Collective Creation in Contemporary Performance

Copyrighted Material - 9781137331267

Kathryn Mederos Syssoyeva, Editor, and Scott Proudfit, Associate Editor

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

Chapter 7 originally appeared under the title “Created by the Ensemble: Generative Creativity and Collective Creation at the Dell’Arte International School of Physical Theatre” in Theatre Topics 22:1 (2012): 49– 61. © 2012 The Johns Hopkins University Press. Revised and reprinted with permission of The Johns Hopkins University Press.

First published in 2013 by PALGRAVE MACMILLAN® in the United States— a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010.

Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS.

Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world.

Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries.

ISBN: 978-1- 137- 33126- 7

Library of Congress Cataloging- in- Publication Data

Collective creation in contemporary performance / edited by Kathryn Mederos Syssoyeva and Scott Proudfit. pages cm Includes index. ISBN 978-1- 137- 33126- 7 (hardback) 1. Performing arts— Europe— History— 20th century. 2. Performing arts— United States—History— 20th century. 3. Experimental theater—Europe— History— 20th century. 4. Experimental theater—United States—History— 20th century. 5. Creation (Literary, artistic, etc.) 6. Collaborative behavior. I. Syssoyeva, Kathryn Mederos, 1961– editor of compilation. II. Proudfit, Scott, 1971– editor of compilation.

PN2570.C65 2013 791.094—dc23 2013009069

A catalogue record of the book is available from the British Library.

Design by Scribe Inc.

First edition: September 2013

10 9 8 7 6 5 4 3 2 1

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

Contents

List of Figures ix Introduction: Toward a New History of Collective Creation 1 Kathryn Mederos Syssoyeva 1 Preface: From Margin to Center— Collective Creation and Devising at the Turn of the Millennium (A View from the United States) 13 Scott Proudfit and Kathryn Mederos Syssoyeva 2 The Playwright and the Collective: Drama and Politics in British Devised Theatre 39 Roger Bechtel 3 Collective Creation and the “Creative Industries”: The British Context 51 Alex Mermikides 4 Eugenio Barba and the Odin Teatret: A Collective Ethos 71 Ian Watson 5 An Actor Proposes: Poetics of the Encounter at the Workcenter of Jerzy Grotowski and Thomas Richards 95 Kris Salata 6 Lecoq’s Pedagogy: Gathering up Postwar Europe, Theatrical Tradition, and Student Uprising 111 Maiya Murphy with Jon Foley Sherman 7 Created by the Ensemble: Histories and Pedagogies of Collective Creation at the Dell’Arte International School of Physical Theatre 125 Claire Canavan 8 Framework for Change: Collective Creation in Los Angeles after the SITI Company 137 Scott Proudfit 9 The Nature Theater of Oklahoma: Staging the Chaos of Collective Practice 151 Rachel Anderson- Rabern

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267 viii CONTENTS

10 In Search of the Idea: Scenography, Collective Composition, and Subjectivity in the Laboratory of Dmitry Krymov 165 Bryan Brown 11 The Case of Spain: Collective Creation as Political Reaction 187 Nuria Aragonés 12 Collective (Re)Creation as Site of Reclamation, Reaffirmation, and Redefinition 195 Thomas Riccio Notes on Contributors 211 Index 215

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

Introduction

Toward a New History of Collective Creation

Kathryn Mederos Syssoyeva

ollective Creation in Contemporary Performance is the second book in a larger Cbody of research, which began with A History of Collective Creation (Sys- soyeva and Proudfit, Palgrave, 2013). Though these two volumes were conceived to be readable independently of each other, together they constitute a rehistorici- zation of collective creation and devising practices in Europe and the United States between 1900 and the present. A History of Collective Creation opens in 1905 and traces developments through the mid-1980s. This present volume begins where A History left off. These two works emerged from the contributions of a scholarly working group, originally convened in 2010 with the aim of uncovering the roots of 1960s collective creation practices in an earlier theatrical era and tracing the legacy of those practices in the contemporary form of theatre- making now better known, in England and the United States, under the term devising. Along the way, we have been fortunate to be able to add several significant contributions to the present volume from scholars not in attendance in the original working group. Nonethe- less, and notwithstanding the evolving insights generated by our ongoing investigations, the premises that inform A History of Collective Creation have remained essentially the same for Collective Creation in Contemporary Performance. These two works, therefore, share a single introduction (with minor modifications), providing the historical and historiographic context from which the present volume emerges and laying out the concerns, definitions, methodology, and para- digms that have shaped both books. Chapter 1 of this present volume, “Collective Creation and Devising at the Turn of the Millennium (A View from the United States),” builds upon the introduction, offering detailed consideration of some of the shifts and evolutions that have marked the progress of collective creation practice since the 1960s.

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

2 KATHRYN MEDEROS SYSSOYEVA

Historiography

“The group, not the individual,” writes Theodore Shank at the opening of his 1972 article, “Collective Creation,” “is the typical focus of an alternative society.”1 In the 1960s and 1970s— decades marked in so many Western nations by utopic yearning— the theatre, as elsewhere, became a site of society building, and in the alternative theatres of North America, Australia, parts of Latin America, and Europe, the group was ascendant. Collective creation—the practice of collaboratively devising works of performance— rose to prominence, not simply as a performance- making method, but as an institutional model. This was the heyday of The Living Theatre, years that saw the nascence of France’s Théâtre du Soleil, of The Agit Prop Street Players in England and El Teatro Campesino in the fields of Southern California, of English Canada’s Théâtre Passe- Muraille and Quebec’s Théâtre Euh!— companies associated, variously, with collective performance creation, egalitarian labor distri- bution, consensual decision making, and sociopolitical revolt. The prominence of collective creation in the alternative theatres of the sixties and seventies has, with time, led to a vague sense that collective creation— along with sex, drugs, and youth culture—sprang more or less fully grown from the thigh of ’68. This conflation derives from early historicization of collective theatre- making, such as we find in Mark S. Weinberg’s seminal work, Challeng- ing the Hierarchy: Collective Theatre in the United States (1992).2 For Weinberg, hacking a path through what was still a largely uncharted terrain of theatre history, collective creation and the social and political upheaval of sixties America were virtually synonymous: “The generation of the sixties led this movement as part of its theatricalization of political life and its use of theatre as a weapon in its political struggles.”3 But the sixties are hardly the only era in which human beings have entertained utopic longings for a more perfect social union. Nor are they the only time that alternative theatre companies have yearned, not merely for more cooperative modes of work, but to hold, in their daily practices of work and collegial interaction, to a higher standard of interpersonal relations— to make of the artistic group a model for a better way of being together in the world, a space in which to enact, with a few likeminded collaborators, a backstage performance of a more civil society or, failing that, a refuge from an oppressive sociopolitical landscape. The conflation of collective creation with sixties counterculture and New Left politics has resulted in a tendency either to read present devising practices (frequently cited as less politically motivated than their predecessors)4 as a failure or rejection of the theatrical politics of the sixties or, perhaps more problematic, to divorce contemporary devising from its antecedents, giving rise to ruptured histories of practice.5 Such a temporally and culturally bounded reading negates a rich tradition of collective creation practices of other types, in other countries, in other eras— preceding, running parallel to, and following from their more visible sixties counterparts. Historical writing on collective creation is a recent phenomenon. Significant English-language works6 begin in 1972 with the publication of Theodore Shank’s aforementioned article in The Drama Review, followed 15 years later by the first

