Working in the Theatre: Devised Theatre

Summary

The script delves into the creative process of experimental theater, emphasizing the search for unnamed feelings and the use of intuition over a defined process. It highlights the collaborative nature of devising theater, where performers and designers contribute to the creation of a piece, such as 'Super Turanian,' through improvisation and dialogue. The ensemble's approach values the collective intelligence and the exploration of ideas that defy easy description, ultimately embracing the unexpected and the potential for failure as catalysts for innovation in live performance.

Takeaways

• 🎭 The script discusses the process of creating experimental theatre, emphasizing the importance of evoking unnamed feelings and the initial challenge of finding form and method.
• 🔍 The early stages of theatre creation involve a period of uncertainty, akin to being 'at sea,' which is a necessary part of the process to avoid frustration later on.
• 🤝 The collaboration with Amelia is focused on an intangible goal, seeking a specific feeling or idea that is not yet clearly defined.
• 🎨 The project 'Super Turanian' is highlighted as an example where design elements are not just supportive but are central to the creation and evolution of the theatrical piece.
• 👥 The ensemble works together to develop a unique language through improvisation, where the collective intuition plays a significant role in shaping the performance.
• 🎭 The script underscores the value of dialogue and interaction with scenic elements, which are integral to the development of the theatrical work.
• 🤔 The process of creating theatre is described as iterative, with ideas being tested, discussed, and revisited through improvisation and experimentation.
• 📝 The importance of documentation in the form of video recordings is mentioned, which helps in revisiting and refining the work after the initial creative sessions.
• 🏗️ The script reflects on the concept of 'devised theatre,' discussing its relationship with traditional play creation and the preference for the term 'experimental theatre.'
• 🌐 The exploration of themes such as political lying, the nature of theatrical truth, and the systems of civilization that are often taken for granted is part of the creative process.
• ⏳ The script mentions the idea of failure as a generative concept, where embracing the unknown and the possibility of failure leads to innovation and discovery.

Q & A

What is the primary focus of the creative process described in the script?

The primary focus of the creative process is on finding images, theatrical moments, and transactions that evoke unnamed feelings, often starting with a sense of being at sea or confronting a void.

How does the script describe the initial stage of creating experimental theatre?

The initial stage is described as a period of uncertainty and exploration, where creators are looking for a form and method that can lead to reliable results, but often this stage involves remaining open to frustration and the unknown.

What role does intuition play in the project described by Amelia in the script?

Intuition plays a significant role as Amelia and her team are looking for something specific that they cannot yet put into words, guiding them on a path that feels right but is not yet fully defined.

How does the script suggest the design element influences the creation of a theatrical piece?

The script suggests that when starting with design, it becomes the instigator of the piece, with the designer taking on a role of co-leader, allowing the piece to grow out of the design elements.

What is the significance of the ensemble's collective understanding in the creative process as mentioned in the script?

The ensemble's collective understanding is significant as it helps in sensing consensus on ideas and using humor as a gauge to ensure that all contributions are heard and considered, fostering a collaborative and open environment.

How does the script define 'devised theatre' and how does it relate to 'experimental theatre'?

The script defines 'devised theatre' as a process where the creation of a play is a collaborative effort, often without a pre-written script. It is related to 'experimental theatre' in that both involve an exploratory and non-traditional approach to creating performances, with 'experimental theatre' emphasizing the exploratory and testing nature of the work.

What is the significance of the term 'super Turanian' mentioned in the script?

The term 'super Turanian' is mentioned as a working title for a piece that the team is working on, indicating that it is a project in development and the title itself may be subject to change as the piece evolves.

How does the script describe the role of the stage manager in the creation process?

The script describes the stage manager as a key documenter of the structure, sensitive to the creative process, and responsible for recording everything that the performers create, which can later inform the final design and direction of the piece.

What is the approach to handling ideas that don't work out as described in the script?

The script suggests that ideas that don't work out are embraced as part of the creative process, as failure can lead to new and honest ideas through the experience of attempting something and not succeeding.

