and the beginning of his acting career at the Moscow Art Theatre.
Odin Teatret - Moon and Darkness - Asset Thumbnail Image
In this demonstration-performance, Odin Teatret’s Iben Nagel Rasmussen shows and explains her working practice, from her training methods through to performance.
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.
Short Plays with Great Roles For Women
Actors Georgia Nicholson, Sabrina Richmond, Rebecca Yeo, and Laura Evelyn are interviewed about the characters they played in the anthology plays.
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. 
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The Stanislavski Centre Annual Lecture sees a major international figure lecturing based upon their own expertise in the field of Stanislavsky studies every year – in this case, Anatoly Smeliansky.
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.
Odin Teatret - The Dead Brother - Asset Thumbnail Image
An explanation of how performances are created at Odin Teatret. It describes the stages in the work, presenting the different phases of the process in which text, actor and director interact.
Odin Teatret - The Echo of Silence - Asset Thumbnail Image
A performance that describes the vicissitudes of the voice of an actor and the stratagems she invents to ‘interpret’ a text. In theatre, actors need to create a labyrinth of rules to follow or refuse.
Odin Teatret - The Whispering Winds - Asset Thumbnail Image
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.
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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.
Mike Alfreds
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.
by Suzette Coon
Introduction for Short Plays with Great Roles for Women written by Suzette Coon.
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’.
Mike Alfreds is a director who has run companies in the US, Israel and the UK – including Shared Experience, which he founded in 1975 – and worked at theatres including the National and the RSC.
William Gaskill studied alongside Tony Richardson and Kenneth Tynan. Influenced by Paris and Berlin, he developed a spartan aesthetic, directing influential work at the Royal Court and the National.

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