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

TOWARD A NEW HISTORY OF COLLECTIVE CREATION 3 book- length study, Alan Filewod’s 1987 Collective Encounters: Documentary The- atre in English Canada,7 and half a decade after that by Mark S. Weinberg’s Chal- lenging the Hierarchy. Weinberg’s 1992 study is followed by a gap of 13 years8 and then a sudden spate of new works (and, in the United States, a shift in terminology from collective creation to devising)9 coinciding with a resurgence of practical interest in collectively generated performance. These include Deirdre Heddon and Jane Milling’s Devising Performance: A Critical History (2005); Emma Govan, Helen Nicholson, and Katie Normington’s Making a Performance: Devising Histories and Contemporary Practices (2007); Jane Baldwin, Jean- Marc- Larrue, and Christiane Page’s Vies et morts de la création collective / Lives and Deaths of Collective Creation (2008); Bruce Barton’s Collective Creation, Collaboration and Devising (2008); and Alex Mermikides and Jackie Smart’s Devising in Process (2010).10 Filewod, Shank, and Weinberg root major developments in collective creation firmly in the cultural and political landscape of the sixties and seventies. On the opening page of his study, Weinberg defines his subject area as “people’s theatre”: a reaction to the “exploitative nature of current social and economic policy.”11 His definition is thus ideologically rooted; for Weinberg, collective creation is “the creation of a production by a group that shares power and responsibility as fully as possible,” and constitutes people’s theatre par excellence: “the structure that has come to be most representative of the ultimate goals of the people’s theatre, and that has produced some of its most exciting work.”12 Weinberg’s perception of collective institutional practices derives from this specific historical and ideological lens. He emphasizes, for instance, the “frequent” use of consensus- based decision making: “Decisions are made only when agreement is unanimous, and the strenu- ous objections of even a single member are sufficient to demand the reevaluation of any decision.”13 Aesthetic questions are similarly read through a specific political filter (a Marxist view mediated through the writings of Terry Eagleton) and accordingly value laden: “Most collectives, in recognition that their productions should not be ‘symmetrically complete . . . but like any product should be com- pleted only in the act of being used’ . . . include a variety of methods for making pre- and post- performance contact with their audiences”;14 and again, “In artistic terms, the process, regardless of the specific methodology of a particular group, is improvisational: ideas are more freely expressed and responses more immediate than in limited communication networks.”15 More case- specific and less ideologically driven than Weinberg’s Challenging the Hierarchy, Shank’s article (contemporaneous to the work it discusses) is none- theless rooted in the soil of the sixties, basing its claims about collective practice on collectives practicing between 1965 and 1972—though with an international focus, including companies based in London, Copenhagen, Paris, New York, Stockholm, Rome, San Diego, West Berlin, Holland, and Poland. Filewod’s study concerns the role of collective creation and documentary- theatre- making in the politics of English Canadian nationalism, anti-colonialism, and local, regional, and national identity formation and expression. While Filewod’s concerns are in their specifics distinct from those of either Shank or Weinberg, Filewod, too, locates the emergence of collective creation in leftist political rebellions of the 1960s.

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

4 KATHRYN MEDEROS SYSSOYEVA

Recent work has begun to redress this limited framing of the field. In Devising Performance, Heddon and Milling problematize some of the more ideologically bounded— and idealistic— readings of devising history; address processual and historical confusion raised by the recent terminological shift from collective creation to devised theatre; and, while focusing on developments in collective creation (in England, the United States, and Australia) since 1950, place new emphasis on collective creation’s modernist antecedents (though these remain viewed largely in terms of influence, rather than as full-blown movements in collective creation). Baldwin, Larrue, and Page’s Vies et morts de la création collective / Lives and Deaths of Collective Creation is marked by its broadened global scope (cultures represented include Algeria, Bali, France, Mexico, Quebec, Spain, Italy, and the United States) and a detailed consideration of one pre–Wo rld War II manifestation of collective creation, Jane Baldwin’s “From the Côte d’Or to the Golden Hills: The Copiaus Model as Inspiration for the Dell’Arte,” which traces a line of influence from early experiments in collective creation among the actors of Jacques Copeau’s troupe to the contemporary Dell’Arte company and school in Blue Lake, California. Despite an evolving scholarship, however, the notion that theatrical collective creation is a product of a particular ideological moment continues to hold sway. Thus, for instance, we still find in circulation the idea that collective creation is of necessity underpinned by an ideal of leaderlessness, as articulated by Alan Filewod:

It must be pointed out that the concept of collective creation in the modern theatre has an ideological source. This does not mean that collectively created plays are about ideology; it means that we must be aware of the difference between a concept and a convention. Theatre is a collective art, and in one sense all plays are created collectively, just as an automobile is created collectively: the result of a number of talents working jointly to create a single thing. The modern experiment in collective creation differs radically in that it replaces the responsibility for the play on the shoulders of the collective; instead of a governing mind providing an artistic vision which others work to express, the collectively created play is the creation of a supraindividualist mind.16

Though Filewod originally made this statement in 1982, his article was repub- lished as recently as 2008, the opening chapter of Bruce Barton’s edited volume Collective Creation, Collaboration and Devising. Filewod’s ideologically specific framework continues to circulate in the present conversation as much as the broadened paradigm of Heddon and Milling.

Particularity and Pattern

The aim of this book is to build on— and at times, contest— these past studies and to further broaden the terrain of research by positing new continuities and confluence of practice. Our previous volume, A History of Collective Creation, began in Russia in 1905, with early experiments in collective creation led by Vsevolod Meyerhold, and ended in the early 1980s, with an examination of developments in collective creation in Europe, the United States, and Quebec. This present volume,

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

TOWARD A NEW HISTORY OF COLLECTIVE CREATION 5

Collective Creation in Contemporary Performance, picks up where A History of Col- lective leaves off, tracing mid- and late-twentieth- century collective creation and devising practices into the contemporary period and closing with a first- person account of collective creation as applied theatre, by Thomas Riccio, a teacher and theatre artist who since 1989 has been conducting performance research and facilitating collective performance- making with indigenous communities in Alaska, South Africa, Zambia, Tanzania, Kenya, Burkina Faso, Korea, China, Russia, and the central- Siberian Republic of Sakha. No attempt is made to arrive at consensus among the authors gathered in these two volumes as to the nature of collective creation. We aim instead to locate the history of collective creation in its particulari- ties: to take a series of discreet objects of study, and from those specific instances to deepen our understanding of what has constituted collective creation and devising in a variety of geographic, political, and temporal contexts since the rise of the modern director. This resistance to consensus as a mode of scholarship reflects the one trend that, in our group discussions, most if not all the authors represented here agreed on: that in the history of collective creation, it is polyphony, not consensus, that is the norm—and arguably, the beauty—of both form and practice. Filewod has argued, “Collective creation derives its uniqueness from the synthesis of several different perspectives and experiences.”17 I would like to suggest that this book, along with its predecessor, A History of Collective Creation, derives its value from the montage of several different perspectives and experiences.18 These perspectives are as varied as those of the artists studied—and thus pose interesting challenges to past histories. They include—and are by no means limited to— the proposition that a collectively devised mise en scène for an existing dramatic work might constitute a form of collective creation; that collaboration—if collaboration is presumed to equal discussion, debate, and subsequent accord, acquiescence, or synthesis— is not the sole basis for collective work; that collective creation might accommodate authorial or directorial leadership; that, conversely, commercialization of collective praxis in contemporary devising, and attendant abandonment of radical democratic institutional structures, constitutes a betrayal of the most deeply held principles of a long-standing tradition; that the New Left’s aspiration to leaderlessness is but one of many possible political models that have underpinned radical collective theatrical practice; that, historically, instances of collective praxis have served conservative as well as radical impulses; and that the very concept of a “collective” might be problematized (and broadened) by contemporary philosophical investigations into the concept of an individuated self. Heddon and Milling define their terrain in part on the basis of an ex nihilo mode of creation— that is, “those theatre companies who use ‘devising’ or ‘collaborative creation’ to describe a mode of work in which no script, neither written play text nor performance score, exists prior to the work’s creation by the company.”19 By contrast, in our study we have chosen to focus above all on companies that have themselves defined their own processes as “collective creation” and to explore how that definition manifests in practice. We find that, as a result of this methodology, in combination with a broadened cultural and historical field, the ex nihilo model vanishes quickly from view as the defining factor; so too do New