How does the script discuss the concept of truth in theatre?

The script discusses the concept of truth in theatre by exploring the idea that while acting often involves pretending and lying, there is also a form of truth that emerges when actors fully embody their roles and the scripted words become their own.

What is the significance of the script's mention of 'embrace your limitations'?

The mention of 'embrace your limitations' in the script emphasizes the importance of using constraints such as limited space or budget as opportunities for creativity, suggesting that limitations can lead to innovative solutions and unique artistic expressions.

Outlines

00:00

🎭 The Creative Process in Experimental Theatre

The paragraph discusses the initial stages of creating experimental theatre, where the creators are searching for unnamed feelings and forms. It highlights the inherent frustration in the process and the importance of remaining open to this frustration from the start. The conversation shifts to a project with Amelia, where the focus is on an intuition-led approach rather than concrete ideas. The discussion includes the significance of design in the creative process, with the designer taking on a leading role in shaping the piece. The working title 'Super Turanian' is mentioned, and the paragraph ends with an emphasis on the collaborative and improvisational nature of the work, where ensemble members contribute to the creation of the performance.

05:06

🤔 The Challenges and Rewards of Devised Theatre

This paragraph delves into the challenges and rewards of working in a devised theatre setting. It contrasts the speaker's early beliefs about the need for clear expression with their current appreciation for the undefined and unnamed. The paragraph also touches on the documentation process, which is crucial in devised theatre, and the speaker's experiences working with different directors. The discussion highlights the importance of the ensemble's collective understanding and the use of humor as a creative tool. The speaker reflects on the term 'devised theatre' and expresses a preference for 'experimental theatre,' emphasizing the exploratory nature of their work.

10:07

🚀 Generating Ideas and Ensemble Dynamics

The paragraph focuses on the group dynamics and idea generation in the early stages of a theatre project. It describes how a core group forms the foundation for a new piece, with ideas emerging from free association and collective input. The speaker shares their experiences working with various experimental theatre groups in New York and the importance of the stage manager as the author of the 'script.' The paragraph also discusses the use of humor to gauge the group's consensus on ideas and the value of contributing even the most outlandish suggestions.

15:09

🌐 Exploring Space and Systems in Theatre

This paragraph explores the themes of space and systems in theatre, with a focus on the spiritual quality of functional, often hidden, urban spaces. It discusses the interplay between design and content, and how one can inspire the other. The conversation also touches on the broader themes of the theatre piece, such as the infrastructure of civilization and the political discourse of lying. The paragraph concludes with a discussion of the curtain speech and the idea of theatrical truth, setting the stage for a performance that plays with the concept of truth and deception.

20:09

🎭 Theatrical Truth and The Concept of Failure

The paragraph delves into the concept of theatrical truth and the idea of failure as a generative concept in experimental theatre. It discusses the slippery nature of truth in plays, especially when actors are playing characters that are not their own. The speaker reflects on the idea of starting a play with a curtain speech, using it as a lie to the audience that the play is beginning. The paragraph also touches on the residency process, where the ensemble revisits and recreates past work to explore new directions. The importance of embracing the unexpected and failure as part of the creative process is emphasized, with the speaker sharing their views on how limitations can be turned into opportunities.

25:12

🎵 The Role of Music and Embracing Limitations

This paragraph is primarily musical, with the inclusion of applause and laughter, suggesting a live performance or a segment that involves audience interaction. It does not contain a spoken narrative, but the presence of music and audience reactions implies a dynamic and engaging performance environment. The title reflects the auditory nature of this segment of the script.

Keywords

💡Theatrical Transactions

The term 'theatrical transactions' refers to the interactions and exchanges that occur within a theatrical performance, which are designed to evoke emotions and create a specific atmosphere. In the context of the video, it is used to describe the process of crafting moments that stir the audience emotionally, even if those emotions are not yet named or fully understood. An example from the script is the mention of creating 'feelings inside us that we haven't given a name to yet.'

