191:, had begun actively experimenting with collaborative methods that engaged and/or trained performers as actor-creators. The period from '68 and on into the 1970s witnessed an explosion of collective creation practices in the Americas and Europe (East and West); as in the 1930s, this wave of interest in collectivism and collaboration in art was deeply influenced by contemporaneous political developments, such as the rise of the New Left. Among the many companies and theatre artists who contributed to the development of collective devising in the second half of the twentieth century, major European and North American figures include
48:
departure; a devised work may be text based or entirely physical; it maybe politically engaged, purely aesthetic, a docudrama, a melodrama, a performative ritual, a fairytale; it may follow a linear narrative structure, or emerge from the aesthetics of montage or collage; it may be, indeed, entirely devoid of live performers (see
Designers' Theatre). In short, devised theatre exists on a stylistic spectrum as broad as that of theatre generally, and devising methods must vary not only in relation to the group, but in relation to the nature (style, form, content, purpose) of the project.
27:-making in which the script or (if it is a predominantly physical work) performance score originates from collaborative, often improvisatory work by a performing ensemble. The ensemble is typically made up of actors, but other categories of theatre practitioners may also be central to this process of generative collaboration, such as visual artists, composers, and choreographers; indeed, in many instances, the contributions of collaborating artists may transcend professional specialization. This process is similar to that of
39:; however, in devising, improvisation is typically confined to the creation process: by the time a devised piece is presented to the public, it usually has a fixed, or partly fixed form. Historically, devised theatre is also strongly aligned with physical theatre, due at least in part to the fact that training in such physical performance forms as commedia, mime, and clown tends to produce an actor-creator with much to contribute to the creation of original work.
103:
refining. The creative process may or may not involve a director (often functioning as a facilitator of group creativity at the outset, and an "outside eye" and editor later into the process), as well as a writer or writers working either alongside the creative ensemble in the rehearsal room, or collecting the material generated and turning it into a script subsequently.
294:
much collective creation during the civil rights era, and toward more decidedly aesthetic and economic drivers; this is the period in which such practices come to be more expressly associated with the term "Devising." The many prominent companies currently devising in the US, Canada and
England include:
293:
Beginning from the mid-1980s, with the emergence of a new generation of ensembles and collectives, and increased dissemination of devising models and training methods through theatre festivals, training workshops, and college courses, a shift occurred, away from the more political drivers fueling
111:
The history of collaboratively devised performance is as old as the theatre: we see prototypes of contemporary devising practice in ancient and modern mime, in circus arts and clowning, in commedia dell'arte; some cultural traditions, indeed, have always created performance through predominantly
102:
Nonetheless, some frequently employed approaches and principles can be identified, especially: use of improvisation; reliance on physically expressive performance styles; a lengthy development process; a period of accrual and excess as a basis for a subsequent period of selection, editing and
47:
Devising methods vary: collaborating groups tend to develop distinct methodologies based upon the backgrounds and talents of their members. Work creation may, for instance, begin with an image, a plot, a theme, a character, historical documents, an entire novel or a single line as a point of
115:
Theatre historians
Kathryn Syssoyeva and Scott Proudfit have argued that the modern, European tradition of collective creation follows rapidly upon the emergence of directing as a profession, and unfolds in three overlapping waves (marked by distinctive processual, aesthetic, and political
99:), and a number of theatre programs in the US and England have added devising courses, and in some cases, devising programs to their theatre curricula, leading to a widening circulation of devising techniques, and arguably a growing number (and prominence) of devising companies.
116:
characteristics): 1900-1945, 1945-1985, and 1985 to the present. Elements of collective devising appear in the work of
European directors at least as early as 1905, beginning with early experiments facilitated by such directors and groups as
112:
collectivist methods (theatre scholar and performance maker Nia
Witherspoon, for instance, has argued that the very term "collective creation," with its implicit dichotomy of self vs. other, is inherently eurocentric).
51:
For this reason, devising methods are often associated with the companies in which they evolved, and devising training for theatre makers is often associated with particular directors and companies: for instance,
144:(Germany). The 1930s saw a proliferation of collective creation methods, influenced in part by the rise of the labor movement, and with it, workers' theatre in the US and Europe;
278:
The rise of collective creation in theatrical performance between 1900 and the 70s at times paralleled, at times intersected with related developments in modern dance, French
465:
61:
628:
Witherspoon, Nia (2016). "(The Waters) Between Africa and
America: Revelations in Process, Theatrical-Jazz, and Sharon Bridgforth's River see".