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

6 KATHRYN MEDEROS SYSSOYEVA

Left politics—leaving understandings of the term collective creation that are very much contextual, defined by the time, place, and group in which the term is used. The essays collected in our two volumes suggest that, typically, notions of collective creation emerge in response to some prior mode of theatre-making felt by a particular theatre artist or group of theatre artists to be aesthetically, interper- sonally, and/or politically constraining, oppressive, or, in some manner, unethical. That is, a given understanding and method of collective creation is frequently defined against past experience, and those past experiences are frequently very specific. For Meyerhold, for instance, collective creation as he defined it in 1906 constituted a response to the methods of the Art Theatre as he had experienced them between 1898 and 1903.20 It was not a perceived tyranny of the writer or of the literary work that lay at the core of his impulse to engage the group in a more collaborative process, but of a particular model of ensemble that Mey- erhold believed was constraining the idiosyncratic expressivity of the individual performer. The resultant mode of work thus focused on the collective generation of mise en scène rather than the collective generation of a play text. The political yearnings that fueled that particular experiment were similarly specific to their place— Moscow— and political moment— six months of revolutionary upsurge and its suppression, unfolding between early spring and late autumn of 1905. Contested notions of group and leader to which Meyerhold and his collaborators give voice bear the distinctive imprint of that particular cultural tumult—and bear little resemblance to the concerns voiced by, say, members of The Living Theatre. Taking such examples as the basis for our understanding, we find that the question “Was there a play in the room before everyone got started?” becomes instead “What is it that a particular collective perceives as extrinsic to their creative process— what is it that a particular group chooses to contest, change, or reveal through collective praxis?” As we trace collective creation back in time, we find not only a proliferation of variegated social and political impulses but also a distinctly extra- political impetus. Early- twentieth- century collectives— much like their twenty- first- century counterparts— have been jolted into being as often out of aesthetic impulse as political. By way of a working definition of collective creation, this seems to leave the following: There is a group. The group wants to make theatre. The group chooses—or, conversely, a leader within the group proposes— to make theatre using a process that places conscious emphasis on the groupness of that process, on some possible collaborative mode between members of the group, which is, typically, viewed as being in some manner more collaborative than members of the group have pre- viously experienced. Process is typically of paramount importance; anticipated aesthetic or political outcomes are perceived to derive directly from the proposed mode of interaction. Processual method may well be ideologically driven in so far as—historically, at least—collaborative creation has often constituted a kind of polemic-in- action against prior methodologies that the group has known: an investigation, a reinvigoration, a challenge, an overthrow. The extrinsic and/or oppressive structure, if you will, that the group perceives itself to be challenging

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

TOWARD A NEW HISTORY OF COLLECTIVE CREATION 7 through the generation of a new methodology may be aesthetic, institutional, interpersonal, societal, economic, political, ethical, or some admixture thereof. Victor Turner’s theories on the relationship between performativity and social structure offer some useful constructs for formulating a more inclusive articu- lation of the tendencies of collective creation. In his introduction to Turner’s Anthropology of Performance, Richard Schechner reminds us that Turner “taught that there was a continuous process linking performative behavior—arts, sports, ritual, play— with social and ethical structure: the way people think about and organize their lives and specific individual and group values.”21 Building on Turn- er’s formulations, we might think of collective creation as straddling the thresh- old between the performativity of social life and performance as such—positing that collective creation foregrounds the creative action of social and ethical structuring in a dynamic interplay with the creative action of performance making. That theatre should lend itself to such an encounter seems a logical outgrowth of the dialectical play between drama’s traditional concern with the social and the intrinsically social nature of making and sharing drama. Viewed in this light, the particular politics of particular collectives become subsumed into a spectrum of possible socio-ethical impulses and outcomes—collective creation appearing less as a manifestation of any one ideological position than as a genre of performance making that positions itself at the intersection of social and aesthetic action. Yet even this expanded notion of the ideological may prove insufficiently inclusive. For not all devising groups seek to contest, subvert, or overthrow an extant system— be it political, economic, or artistic. Some employ the tools of collective creation simply to create new theatrical forms or works through new artistic means. Indeed, as we continue forward in time through an evolving understanding of collective methodologies in the twenty- first century, even the notion of new- ness is subject to debate. As devising companies emerge with increasing frequency from devising workshops, devising programs, devising schools, creating collectively becomes less polemical exploration than a known alternative within an array of possible current practices. The increasingly institutionalized transmission of collective creating processes suggests that what in some spheres (mainstream BFA theatre programs in the United States, for instance) may continue to constitute the new or the countercultural, may in others already constitute a tradition. The advantage of broadening our understanding of collective creation is that it allows us to better historicize a confluence of relationships and practices, draw- ing into the historical map companies whose influence on international devising practice has been considerable and yet which— as a result of apparently apolitical or nonegalitarian practices— have been marginalized or even written out of the conversation on collective creation. In particular, this approach permits consideration of influential figures more typically associated with authoritarian auteurism (e.g., Meyerhold and Copeau) as well as others who might better conform to the model of an actor-centered director but who certainly do not fit within the model of 1960s egalitarian institutional structure: Stanislavsky, Michel Saint-Denis, Jerzy Grotowski, Eugenio Barba. Going forward—though this is outside the scope of this particular book—broadening the definition of collective creation produces new tools for better unearthing instances of collectively generated performance

