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An ensemble is a grouping of performers or theatre-makers, preferably with an extended professional commitment, working towards an individual performance or as part of an established company.


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
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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
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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.
00:50:29
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


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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.