💡Experimental Theatre

Experimental theatre is a form of theatre that pushes the boundaries of traditional theatre by experimenting with new ideas, forms, and methods. It is often characterized by non-traditional narratives, innovative staging, and a focus on the process rather than the final product. The video discusses the search for a process that would yield reliable results for this type of theatre, highlighting the unpredictable and exploratory nature of the work: 'that doesn't happen so ironically the way to not be frustrated in the end is to remain frustrated in the beginning.'

💡Devised Theatre

Devised theatre is a collaborative process where the material for a performance is created by the performers and creators through improvisation and experimentation, rather than being based on a pre-written script. The script mentions this concept as a way of working that starts with an encounter with a particular thing, such as music or movement, and then grows from there: 'but now is the moment when we're gonna start with the design and then have the piece grow out of that.'

💡Ensemble

An ensemble in theatre refers to a group of actors who work together as a unit, often in a collaborative and collective manner. The script emphasizes the importance of developing a language and a collective understanding within the ensemble: 'developing a language as an ensemble is one of the most rewarding things about the process.' The ensemble approach is central to the creation of the performance, with decisions often made collectively.

💡Improvisation

Improvisation in theatre is the spontaneous creation of dialogue, action, or character by performers on stage, without a pre-determined script. It is a key tool in the creation of devised theatre. The script discusses how everything created through improvisation ends up being fodder for the piece: 'everything that's created through an improvisation you know ends up being fodder for the piece.'

💡Design as Instigator

The concept of 'design as instigator' suggests that the set design or visual elements of a production can inspire and drive the creation of the theatrical piece. The script mentions this idea: 'when you start with the set the design becomes the instigator of the piece,' indicating that the physical environment can be as influential as the narrative or characters in shaping the final performance.

💡Theatrical Truth

Theatrical truth refers to the authenticity and believability of the emotions and actions portrayed on stage, even within the context of a fictional narrative. The script explores this concept, questioning the nature of truth in theatre: 'the idea of truth in a play that is a fiction is slippery.' It also plays with the idea of a curtain speech, which traditionally sets the scene for the play, but in this case, is used to question what is real and what is not.

💡Failure as a Generative Concept

This concept suggests that embracing failure or the unexpected can lead to creative breakthroughs and new ideas. The script discusses this idea: 'the idea of failure as a generative concept is something that was introduced to me... we're interested in the ideas that don't work because when you pursue an idea and it fails... you arrive at another idea.' This approach values the process and the learning that comes from unsuccessful attempts.

💡Embracing Limitations

Embracing limitations refers to the idea of using constraints such as lack of space, budget, or resources as a catalyst for creativity. The script encourages this mindset: 'always important to embrace your limitations... if you have nothing you have enough.' This perspective allows for innovation and creativity within the bounds of what is available.

💡Collaborative Creation

Collaborative creation is the process of generating ideas and content through a collective effort, often involving brainstorming and the pooling of diverse perspectives. The script illustrates this with the description of the ensemble working together: 'we're looking for something specific that neither me nor I can put into words, just yet right now it's really an intuition that feels like it's on the right path.' This approach values the input and contributions of all members of the team.

Highlights

The creative process begins with a search for unnamed feelings and unnamed forms.

The initial stage involves confronting a void and not knowing, embracing frustration.

The project with Amelia is driven by intuition rather than concrete words.

Opera and levity are used to counterbalance the seriousness of the creative process.

Pig Iron's approach often starts with an encounter with a particular thing, like music or movement.

The design can instigate the piece, making the designer a co-leader in the creative process.

The working title 'Super Turanian' reflects the project's early stage.

Mimi's designs are integral and can give birth to a unique kind of theater.

The ensemble develops a language through improvisation and collective agreement.

The process values the wisdom of the ensemble and the significance of non-verbal communication.

The performers write on their feet, creating content through improvisation.

The challenge of working this way is also its greatest strength.

The director's openness to not knowing the end goal is a key aspect of the process.