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

8 KATHRYN MEDEROS SYSSOYEVA in companies that make no public claim to such methods. For just as we may find authoritarianism lurking beneath the surface of an egalitarian rhetoric, we may find ample examples of collaborative devising lurking beneath the surface of directorial dominance.22 However, in broadening our definition to include companies whose relationship to an egalitarian ethos falls somewhere along the spectrum between tenuous and nonexistent, are we weakening political history? Speaking for myself—one voice among many within this book, some of whom might strongly disagree with me on this point—I think not. What I feel we are doing is, in a quiet way, politiciz- ing our historical writing by better according creative attribution where attribution is due. More generally, broad recognition of the multiform manifestations of collective creation has far- reaching implications for how we write the history of theatre practices, for how we archive its traces, for how we teach acting, directing, theatre-making. Our collected research suggests that modern collective creation might usefully be understood as having evolved in three overlapping waves. The first spans the first half of the twentieth century, following rapidly on the heels of the emergence of the modern director and arising from an often contradictory array of impulses: aesthetic, political, and social. These include the search for the total artwork, necessitating new models of collaboration with designers, composers, and writers, and an actor capable of conceiving her work within a complex mise en scène—possessing, in other words, a directorial/choreographic sensibility. They also include the modernist fascination with popular, often physical, theatre traditions— especially mime, vaudeville, and commedia dell’arte, forms generated by a performer-creator. Institutional inspirations were likewise diverse and included models of group interaction at once collective and hierarchical, such as Catholic and Russian Orthodox monasticism and Soviet communism. Political impulses, too, varied: from the anti-monarchist turn in prerevolutionary Rus- sia to Bolshevik collectivism less than two decades later; progressive protest in the Depression Era United States; Polish nationalism following the collapse of the Russian Empire and defeat of Austria and Prussia in World War I; competing forces of nationalism and anti-fascism in interwar France; Communist leanings among the German left of the Weimar period. The second wave, spanning from the mid-1950s into the early 1980s, was marked in its most prominent manifestations by the utopic, communitarian ethos, anti- authoritarianism, and Marxist- inflected politics of the generation of ’68 in noncommunist states (e.g., France, America, Canada, England). It was informed, too, by aesthetic possibilities arising from developments in avant-garde dance, music, and the visual arts. This is the period of collective creation associated with the striving toward radical artistic democracy and the leaderless ensemble. The third wave—the subject of this book—can be said to have begun in the early 1980s and continues into the present. In the main, it appears to be post- utopic, dominated by an ethical imperative (over the ideological) and an interest in the generative creativity of the actor. It is impelled above all by the development and ever- widening dissemination of pedagogies of collective creativity and actor- generated performance (emerging in particular from Grotowski’s brief tenure

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

TOWARD A NEW HISTORY OF COLLECTIVE CREATION 9 in the United States, successive waves of graduates from l’Ecole Jacques Lecoq, and workshop tours conducted by the Théâtre du Soleil and SITI Company). It is spurred, too, by intermediality and resurgent interest in theatre as total artwork. And economic realities of the present decade have given it renewed impetus. Moving through these three phases of development, we tease out what may be the most significant contradictory strand running counter to the thematic structure of our proposed chronology: an artistic lineage that runs from the nascent experiments in collective creation of Stanislavsky through the companies of Reduta,23 Grotowski, Barba, and most recently the Workcenter of Grotowski and Richards— whose group practices have rejected political ideologies as such, and for whom the concern with group dynamics is marked not by an ideal of leaderlessness but rather by a striving toward an ethical leadership that aims to facilitate and support the centrality of the actor in the creative act. In conclu- sion, we propose that the proto- collective- creation model conceived by Meyer- hold and further developed by Stanislavsky has come full circle over the course of the century, reemerging in the dominant trends of contemporary practice, at least in the United States (and, it appears, in much of Europe as well— this question would make an excellent starting point for further investigation), with their emphasis on accommodated leadership, ethical group process, and the centrality of the actor- creator. While pointing in the direction of a transnational approach, we are painfully aware of the cultural and geographic territories of research that are, of practical necessity, beyond the scope of this book.24 Nor are we proposing that the turn of the last century is a necessary periodization for a history of collective creation; only that it is a provocative and productive starting point for the purposes of our current research, intersecting as it does with the rise of auteurism and thus allow- ing us to investigate confluence between these two seemingly opposed movements. Our hope is that by demonstrating the prevalence, breadth, and significance of collective creation since 1900 our essays may serve to suggest new directions for con- tinued scholarly investigation into this critical aspect of modern theatre- making.

Notes

1. Theodore Shank, “Collective Creation,” in Re:direction, A Theoretical and Practical Guide, ed. Rebecca Schneider and Gabrielle Cody (London: Routledge, 2002), 221. Originally printed in TDR: The Drama Review 16, no. 2 (1972): 3–31. 2. Mark S. Weinberg, Challenging the Hierarchy: Collective Theatre in the United States (Westport, CT: Greenwood Press, 1992). 3. Ibid., 5. 4. See, for example, Alison Oddey, who writes, “In the cultural climate of the 1990s, the term ‘devising’ has less radical implications, placing greater emphasis on skill sharing, specialization, specific roles, increasing division of responsibilities, such as the role of the director/deviser or the administrator, and more hierarchical company structures.” Oddey, Devising Theatre: A Practical and Theoretical Handbook (London: Routledge, 1994), 8, as cited in Deirdre Heddon and Jane Milling, Devising Performance: A Criti- cal History (New York: Palgrave Macmillan, 2005), 5. See also Kathryn Syssoyeva, “Pig

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

10 KATHRYN MEDEROS SYSSOYEVA

Iron: A Case Study in Contemporary Collective Practice,” in Vie et morts de la création collective / Lives and Deaths of Collective Creation, ed. Jane Baldwin, et al. (Boston: Vox Teatri, 2008). 5. See, for example, Attilio Favorini’s discussion of the “broken tradition” of collectively devised documentary theatre in chapter 5 of the first volume in this collection, A His- tory of Collective Creation, ed. Kathryn Mederos Syssoyeva and Scott Proudfit (New York: Palgrave, 2013). 6. Enumerated in this list are works expressly concerned with collective creation as a movement; not included are works that focus on a single company or in which collective creation is subsumed under a broader category such as avant- garde performance. 7. Alan Filewod, Collective Encounters: Documentary Theatre in English Canada (Toronto: University of Toronto Press, 1987). 8. 1994 saw the publication of the first edition of Alison Oddey’s Devising Theatre: A Practical and Theoretical Handbook (London: Routledge, 1994). I have not included it in this list because it is more practical than historical in its aims. 9. Heddon and Milling propose that devising is the British and Australian term; collective creation the American (2). While this has been historically true (as reflected in the literature), in the past decade the term devising has infiltrated US usage, above all, perhaps, in the academic theatre—circulating through listservs and in the work of young scholars, job talks, classrooms, and faculty meetings. 10. Deirdre Heddon and Jane Milling, Devising Performance: A Critical History (New York: Palgrave Macmillan, 2005); Emma Govan, Helen Nicholson, and Katie Norming- ton, Making a Performance: Devising Histories and Contemporary Practices (London: Routledge, 2007; an introduction to the history and practice of devising, emphasiz- ing developments in the United States, England, and Australia); Jane Baldwin, Jean- Marc- Larrue, and Christiane Page, eds., Vies et morts de la création collective / Lives and Deaths of Collective Creation (Boston: Vox Theatri, 2008; this bilingual book investi- gates collective creation practices, politics, and companies across borders); Bruce Bar- ton, Collective Creation, Collaboration and Devising, Critical Perspectives on Canadian Theatre in English, vol. 12 (Toronto: Playwrights Canada Press, 2008); and Alex Mer- mikides and Jackie Smart, Devising in Process (New York: Palgrave Macmillan, 2010; examines the creative processes of eight British devising companies: The People Show, Station House Opera, Shunt, The Red Room, Faulty Optic Theatre of Animation, theatre O, Gecko, and Third Angel). 11. Weinberg, 1. 12. Ibid., 5. 13. Ibid., 13. 14. Terry Eagleton, cited in Weinberg, 14. 15. Ibid., 16. 16. Alan Filewod, “Collective Creation: Process, Politics and Poetics,” in Collective Cre- ation, Collaboration and Devising, ed. Bruce Barton (Toronto: Playwrights Canada Press, 2008), 1. 17. Filewod, 2. 18. The very notion that collective creation necessarily results in synthesis is challenged in Michael Hunter’s study (chapter 8, “Something Queer at the Heart of It,” in A History of Collective Creation) of the collaborative process of Merce Cunningham, John Cage, and their various artistic partners. 19. Heddon and Milling, 3. 20. Kathryn Syssoyeva, “Revolution in the Theatre I: Meyerhold, Stanislavsky and Collec- tive Creation— Russia, 1905,” in A History of Collective Creation.

