Theatre-Making & Processes
Playwriting
Category
The best and most general definition for playwriting is that it is form of preparation for performance. In certain contexts, recording, transcribing, and arranging are all playwriting of a kind.
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.
Video
Kwei-Armah discusses the impact of August Wilson’s work, including Gem of the Ocean, and attitudes towards African-American and Afro-Caribbean drama.
Video
In this film, Frayn talks about the nature of live performance, the role of the audience in creating the performance, about creating characters and writing historical drama.
Video
Although best known as a playwright, Brecht was a highly original poet. His poems tell us much about his plays, not least his advocacy of survival in a context of resistance to oppression.
Video
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.
Video
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.
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.
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.
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.
Video
This video clip shows actor Zawe Ashton employing the Affective Memory
rehearsal technique while running a scene with actor Olly Rix.
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.
Video
This video is the first time the company run the improvisation concerning
the arbitrary items found in the rehearsal space.
Video
In this video actors Christine Entwisle and Zawe Ashton discuss the Box
Therapy improvisation.
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.
Video
Anthony Neilson and Brian Doherty talk about Neilson’s use of
improvisation in his rehearsal process in this video.
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.
Video
Anthony Neilson, Brian Doherty and Christine Entwisle discuss features of
Neilson’s methodology as a director.
Video
This video shows the similarities between the beginning and the end of
Narrative.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Video
Actors Georgia Nicholson, Sabrina Richmond, Rebecca Yeo, and Laura Evelyn
are interviewed about the characters they played in the anthology plays.
Video
A public domain
theatre show,
part voyeuristic meditation, part urban
thriller, it unfolds amidst the high volume
pedestrian traffic of a public
space.
Video
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.
Commentary
by Suzette Coon
Introduction for Short Plays with Great Roles for Women written by Suzette
Coon.
Commentary
by Maria Shevtsova
Analysis of Dodin's as influenced by Chekhov and growing uncertainty of early 20th century Russian society.
Commentary
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.
Commentary
by Calvert, Dave
Reflections on Ganesh versus the Third Reich by Dave Calvert discusses the
work created by back to back.
Commentary
by Calvert, Dave
Reflections on small metal objects by back to back.
Commentary
by Maria Shevtsova
An examination of the five complex novels behind Dodin's ‘theatre of prose’.
Practitioner
Kwame Kwei-Armah found fame as an actor in the television drama Casualty. A renowned and prolific playwright, he is also a vocal campaigner about the need to increase the profile of black writers.