By Deirdre Heddon
The booklet charts the advance of collaboratively-created performances from the Nineteen Fifties to the current day. businesses mentioned comprise the dwelling Theatre, Open Theatre, Australian acting staff, humans exhibit, Teatro Campesino, Théâtre de Complicité, Legs at the Wall, compelled leisure and 3rd Angel. by contrast heritage of huge kind, basic questions are posed: "What is devised theatre?"; "Why have theatre-makers selected to plan performances because the 1950s?" and "How has devised functionality replaced during the last fifty years?"
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Additional resources for Devising Performance: A Critical History (Theatre & Performance Practices)
Sample text
The sheer scale of this landscape makes choices, inclusions and exclusions, inevitable. We are not implying that the detailed studies that follow are necessarily of the only, or on occasion even the most, important devising companies. However, the companies we have chosen to talk about in detail offer clear examples of the distinctions and complexities of different devising modes. Readers might choose to substitute one company for another depending on their own areas of influence, knowledge, or matters of concern.
The actors watched them, eventually beginning to whisper to each other, and finally pushed aside the bar to join them. Forced Entertainment’s Dirty Work (1998) opened with two actors looking at the audience for what felt an uncomfortably long time, as seduction, as apology or in pity, before they consoled us for what the performance was not, with descriptions of impossible spectacles and improbable theatrical encounters. As part of the marking of tradition, deliberate borrowing or copying, as well as the unconscious work of influence, can be read across the performances generated by devised process, and in the chapters that follow we trace some of the ways in which devising processes and strategies also cross-fertilise and repeat.
For Simon McBurney of Theatre de Complicite, ‘the pleasure of theatre is impurity, it’s the magpie quality of people stealing from everybody else’ (McBurney, 1994, p. 24). Gerry Harris has warned against the mis-recognition of style as process, and the production of performances that can only recycle cliche´. She bewailed the endless round of productions in the late 1980s and early 1990s which used eastern European folk songs or laments as shorthand for dislocation and isolation, or battered suitcases as symbols for journey, after the success of Grotowski’s company and Theatre de Complicite’s European adaptations (Harris, 1999a, pp.