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

Index

1900s, 1, 4, 5, 9, 13, 21, 165 169, 172– 73, 179, 182n20, 183n30– 31, 1910s, 22, 166 185, 190 1920s, 21, 111, 165–66, 182n17 27 Anarchist Notes for the Case of a 1920s, 9, 23, 28– 29, 56–57, 181n2, 190 Concept, 189 1930s, 13– 14, 17, 22, 187 99- Seat theatre scene (Los Angeles), 25– 27, 1940s, 16, 56, 113–14, 127, 157 138, 148n1 1950s, 4, 8, 14, 113, 127, 139 1960s, 1– 3, 7, 13–19, 21– 24, 26– 27, 32, Abigail’s Party, 43–45 36n22, 40, 42, 59, 71, 77, 79, 84, 88, Abramov, Gennady, 184n38 118, 126– 27, 148n9, 152– 53, 156, 187, Abstract, 103, 131 189, 192 Academic theatre, 10n9 1968, 2, 8, 14, 17, 26, 30, 32, 76, 111– 12, Acrobat, 127, 129, 136, 179 115– 17, 122; events of May, 115– 17; Acrobatics, 127, 129 generation of ’68, 2, 8; student strikes, Acting: classical, 63, 67n13, 134; France, 30, 11, 115– 16, 122 proposition, 96, 99– 101, 105– 6; 1970s, 1– 3, 13– 22, 24, 26– 27, 29– 30, scenic, 7, 8, 43– 44, 60– 61, 71– 76, 78– 36n21–22, 40, 42, 45– 46, 51, 53–54, 84, 88, 90n6, 93n44, 96, 97, 99– 102, 57– 58, 72, 79– 80, 92n30, 95, 103, 126– 104– 6, 108, 113, 115, 120–22, 125–34, 28, 148n9, 152, 158, 170, 189–93 136n31, 142– 45, 160, 169, 172– 74, 1980s, 1, 3– 8, 13–24, 27– 31, 35– 36, 37n35, 176– 77, 183n27, 196, 199– 200, 202, 43, 45, 48, 52, 56– 58, 60, 74, 91n30, 209n7; sociopolitical, 3, 7, 17, 19, 26, 92n32, 93n44, 95, 97, 127, 142, 143, 32– 34, 62, 115– 16, 139, 188, 204 145, 148n9, 189, 190, 195 Action, 97–98, 103 1990s, 2, 3, 9n4, 10n8, 15–16, 19, 21–23, 25, 29– 31, 36n14, 52– 53, 55– 58, 61, Action: aesthetic, 7; creative, 7, 120; 67n6 and n13, 77, 90n15, 92n30 and collective, 132, 139; dance as, 159; n32, 96– 97, 109n2, 112, 18, 137– 42, imitation of an, 97; international, 33; 144– 45, 148n7, 149n23–24, 181n2, local, 33– 34; orality as, 79; organic, 190, 205 83; physical, 96, 126, 208; political, 26, 2000s, 3, 4, 10n4 and n10, 15– 16, 27, 34, 122; psychophysical, 96; scenic, 44, 37n40–41, 51– 53, 55– 57, 61, 63– 64, 60, 74, 82, 83, 84, 99– 102, 104, 108, 67, 68n45, 91n30, 92n32, 97, 98, 100– 142, 144, 174, 199– 200; sequence of, 102, 109n4, 112, 125, 128– 29, 131, 72– 73; shared, 157; simultaneous, 140; 132n27 and n30, 142–46, 148n9, 149, social, 7, 122; Stanislavsky’s method of 151– 52, 156, 168– 70, 172, 175, 178– psychophysical actions, 96; theatrical, 79, 183n30, 184n36, 190, 203, 206 33; vocal, 72, 79– 80. See Deed 2010s, 1, 3, 25, 28, 34, 36n8, 37– 38, 51, 53, 60, Activism, 15, 17, 19, 32– 34, 116, 204; 64, 67n18, 92n32, 107, 110, 119– 20, 146, activist theatre, 17, 19, 34, 204

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

216 INDEX

Actor, 4, 26, 28, 44, 49, 52, 56, 58, 76–77, Algeria, 4, 30 134, 137, 144, 148n1, 167, 171, 196, Alias Serrallonga, 190 198, 203– 4; actor- activist, 204; actor/ Aliveness, 82, 103– 4, 108, 196. See Presence audience relationship, 19, 80, 90n6, Alley Theatre, The, 31 93n44, 96, 105, 113– 15, 132, 157; Alliance of Antifascist Intellectuals, 187 actor- auteur, 127; actor- author, 25, Alternative theatre, 7, 15, 18– 19, 21, 25, 28, 40– 41, 45– 46, 56, 60, 62, 143, 189; 51, 54– 56, 71, 105 actor- centered, 6, 7, 9, 15, 57– 58, 72, Alyokhina, Maria, 34 77– 78, 81, 83, 85, 88, 91n24, 95, 99– Amateur, 139, 161, 181, 188, 204 100, 108, 113– 14, 145– 46, 172, 175, American Repertory Theatre (ART), 28 183n27; actor- creator, 7– 9, 52, 54, Amharic language, 207 61– 63, 73, 80, 84, 115, 125– 27, 129, Amnesty International, 34 131– 32, 134, 140, 171, 176– 77, 190, “Amsterdam,” 177 204; actor- director, 42, 46, 169; actor- Anarchism, 189; anarchic aesthetic, 32, 40 generated, 8, 42– 45, 48, 53, 63– 64, 72– Ancestors, 199, 201 75, 79, 82, 96, 99–100, 112, 127, 139, Andalusia (Spain), 17, 189, 191 142, 145, 154, 191; actor- manager, 26, Andegna, 206–8, 209n8 47, 59, 78, 86. See Doer Anderson, Laurie, 18, 31 Actor’s Gang, 17, 28, 142– 44, 147– 49 Anderson’s Dream, 92n31 Acts of Thomas, 100 Animal: actors as, 178; - human spiritual ACT-UP, 19 transformation, 200; sounds, 79; Adaptation, 46, 56, 67n14, 129, 187, 201 totemic animal, 202 Addis Adaba (Ethiopia), 195 Animating Democracy, 128, 136n18 Administration, 26; Administration of Animist, 207 Vaçlav Havel, 14–15; administrative Anthropology, 3, 198. See Theatre director, 112; administrative anthropology responsibilities, 72; administrative Anti- establishmentism, 24, 115 team, 26, 57; administrator, 9n4; Antigone. Tertiary. Sexxx., 145– 46, 149n30 shared administrative decisions, 27, 57 Anti- theatrical prejudice, 51, 55–56 Adventures of the Stoneheads, 63–64 Aesthetics, 3, 7, 15, 21, 31– 32, 40– 41, Apartheid, 205; postapartheid, 203, 206 45– 46, 51, 57, 143, 158–59, 162, 169, Applied theatre, 5 187, 191; aesthetic as brand, 25, 59, Aquila (Italy), 114 61, 152; aesthetic lineage, 24, 31, 157; Arden, Annabel, 57 aesthetics opposed to politics, 6, 8, Argentina: Coup d’état of 1976, 14 23– 24, 40, 62 Aristotle, 108 Africa, 30, 47, 201, 203– 4, 207 Ark of the Covenant, 207 Afro-Caribbean diaspora, 99 Art as Vehicle, 84, 93n44, 96, 99, 101– 3 Agamben, George, 151, 154– 55, 160 Artistic director, 15, 39, 52– 53, 57, 59, 63, Agitation, 14; agitational theatre, 32, 34, 67n13, 68n40, 126, 137, 143, 148n9, 187– 88; agitprop, 14, 17, 187 167, 170, 179, 182n20, 195 AIDS epidemic, impact on theatre, 18– 19, Arts Council of England, 58, 64, 69n54 36n14 Arts Emerson, 28 Akalaitis, JoAnne, 16 Ashfield (Massachusetts), 22 AKhE Engineering Theatre, 170 Asia, 78, 82; Asian theatre forms, 72, 82, Akropolis, 71, 76, 78, 80, 90n20, 91n29 92n38 Alaska, 5, 22, 33, 195, 198, 200– 201, 209n7 As I Lay Dying, 56 Alberti, Rafael, 187 Assistant director, 76 Alexander, Catherine, 61 Atlanta (Georgia), 21 Alexander technique, 126, 129 Attisani, Antonio, 109n7