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Proudfit, Scott; Mederos
Syssoyeva, Kathryn (2013). "From Margin to Center: Collective Creation and Devising at the Turn of the Millennium".
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technique. A growing body of writing on devising process has emerged from the practical research of collectives (see for example,
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Medeors
Syssoyeva, Kathryn (2013). "Revolution in the Theatre I: Meyerhold, Stanislavsky and Collective Creation, Russia, 1905".
1112:
786:
Mederos
Syssoyeva, Kathryn (2013). "From Monastic Cell to Communist Cell - Groups, Communes, and Collectives, 1900-1945".
761:
Salata, Kris (2013). "Reduta's
Reorigination of Theatre: Radical Collectivity in Poland's Interwar Theatre Laboratory".
400:
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630:
Women, Collective Creation, and Devised Performance: The Rise of Women Theatre Artists in the 20th and 21st Century
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Proudfit, Scott (2013). "From Margin to Center: Collective Creation and Devising at the Turn of the Millennium".
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Bechtel, Roger (2013). "The Playwright and the Collective: Drama and Politics in British Devised Theatre".
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Nonetheless, by the post-war period, a number of theatre practitioners and ensembles, including
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980:. Goldberg, RoseLee., Goldberg, RoseLee. (3rd ed.). London: Thames & Hudson.
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Baldwin, Jane (2016). "Raising the Curtain on Suzanne Bing's Life in the Theatre".
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Theatres of the left, 1880-1935: workers' theatre movements in Britain and America
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380:/ Voices of Now (VON) at Arena Stage at the Mead Center for American Theater
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Theatre-Making: Interplay Between Text and Performance in the 21st Century
869:
481:
The viewpoints book : a practical guide to viewpoints and composition
212:
379:
149:
483:. Landau, Tina. (1st ed.). New York: Theatre Communications Group.
815:
Staging strikes : workers' theatre and the American labor movement
24:
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Stepping left : dance and politics in New York City, 1928-1942
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Collective encounters : documentary theatre in English Canada
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in capitalist states brought a temporary halt to that flowering.
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Syssoyeva, Kathryn Mederos and Scott Proudfit, Ed. (2016).
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Syssoyeva, Kathryn Mederos and Scott Proudfit, Ed. (2013).
331:
311:
307:
57:
883:
Samuel, Raphael; MacColl, Ewan; Cosgrove, Stuart (1985).
327:
1114:
Devising Theatre: A Practical and Theoretical Handbook
730:
Michel Saint-Denis and the shaping of the modern actor
978:
Performance art : from futurism to the present
295:
1188:Women, Collective Creation and Devised Performance
812:
269:Work Center of Jerzy Grotowski and Thomas Richards
1173:Collective Creation in Contemporary Performance
953:Women, Collective Creation, and Devised Theatre
655:Collective Creation in Contemporary Performance
605:Collective Creation in Contemporary Performance
580:Collective Creation in Contemporary Performance
547:"How devised shows are taking over the Fringe"
434:The Frantic Assembly book of devising theatre
35:. It also shares some common principles with
8:
290:), performance art and documentary theatre.
1079:Barba, Eugenio and Nicola Savarese (1997).
1096:Milling, Jane and Deirdre Hedding (2015).
657:. Palgrave Macmillan. pp. 13, 23–34.
464:: CS1 maint: location missing publisher (
97:The Moving Body: Teaching Creative Theatre
1098:Devising Performance: A Critical History.
819:. Philadelphia: Temple University Press.
68:; the physical and vocal training of the
1013:. Toronto: University of Toronto Press.
632:. Palgrave Macmillan. pp. 283–300.
265:Gardzienice Center for Theatre Practices
70:Gardzienice Center for Theatre Practices
1147:A Practical guide to Ensemble Devising.
705:Yevgeny Vakhtangov: A Critical Portrait
432:Graham, Scott; Hoggett, Steven (2014).
391:
282:(beginning with the pioneering work of
955:. Palgrave Macmillan. pp. 29–50.
887:. London: Routledge & Kegan Paul.
790:. Palgrave Macmillan. pp. 13–36.
765:. Palgrave Macmillan. pp. 59–70.
682:. Palgrave Macmillan. pp. 37–58.
