Working in the Theatre: Devised Theatre
Summary
TLDRThe 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
🎭 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.
🤔 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.
🚀 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.
🌐 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.
🎭 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.
🎵 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.
Mindmap
Keywords
💡Theatrical Transactions
💡Experimental Theatre
💡Devised Theatre
💡Ensemble
💡Improvisation
💡Design as Instigator
💡Theatrical Truth
💡Failure as a Generative Concept
💡Embracing Limitations
💡Collaborative Creation
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
[Music]
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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]
[Music]
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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[Applause]
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all right stand by everyone stand by
[Music]
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
[Music]
you
[Music]
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