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

INDEX 217

Attribution, 8, 41– 42, 45. See Authorship; Autocracy, 165, 179, 181. See Director: as Credit autocrat; Playwright: as autocrat Auction, 172, 176 Avant- garde, 8, 10, 19, 54– 55, 91n29, Audience, 3, 15– 17, 21, 22, 25– 28, 53, 60, 103n28 62, 74, 93n44, 98, 108, 109n4, 115, Avenue Q, 56 133, 142, 151– 52, 154, 159–60, 162, 170– 72, 176– 77, 191, 208; audienceless Bacci, Roberto, 109 research, 95; complacency, 22; Bali, 4, 91n24, 129 exclusion, 96; non- traditional, 16; Ballet, classical, 160– 61 participation, 16, 31, 105, 114– 15, Barba, Eugenio, 7, 9, 24, 71– 93 128, 157; performers among, 80; Barbican, 52 pre- and post- performance talks, 105; Barcelona (Spain), 190 proximity, 19, 81, 90– 91n30, 113; size, Bard College, 148 17, 23, 25, 31, 52, 57, 81, 188, 207. See Barrault, Jean- Louis, 29, 56, 91, 115– 16 Spectator; Witness Bartók, Béla, 33 Aukin, David, 46 Battersea Arts Center, 56 Auschwitz, 78, 91 Baum, Terry, 20 Australia, 2, 4, 10n9, 115 Beautiful Burnout, 39 Austria, 8, 109 Beauty and the Beast, 53, 60, 67n18 Auteur: actor as, 127; authoritarian, 7; Beck, Julian, 16, 18, 22 Berkley Repetory Theatre, 31 director as, 24, 59, 69n66, 165, 167, Berlin, West (Germany), 3 170, 182n21; lack of, 166; rise of, 9 Bethlehem (Pennsylvania), 22 Authenticity, 114, 119, 177, 203 BFA theatre programs, 7 Author, 6, 23– 24, 39, 46, 173, 188– 89; Biagini, Mario, 24, 97– 98 authorship, 40– 43, 45, 54, 56–57, 62, Big Cheap Theatre (BCT) movement, 25 126; authorship and attribution, 43, Bigot, George, 142 62; authorship and authority, 5, 40– Billington, Michael, 55, 59 41, 45, 54– 55, 57, 85, 126; collective Birmingham, England, 45 authorship, 25, 40–44, 57, 62, 68n22, Bjorneboe, Jens, 89n1 132, 137– 38, 141, 143, 146, 190; solo Blair, Tony, 59 authorship, 16, 18, 42, 47– 49, 51– 52, Bleak Moments, 42 54– 57, 137, 146, 189. See Playwright; Blocking, 44, 176, 188 Writing Bloomsburg (Pennsylvania), 22 Authoritarianism: anti- authoritarianism, Bloomsburg Theatre Ensemble, 17, 22 8; in artistic auteurism, 7, 165, 167; Blue Lake (California), 4, 22, 125–26 within collectives, 8, 171; of Copeau’s Boadella, Albert, 189–90 leadership, 123n4; of instructors, 117; Body, 119; the body and physical of Putin- Medvedev regime, 34 tolerance, 155; body art, 18; body- Authority: authorship and authority, centered acting, 56, 82, 111, 115, 203; 5, 40– 41, 45, 54– 55, 57, 85, 126; as cultural vessel, 199, 202, 204; force centralized artistic, 23, 49, 127, between bodies, 75, 90n6; trained and 146; of the choreographer, 153, untrained bodies, 156– 62 156; in a collective process, 165; Body Weather Laboratory, 184n38 of the director, 58, 79, 97, 165– 68, Bogart, Anne, 24, 28, 137– 49 171, 179, 182n21; of a discipline, Bogosian, Eric, 18 160; of the government, 172; of the Bogota (Colombia), 17 mentor- teacher, 97, 116, 122; Military Bolshevik, 8 authorities, 190 Bolzano (Italy), 114 Auto- cours, 111– 13, 115– 22, 127, 129 Bond, Chris, 41

