By Deirdre Heddon
The e-book charts the advance of collaboratively-created performances from the Fifties to the current day. businesses mentioned contain the dwelling Theatre, Open Theatre, Australian acting crew, humans express, Teatro Campesino, Théâtre de Complicité, Legs at the Wall, compelled leisure and 3rd Angel. in contrast history of large type, 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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Extra info for Devising Performance: A Critical History (Theatre & Performance Practices)
The placing of companies into separate, deﬁned modes of practice presumes neat categories when in fact categories are often deliberately challenged. Moreover, the various cultural, social, political and theatrical inﬂuences inevitably work across the different devising modes we have identiﬁed. We encourage readers to similarly read across and through the modes/chapters. There has been a great deal of cross-fertilisation between Australia, America and the UK through the touring of devised performances, workshops by leading companies, and through the teaching of devising at school and university level.
Eventually the performer was lifted above the company’s heads and paraded around the space in a kind of funeral procession. This became the sixth Rite of Opposite Forces in the performance. Inspired by Grotowski’s performers, and linked to the experiments the group was making with the creative possibilities of drugs, the end of the prologue to Paradise Now involved individual actors railing about a forbidden activity, and the script describes how ‘the actors go beyond words into a collective scream.
What are the ideological implications of the decision to devise, and of the choice of different devising processes? 2 Devising and Acting In this chapter we will examine a range of companies who pioneered modes of devising generated by, and drawn from, a concern with acting and the performer. Often cited as companies at the cutting edge of the American theatrical avant-garde, groups like the San Francisco Dancers’ Workshop, the San Francisco Mime Troupe, Open Theatre, The Living Theatre and The Performance Group, as well as groups within the European tradition under the leadership of directors such as Joan Littlewood, Jerzy Grotowski and Ariane Mnouchkine began their explorations into devised work through an interest in the possibilities of acting, actor training, and the performer’s relationship with the audience.