582:. Palgrave MacMillan. pp. 28–30.
457:
1081:A Dictionary of Theatre Anthropology.
922:. Durham, NC: Duke University Press.
7:
1046:Bicat, Tina; Baldwin, Chris (2002).
436:(Second ed.). Abingdon, Oxon.
64:company); techniques developed by
14:
1048:Devised and Collaborative Theatre
1161:A History of Collective Creation
788:A History of Collective Creation
763:A History of Collective Creation
680:A History of Collective Creation
514:Moving body (le corps poetique)
401:"The divide in devised theatre"
140:(France), Reduta (Poland), and
1:
1131:Radosavljević, Duška (2013).
703:Malaev-Babel, Andrei (2012).
732:. Westport, Conn.: Praeger.
545:Gardner, Lyn (2005-08-08).
516:(Pod ed.). : Methuen.
1249:
976:Goldberg, RoseLee (2011).
811:Hyman, Colette A. (1997).
399:Field, Andy (2008-01-22).
336:Nature Theatre of Oklahoma
1202:Tufnell, Miranda (1993).
1009:Filewod, Alan D. (1987).
213:San Francisco Mime Troupe
82:Book of Devising Theatre,
60:(the core methods of the
1145:Robinson, Davis (2015).
340:Tectonic Theatre Project
148:and the politics of the
512:Lecoq, Jacques (2015).
316:Elevator Repair Service
37:improvisational theatre
1190:. Palgrave Macmillan.
1175:. Palgrave Macmillan.
1163:. Palgrave Macmillan.
1111:Oddey, Alison (1994).
1066:Encountering Ensemble.
1064:Britton, John (2013).
854:. New York: Scribner.
848:Williams, Jay (1974).
728:Baldwin, Jane (2003).
607:. Palgrave MacMillan.
916:Graff, Ellen (1997).
479:Bogart, Anne (2005).
1100:Palgrave Macmillan.
368:InHEIRitance Project
138:Compagnie des Quinze
19:– frequently called
376:Ghost River Theatre
324:Double Edge Theatre
89:The Viewpoints Book
21:collective creation
257:Elizabeth LeCompte
185:Theatre of 13 Rows
169:The Living Theatre
134:Michel Saint-Denis
118:Vsevolod Meyerhold
29:commedia dell'arte
1233:Theatrical genres
1196:978-1-137-60327-2
1141:978-0-230-34310-8
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689:978-1-137-33129-8
664:978-1-137-33126-7
614:978-1-137-33126-7
332:The Neo-Futurists
253:Performance Group
249:Richard Schechner
197:Theatre du Soleil
193:Ariane Mnouchkine
161:Berliner Ensemble
122:Evgeny Vakhtangov
23:– is a method of
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177:Theatre Workshop
80:Frantic Assembly
43:Devising methods
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551:The Guardian
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416:. Retrieved
405:The Guardian
404:
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296:SITI Company
292:
284:Suzanne Bing
277:
275:in Denmark.
273:Odin Teatret
221:Open Theater
154:
146:World War II
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1149:Routledge.
1050:. Crowood.
300:Mabou Mines
245:Mabou Mines
225:Luiz Valdez
207:in Quebec;
203:in France;
189:Peter Brook
85:Anne Bogart
72:in Poland;
851:Stage left
564:2017-11-05
418:2017-11-05
386:References
352:Improbable
344:Complicité
320:Ghost Road
241:Lee Breuer
209:R.G. Davis
124:(Russia),
54:Viewpoints
1083:Routledge
1029:646704783
996:711052003
559:0261-3077
532:905955872
460:cite book
452:876833108
413:0261-3077
1227:Category
938:35971036
903:10558747
835:34912686
748:52269106
499:56733237
364:Kneehigh
312:The TEAM
308:Pig Iron
286:and the
259:and the
251:and the
243:and the
227:and the
219:and the
211:and the
183:and the
159:and the
150:Cold War
136:and the
128:and the
372:SOCIETY
288:Copiaus
130:Copiaus
107:History
25:theatre
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360:Shunt
74:Lecoq
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1119:ISBN
1102:ISBN
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555:ISSN
528:OCLC
518:ISBN
495:OCLC
485:ISBN
466:link
448:OCLC
438:ISBN
409:ISSN
280:mime
195:and
175:and
167:and
120:and
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56:and
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