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

218 INDEX

Borges Mendéz, Itahisa, 110 California, 2, 4, 22, 25, 27, 95, 125– 26, Botinaccio (Italy), 99 132, 138; Southern California (a.k.a. Bourdieu, Pierre, 134 SoCal), 2, 25, 138 Bourgeois, 40, 49 Callow, Simon, 47 Box Play, The, 45 Call-response songs. See Music Brackett, Gary, 16 Cambridge (Massachusetts), 28 Bral, Grzegorz, 85 Canada, 2, 3, 8, 15, 23, 110n15; English Brand identity, creative attribution as, 25, Canada, 2– 3. See Quebec 55, 57, 59, 62– 63, 67n8 Cantania (Italy), 114 Brazil, 16, 22 Capital, economic, 40–41; “cultural Bread and Puppet Theater, 19– 20 capital,” 134 Brecht, Bertolt, 32, 40– 42, 56, 91n27, 108; Capitalism, 3, 22, 26, 40, 101, 128, 136n31, Brechtian, 40– 42; neo- Brechtian 197; relationship to authorship, 41 cabaret, 32 Caravan Project, 33 Bredholdt, Kai, 86– 87 Carmen, 191 Brel, Jacques, 177 Catalonia (Spain), 17, 189– 90 Brenton, Howard, 47 Catholicism, 8, 204 Breuer, Lee, 15 Caucasian Chalk Circle, 56 Bricken, Lloyd, 102, 110 Causal connection, 75, 104 Celebration, 32, 104, 108, 190– 91 Brig, The, 16 Censorship, 15, 188 Britain. See Great Britain Centre Dramatique de Normandie, 109n9 British Arts Council, 55 Centre Internationale de Recherche Broadway, 25, 51; Off- Broadway, 25; off- Théâtrale [International Centre off Broadway, 18 for Theatre Research], 30 Brook, Peter, 29– 31, 93n44 Centro Living Europa, 16. See Living Theatre Brooklyn Academy of Music (BAM), 18, Centro per la Sperimentazione e la Ricerca 27, 30 Teatrale, 109n1 Brown, Kenneth, 16 Ceremonial, 205 Buber, Martin, 99 Ceremony, 30, 177, 205 Buchenwald concentration camp, 91n29 Cervantes, Miguel de, 168, 172 Budget. See Finance Chaikin, Joseph, 15– 16, 18, 122 Builders Association, The, 152 Chance in an indigenous worldview, 198 Bunin, Ivan, 172 Chance operations, 156 Burden, Chris, 18 Character, 55, 104, 128, 140, 144, 161, 174, Burglars of Hamm, 149n23 197; commedia, 142–43; creation of, Burgundy (France), 21 48, 130, 177; development through Burkina Faso, 5, 195–96, 209n7 improvisation, 43– 45, 75, 125, 127, Business: interests, 41; models, 58; 129, 131; - driven naturalism, 42; orientation, 59 motivation of, 43; ownership of, 146; Businessmen, 157 psychology, 134 Butkeivich, Mikhail, 184n38 Chekhov, Anton, 137, 146, 172, 176 Chekhov, Michael, 165, 171 Cabaret, 18, 32 Cherry Orchard, The, 146 Cabin Pressure, 137 Chevelle, Benoit, 110n17 Caffe Cino, 19 Chicano, 30– 31 Cage, John, 10n18, 156 Childcare, 54 Cage, John, 10, 156 Childhood: creativity of, 114; as an image Calderon, 83 of naiveté, 173– 75, 176– 77; as a Calderón de la Barca, Pedro, 83 metaphor for the role of the student

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

INDEX 219

in the masterskaya system, 179; and collectivism, 8; collectivity, 11n23, 23, the sense of play, 171–72 25, 29, 34, 48– 49, 71, 79, 84, 88, 95, Chile, 17, 110 137– 39, 153, 166, 171, 174– 75, 179; China, 5, 46, 195, 201; communist memory, 172 revolution of, 46 Collège de France, 83 Chinese Opera, 82 Colombia, 17, 110n17 Choreography, 73–75, 82, 92n38, 119, 125, Colonialism, 3, 49 151– 58, 160– 61; choreographer, 28, Colonization, 204, 207 140, 148n9; choreographic sensibility, Columbia University, 30 8; fight, 104 Columbus (Ohio), 27 Christ the Savior Cathedral, Moscow, 34 Come! And the Day Will Be Ours, 80–81 Christianity, 207; Orthodox Christianity, Comédie de Cean, 109n9 204, 207 Comedy, 31, 48, 55, 127, 130 Chronic Life, The, 86–87, 92n31–32 Commedia dell’ arte, 8, 113– 14, 119, 125– Churchill, Caryl, 47– 49 27, 129– 30, 136n8, 142 Cieslak, Ryszard, 81, 83, 91n24 Commercialism, 21, 59, 62; Cinga, Cinzia, 110n15 commercialization of collective Circle X Theatre Company, 25 creation, 5, 27, 52; commercialization Circus, 81, 126, 175–77, 191 of performance, 18, 55; commercial Cirque Picnique, 149n23 model of actor training, 126, 132; City Theatre (Pittsburgh), 140– 41 commercial organizational practice, Civic life, 128 64, 85; commercial producers, Clarke, Jocelyn, 137 19; commercial success, 18, 70n98; Class: social class, 22, 41, 43, 128, 191, commercial theatre, 18, 27, 188, 192; 203; struggle, 26, 34, 40, 42, 188, 190, rejection of, 86, 127, 134 204; theatre classes. See Education; Committee: of artistic directors, 143; Teaching; Training writing by, 132 Classical text, 78 Commodity, theatre as, 59, 62, 64 Cloud Nine, 47–49 Communal, 16, 32, 108, 197, 204; Clown, 119, 126– 27, 129, 136n8, 178 commune, 24, 41, 182n12; Clyt at Home, 145 communitarian, 8 Cohen, Robert, 30 Commune, 24 Cohesion, aesthetic, 120, 169 Communication, 3; interdisciplinary Collaboration: in collective creation, 2, communication as a theme in the 5, 6, 15, 17– 18, 24, 28, 30, 39, 45, 49, work of Nature Theater of Oklahoma, 53, 61, 71– 72, 75, 84, 108, 111–12, 152; in neutral mask, 121; sensory, 114– 15, 117– 19, 130, 133, 138, 140, 75, 80; semiotic communication, 75; 144, 146, 153– 54, 158– 59, 191, 196, somatic, 74, 83; synesthetic, 83 202; with communities, 31, 33, 128; Communism, 8, 14, 35n2, 46, 188; in design, 8, 27, 53, 81, 92n31, 166, Communist Party, 26, 76 169, 179, 183n28, 184n34; in devising, Communitarian ethos, 8 2, 5, 8, 51– 52, 57–59, 61, 137, 141, Community, 121, 206; arts, 19, 98, 111, 143, 145, 165, 168, 172, 175; among 131, 152, 157, 172; - based projects, organizations, 16, 22, 29, 53, 56, 146; 129, 132; - building through creative in pairs, 10, 96, 139, 144, 148n9 acts, 157; collaboration with, 128; Collaborative ethos, 52, 118 engagement, 113– 14, 126– 28; Collaborative philosophy, 51, 72 indigenous, 5, 128, 199, 200; local, 21– Collage, 31, 38, 187, 189 22, 31, 33, 112– 14, 125–29, 132, 134; Collective: collectively- generated orientation, 21, 204, 208; national, performance, 3, 7, 11n22, 23; 172; responsibility to, 202;