Everything created by performers is documented, serving as fodder for the piece.

The director's role is to guide the process rather than impose a fixed structure.

The use of humor as a gauge to ensure ideas are not taken too seriously.

The importance of staging over discussion in finding satisfying answers for the performance.

The concept of failure as a generative force in experimental theater.

Embracing limitations and using them as creative opportunities.

The idea that live performance is defined by its potential for the unexpected.

The notion that every accident in the creative process is an opportunity.

Transcripts

[Music]

we're looking for things which stir us

we're looking for images and theatrical

moments theatrical transactions which

create a certain feeling inside us that

we we haven't given a name to yet that

early stage of trying to find the piece

of trying to find the form and and even

the method almost always involves going

through a period of being at sea of just

confronting a void and and not knowing

you know when I first started making

work I imagined that we would discover a

process that would give us reliable

results for good experimental theatre

that doesn't happen so ironically the

way to not be frustrated in the end is

to remain frustrated in the beginning

[Music]

further this project with me Amelia

we're looking for something specific

that neither me nor I can put into words

just yet right now it's really an

intuition that feels like it's on the

right path it's really relief to have

the Opera and the levity and cheekiness

we were both really into these weird

capes that you guys made as a big

spacial intervention but then they hang

you up you want to try one time and

we'll see how it goes pig iron often

starts with an encounter with a

particular thing whether it's starting

with the music or starting with movement

but now is the moment when we're gonna

start with the design and then have the

piece grow out of that when you start

with the set the design becomes the

instigator of the piece and so I as the

designer become both Koken Sivir and

co-leader so right now we're starting

work on a piece called super Turanian

that's the working title

Mimi's designs have been really integral

to many pig-iron pieces in this we

really wanted to look at her design

practice not as something that serves

other ideas in the room but as though it

can give birth to a unique kind of

theater and it's really nice to be in a

room where I'm devising instead of

working on a script we're in dialogue

with these scenic elements and scenic

concepts and scenic philosophies that

Mimi adds and that's really fascinating

it's a real

interesting reason to get up in the

morning and come to work is to see what

sort of what sort of dialogue we're

gonna have with Mimi's brained

[Music]

I think developing a language as an

ensemble is one of the most rewarding

things about the process and sometimes

there's no words around why something

feels right you're just like I saw it

someone did this thing on stage and

everyone's like yes that you can

sometimes use the wisdom of the ensemble

to be like does everyone feel like that

was significant the performers are all

writing on their feet

everything that's created through an

improvisation you know ends up being

fodder for the piece so in a way we're

working on dream images and perhaps

illogical a series of events to figure

out what the synthesis might be you want

to go back and forth or around it's

pretty standard for me to go to the

acting Ensemble and say well I know up

to this these are the things that I know

and I'm puzzled about where we go next

and we work some of that out in

discussion and some of that gets worked

out actually on the stage improvising

and putting the ideas to the test

[Music]

I mean the things that are hardest about

working this way are the exactly the

same things that are best and I used to

think when I was a young artist that if

you couldn't express what you were

trying to do in clear words then you

weren't really doing anything and over

the past 10 years I've done a 180 on

that and I'm only interested in the

spaces in between the things no words

can fully describe emotions that don't

have a name

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[Laughter]

