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The Role of the Writer and Authorship in New Collaborative Performance- Making in the United Kingdom from 2001-2010

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The Role of the Writer and Authorship in New Collaborative Performance- Making in the United Kingdom from 2001-2010 1 The Role of the Writer and Authorship in New Collaborative Performance- Making in the United Kingdom from 2001-2010 Sarah Caroline Sigal Department of Theatre and Performance Goldsmiths College, University of London Submitted for the Degree of Doctor of Philosophy of the University of London 18 July 2013 This thesis is available for library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. 2 Acknowledgments I would like to gratefully acknowledge the following people for their guidance, support (both academic and emotional) and generous intellectual and creative contributions. Without it, this PhD would not have been possible. For academic guidance: John Ginman, my supervisor, for all his patience and wisdom during the research and writing of this thesis, as well as John London, Göze Saner and Maria Shevtsova for their advice and assistance during the upgrading process. For the generous cooperation and of the following practitioners who agreed to be interviewed: Jon Bausor, Stephen Brown, Oliver Dimsdale, David Farr, Helen Edmundson, Scott Grahm, Theo Herdman, Steven Hoggett, Kirsty Hounsley, Samuel James, Dawn King, Bryony Lavery, Stuart McLaughlin, Nancy Meckler, Tim Phillips, Ben Power, Liz Ranken, Peter Rankin, Guy Retallack, Ferdy Roberts, Angela Simpson and Polly Teale. For the friendly and helpful administrative assistance in arranging for interviews of the aforementioned practitioners, as well as the viewing of archival material: the staff of the offices of Shared Experience, Frantic Assembly and Filter Theatre. Additionally, I would like to thank Aleks Sierz for the contribution of his own research materials and interview conducted with Scott Graham and Steven Hoggett. For less official, but equally important academic advice, book recommendations and inspiring conversations: Rachel Shapiro, Jessica Beck, Arabella Stanger, Sarah Beck, Philippa Burt, Becca McFadden, Jenny Hodgson and Sophie Bush. Finally, I am eternally grateful for the love and support of my parents, Kass and Michael Sigal. 3 Abstract Throughout the first decade of the twenty-first century, the changing statuses of the writer and the text have not only been reflective of the ways in which collaborative theatre- making processes involving writing have changed, but are also emblematic of how theatre- makers have positioned themselves within the rapidly shifting cultural and economic climate in the UK. This thesis seeks to discover what shifts have occurred as well as future implications for the role of the commissioned writer. Its prime focus is an investigation of the working methods of three different generations of collaborating companies in the UK and the commissioned writers with whom they work: Shared Experience, Frantic Assembly and Filter Theatre. This investigation is structured on a company-by-company basis, examining two productions from each company (each written by different writers or writer/directors) as examples of writer-company collaborative practice, comparing one to the other in order to understand each company and writer’s approach to working collaboratively. It addresses such issues as, what is the role of the writer in new collaborative theatre-making culture in the UK and how it has been influenced by historical debates and practices regarding the role of the writer and the text: how texts can be produced in different processes that involve a writer; how authorship is negotiated by practice between writers and other creative collaborators; and the extent to which the models or processes of working analyzed here have originated from or been influenced by historical collaborative practice. This investigation utilizes interviews with practitioners involved in the development of these productions as well as company archival material and analyzes relevant contemporary texts and performances as well as the work of historical practitioners that has informed the legacy of these the three contemporary companies. In addition to performance theory, this thesis will draw on management and branding theory, in order to interrogate the relationship between hierarchy 4 and the creative process, within the context of the changing cultural, economic and political climate of the early twenty-first century. This thesis will propose that historical practices of writing and collaboration and the distinct strands of working that evolved from it have a significant relationship to, and can illuminate contemporary practice as well as serve as historical models of working; some of the approaches to collaborative writing used by Shared Experience, Frantic Assembly and Filter Theatre can be considered either conscious copying or modification of an extant practice or accidental imitations which arose from similar cultural circumstances but embodied the same basic idea of an extant practice. This thesis will also propose that Shared Experience, Frantic Assembly and Filter Theatre and the commissioned writers and writer/directors with whom they have collaborated have developed a flexible process of working in order to allow for negotiation and serve their particular production and artistic goals. The role of an individual writer can change from company to company and production to production and therefore the author or authors of the piece might include not only the writer, but also the director, performers, designer and/or dramaturg. Ultimately, this thesis will look to the future by providing a framework with which performance scholars and emerging practitioners can better understand and also continue to develop writer-company collaborative practice. 5 Table of Contents Declaration................................................................................................................................ 1 Acknowledgments .................................................................................................................... 2 Abstract ..................................................................................................................................... 3 Introduction .............................................................................................................................. 8 Statement of purpose .............................................................................................................. 8 Research questions ............................................................................................................... 11 Strategic selection of companies .......................................................................................... 12 Context for study .................................................................................................................. 14 Definition of terms ............................................................................................................... 25 Existing literature ................................................................................................................. 31 Methodology ........................................................................................................................ 37 Thesis structure .................................................................................................................... 42 1 Historical Precedents: A new history of the role of the writer and text in twentieth- century collaborative theatre ................................................................................................ 47 Introduction .......................................................................................................................... 47 1: The Writer/Director .......................................................................................................... 53 A: Erwin Piscator and the dramaturgical collective ......................................................... 54 I: Early experiments with multi-authored work ........................................................... 55 II: The Adventures of the Good Soldier Schwejk and the use of stage design as an element of composition ................................................................................................ 60 III: Piscator’s legacy ..................................................................................................... 62 B: Joan Littlewood, Theatre Workshop and the practice of partially-devised scripting ...... 63 I: Oh! What a Lovely War and the writer/director-performer collaboration ................ 65 2: The Role of the Writer and the Text Questioned ............................................................. 70 A, I: The création collective: Copeau and his disciples ................................................... 71 II: Saint-Denis and the rejuvenation of writing ............................................................ 73 III: Barrault and the surrealism of Claudel ................................................................... 75 B: Antonin Artaud: the philosophy of the text-performance relationship ........................ 76 I: Spoken language and physical gesture ..................................................................... 77 II: Artaud’s dramatic texts ...........................................................................................
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