in this setting the structure is made up

as you go along as a stage manager I am

trying to do the best I can to document

the structure versus the structure being

imposed this is my first time working

with pig-iron

I've worked in device theatre before but

not with this company so it's for me

also learning about the people in the

room and this process and being very

sensitive to the process and to help

with whatever structure is needed when I

was a younger actor I did a lot of shows

they were devised built from scratch

like with people like rez Abdo or

working with Richard Forman the

difference there is that both Richard

and Reza were in their own way

little autocratic especially Richard

Foreman's very autocratic and Dan is

also very much in charge but in a very

different way he doesn't know

necessarily what he's looking for and

he's very open about wondering what he's

looking for but he knows exactly how he

wants to get there everything that the

performers are creating is documented

and recorded on video so after this

workshop I'm gonna go back into my

studio figure out what the final design

is I have some thoughts but certainly in

the past week and a half there have been

so many things that have come out of

improvisation that I could never have

expected I've been doing what is called

devised theatre for decades before it

was called devised theatre I understand

that it's useful to come up with a term

but it still feels a little odd to me

what I have checked to know use the word

devised theatre is it seems to be making

a wall between what we're doing in this

room and what you're doing when you

create a play but I find that's really

the same thing

here are texts in the sense it's not in

words it's me me Leanne's Design

Concepts but I feel like I have the same

relationship to her design concepts as I

would two pages in the stack I have

always preferred the term experimental

theatre to devise theatre because I

treat everything that we do as a company

as an experiment and I think that's what

distinguishes it but also it's a term

that seems to get used to describe just

about anything in the theatre that isn't

a very specific narrowly defined

commercial theatre model

so Pete

one day I want to look at a lot of this

today's just to start to try to tighten

a lot of ism up well it will see if it

needs tightening up and and where

usually we will begin by just assembling

a group of people who are interested in

working on the next project that group

of people becomes a sort of precondition

for whatever the next piece will be that

group doesn't always stay together

through the end of the project but it's

within that group that the initial ideas

get generated often I will come to the

group with an idea usually not a very

specific idea what's happening at that

stage and the development of the pieces

is there's a lot of free associating the

first thing that we do is we look for

any kinds of sources for what we might

stage in dollars he went to notes for

the company has changed us if that seems

that okay all right well it's

interesting to sort of have it run

smoothly because I learned a few things

when I finally moved to New York I had a

great fortune of working immediately

with Richard Maxwell with Blue Man Group

with Worcester group and Richard Forman

all in the same year it was almost too

much I might have been too young for

that generally with downtown

experimental theatre in my mind's a true

ensemble focus there's a script in

existence at all its author is the stage

manager they're the ones who have

written everything down so if there is

if such a thing as a script it would be

hers you're more interesting being back

rounded as you talk to us and stand in

front of them than it is to background

them while you're doing that yeah

the foreground is a much better place

for the background I thank you

there's a sort of collective

understanding that we're looking for in

in what we're doing and we can sense

that there's consensus on an idea

usually just through how much the room

in general seems to enjoy what they're

doing we use humor as a gauge we try to

take ourselves too seriously

so it's Kate Maggie bored smoking

playing chess until at some point yeah

and this is you know and this can

provide you with substance but it's

buried you know right so we're

paraphrasing but using about the same

amount of words yes and that's good it's

a quick track yes I think that's all it

needs to be at this point there are lots

of jokes which is great because you get

the idea that there is no idea that is

too silly and you get the idea that

there is no idea too strange and so you

should contribute whatever those silly

strange ideas are and they will be at

least heard if not embraced

[Music]

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okay so I thought there was a queue for

Gavin to go over to the board yeah oh

okay yeah I think I misunderstood that

we had found a place that we would go

over sitting around among a group of

people thinking out loud talking a lot

trading different analyses of ideas and

this can be very tempting but the actual

act of trying to stage something moving

actors around in space will always give

an answer and a more satisfying answer

and usually a quicker answer than any

amount of very intelligent discussion

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all right stand by everyone stand by

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thanks so much everybody

really nice adjustments let's come to

the same Lane and talk about the next

crazy things we're gonna do cool so

there's this feeling of cause-and-effect

transmutation but also as though like

you you pump an energy into the

groundwater and then ten feet away it

causes a bunch of birds to fly up or

something yeah that implies some kind of

network that you don't understand I

think so it's not character it's about

the space yeah I started with spaces

that I just have this personal visceral

response to and a lot of those spaces

are underground spaces hidden spaces

urban infrastructure they weren't

designed for any aesthetic purpose their

design is purely driven by function and

yet there's a spiritual quality to these

faces because they seem so intricate and

specific and filled with purpose and

also often the scale of them is is

really massive it's kind of beyond human

comprehension

we're sort of doing a strange dance of

design then proposing content and then

the content kind of speaking back to the

design and seeing which one feels more

generative

[Music]

this show we're doing a lot of thinking

about what are all these systems that we

take for granted what is this a web of

civilization that holds us up that we

can ignore so we can live our lives

these are some of the things that we're

getting into and it's a lot to think

about

[Music]

so we're performing for you today but

might be stopping who might be

restarting and stopping and restarting

again it's hard to say welcome to our

folks from atlas obscura and TMZ there's

a so in this case we got together and we

started talking about some current

political issues which is a very very

unusual thing for us to do this usually

not the focus of our work

one thing that seemed to characterize a

lot of the political discourse right now

was lying not telling the truth we got

interested in in the idea of how a piece

of theater lies or tells the truth to

its own audience so we started to think

about you know the whole idea of a

curtain speech and I thought it would be

very interesting to use that format but

play with the truth yes oh everything

here is going to have utility of some

sort of income today do you think she

said that she would then it's time she

was here it's gone twelve are you I'm

sorry if I'm being indiscreet but are

you just friends or is there more to it

meaning what

there's an idea about theatrical truth

that you want to be a truthful actor

which is a little bit silly if you think

about it because most of acting is

putting on clothes that aren't yours and

saying words that aren't yours and

pretending to be a person you've never

been

but then at the same time as soon as you

do all of those things and you say those

things and you're wearing those clothes

then they are yours so the idea of truth

in a play that is a fiction is slippery

the lie that we're working with that's

may be subtle is that we're starting the

play the play is the curtain speech and

so the lie is that this play is the play

that people are supposed to watch only

better answer for that great I feel like

I'm trying to finesse something that is

not you know nothing

well finesse is not what it needs it

just needs a stronger choice okay we're

working on how to move seamlessly from

this pre-show moment into the dialogue

from a play and in this case we chose

check off

there's something about check off plays

where the people are sitting around not

doing very much

and so that presented an interesting

opportunity to move from this curtain

speech into the play itself and out

again where we are right now we've had

this two month residency at the

collapsible hole most ers work tends to

take at least a year so and it's not a

year that is packed month-to-month with

work we will we will put things to bed

so to speak the next step would be to

revisit this in the spring we'll start

exactly as we did this time as many

actors as we can in the ensemble to sit

in the room watch the footage of what we

did this past couple of months talk

about it maybe recreate some of it and

then hopefully start in new directions

in the theater when you sit down at an

audience you're watching something live

whatever was planned could still fall

apart could go a different way it's a

defining characteristic of live

performance I think that's another

reason why we like playing with this

idea of failure of the unexpected so

cats is that staging of the Great Gatsby

it takes it's a performance that takes

about eight hours about five and a half

hours of reading the book we didn't

think that would really work when we

first had the idea to stage the entire

novel we thought it would we thought it

was an idea that would it would most

likely fail but it would fail in an

interesting way and it would yield

something interesting that was our

experiment to read every word without

editing it the idea of failure as a

generative concept is something that was

introduced to me by an academic friend

of mine Sarah Jane bales I think it's

become a popular topic in writing about

performance when we talk about failure

we're really talking about embracing the

unknown in what we do

and it certainly we're interested in the

ideas that don't work because when you

pursue an idea and it fails it doesn't

work you tend to arrive at another idea

but you arrive at that idea in an honest

way and through the experience of

attempting something and failing

experimental theater is all about sort

of never starting over but always

folding in every accident is a wholly

sort of like mystical opportunity sort

of idea

[Music]

like you never know what's gonna be

what's gonna be the thing right often

it's the thing that you don't intend

that's the key to the whole piece that

it's always important to embrace your

limitations if you don't have a good

space to work in if you don't have

enough money to produce a show whatever

it is that seems like it's lacking find

a way to embrace that if you have

nothing you have enough

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you

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