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

220 INDEX

Compagnie des Quinze, 21 106; of the group, 8, 51, 55, 57, 59, 63, Competition, 116, 145 131, 153; individual, 55–56 Complicite. See Théâtre de la Complicité Creator, 156; actor- creator, 8–9, 28, Composer, 8, 33 61, 115, 125– 27, 129– 31, 134, 140, Composition: of actions (as in Barba’s 143– 46, 148n9, 204– 5; audience as, work), 72– 74; organizational, 47; 101; scenic creators, 166. See also of performance, 126, 156, 168– 69, Attribution; Author 172– 76; SITI’s composition work, 137, Credit, 57, 62, 64, 91n29. See Attribution 139– 43, 145, 148n9; visual, 58, 62 Creole music, 103 Comprehension, 106, 174, 176 Crew, film, 97 Compromise, 23, 26, 57, 60, 63, 146– 47, Crisis: AIDS, 18, 19, 36; as generative of 154 creativity, 117, 122; as scene element, Concentration camp, 78, 80. See 125, 130; in Spain’s independent Auschwitz; Buchenwald theatre during the Franco regime, 188; Concert, 32, 102, 106, 190 of the text, 23 Conductor, 85 Critical discourse, 56 Conference of the Birds, 30 Criticism/self- criticism, 20 Conner, Elizabeth, 153 Cruel Urbis, 190 Consciousness- raising groups, 20 Cuartotablas, 17 Constant Prince, The, 76, 83 “Culture 2000” Program of the European Union, 98 Constraint, 25, 45, 141, 161, 188 Culture Clash, 31 Constructions, 71–74, 80, 176, 178 Culture of Desire, 137– 39, 141, 146 Contact Improvisation, 129 Culture: clash of cultures, 81, 197; of Control: administrative, 143; directorial, collaboration, 28; cultural marketplace, 62, 81, 143, 174; governmental, 15, 56; culture industries, 15, 25, 41, 45, 181, 188, 207; physical, 78, 155, 204; 59, 62– 64, 105; dominant culture, 31, self- control, 118; textual, 143 33, 44, 47, 52, 57, 116, 134, 157–58, Controversia del toro y el torero, 190 166, 169, 182n12, 190– 91; first- world Conventionalized theatre, 67n18, 73, 80, culture, 30– 33, 198; indigenous 86, 88, 134, 183n28 cultures, 196– 98, 202– 7; oral cultures, Cook, Jon Paul, 126 99; rehearsal- room culture, 58, 62– 63, Cooperation, 2, 53, 81, 189 147; third-world culture, 30; workshop Copeau, Jacques, 4, 7, 21, 111, 113– 14, 122, culture, 167; youth culture, 2 123n4, 126 Cunningham, Merce, 10n18, 156 Copenhagen (Denmark), 3 Curzio, Davide, 110n15 Copiaus, 4, 21 Czechoslovakia: Prague Spring of 1968, 14; Core- and- pool structure, 26– 27, 57– 59, 72 Velvet Revolution of 1989, 14 Cornerstone Theatre Company, 149n23 Corum Boy, 53 Daalí, 190 Costume, 25, 72, 74, 80– 81, 86, 91n30, 106, Dagoll Dagom, 189 152, 183n30 D’Amico, Silvio, 114 Counterculture, 2, 13, 17, 33 Dance, 60, 74, 91n24, 106, 151– 62, Cow, 172 176, 191– 92, 196, 199, 202, 205; as Craft, 40, 44, 82, 85– 86, 95, 203; craft guild gesture, 154– 56; influence on theatre model, 167, 179; craftsperson, 80, 85– practices, 8, 28, 148n9, 151; pedestrian 86; stagecraft, 106, 129 movement as, 151, 155– 57, 159–61; Creativity: of the actor, 8, 59, 61– 62, 78, 83, as traditional movement, 199, 207; 111, 113, 117, 119, 121–22, 126–27, 129– untrained dancers, 151– 52, 155– 61. 31, 134, 171, 204; of constraint, 25, 45, See Kinetic; Movement

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

INDEX 221

Darke Nick, 48 DeWan, Chris, 146 Dasté, Jean, 114 di Viteri, Robbie Saenz, 153 Davis, R. G. (a.k.a. Ronnie Davis), 21, 139, Dialogue: in creative process, 43, 47, 98, 152 103, 105, 112, 125, 153; scenic, 45, 55, de Gaulle, Charles, 116 120, 131, 145, 207; sociopolitical, 20, Death of Giraffe, 168, 172, 175– 78 30, 33, 98, 116, 198, 203, 208 Decentralization, 15, 21, 33, 49, 55 Diaspora, 32, 99 Decision- making, 20, 60; actor-generated, Dictatorship: artistic, 85, 90n19; political, 131; consensus- based, 2– 3, 5, 20, 17, 187, 190 68n22, 138, 148n4; delayed, 63; Dies Irae: The Preposterous Theaturm directorial, 61, 80, 143; in the Interioris Show, 101 masterskaya system, 183n24; shared, Dijmat, I Made, 91n24 27, 57; unanimous, 3 Director, 7, 9n4, 17–18, 26, 29, 41, 45, Decroux, Etienne, 21, 91n24, 115 53, 71–73, 76–77, 112, 114, 126, Deed, 99– 100, 105. See Action 132, 140, 166–67, 169, 183n31; Dell’ Arte International Company and accommodation of director in School of Physical Theatre, 4, 22, collective creation, 5, 8, 24, 44, 125–36 46–47, 54, 57, 74, 79, 85, 88, 96, Delpeche, Emmanuelle, 153 141, 153, 165, 173, 189–90, 203; Democracy, 22, 165, 190, 207; democratic auteur-director, 165, 167, 170, collective, 40– 41, 46, 47; democratic 182n21; as autocrat, 44–45, 48, 60, creative process, 42, 51, 54, 113, 118, 123n4, 166; branding, 57– 59, 63; 128, 152– 53, 159; participatory, 40, collective directing, 166, 171, 174; 84– 85; radical, 5, 8, 42 director-driven devising, 11n22, 16, Demon: View from Above, 168, 172, 175, 23, 42–43, 48, 54, 57, 60–63, 69n75, 178 75, 97, 108, 142, 154; director- Demonstrations, public, 29, 112, 115– 16, master, 165–66, 170, 173; director/ 206; instructive, 90, 158 scenographer collaboration, 179, Denmark, 29, 78, 86, 196 184n34; emergence of the modern Deportation, 207 director, 5, 8, 13; as facilitator, 24, Design: actors as designers, 112, 57, 63, 195, 203; guest director, 145 140, 173–75; collaboration with Disciple, 96, 108, 171 designers, 8, 26, 80– 81, 91n29– Discipline, 28, 40, 51, 158, 160, 195; self- 30, 92n31, 137, 153, 179, 183n28; discipline, 42, 122 design-driven aesthetic, 57, 168–69, Discovery, 48, 73, 83– 84, 90n15, 122, 127, 172, 176, 181n6, 184n34 130– 31, 156, 196, 208; rediscovery, Devising, 1, 2, 39, 55– 56, 64, 96, 101, 78, 102, 119, 162, 203; self- discovery, 122, 126, 137, 143, 152, 195; as 129–30, 133 depoliticized collective creation, Discussion, 5, 20, 76, 83, 134; as 7, 9n4, 23, 25– 26, 54; devising collaboration, 5, 43, 47– 48, 68n22, mise en scene, 5, 60, 80; devising 105, 139, 141, 173, 204– 8; talking processes, 130, 139, 177, 203; devising circles, 206, 209n7 techniques, 51, 53, 154; director- Dissident theatre, 15, 22 driven, 16, 23, 45, 57– 63, 69n75, 145; Dissolution of collective creation mainstream acceptance of devising, companies, 17, 144, 189 23, 25, 28, 51– 52, 154; as reaction to Diversity, 31, 112, 128 economic challenges, 15; as shift in Division of labor, 9n4, 72, 139 terminology, 1, 3, 4, 10n9, 13, 23, 44, Documentary theatre, 3, 10n5, 28, 48 53; writer’s role in devising, 39, 54, Documentation, 52, 73, 91n26 67n18, 140, 177 Dodin, Lev, 11n22, 82

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

222 INDEX

Doer, 84, 93n44 Eagleton, Terry, 3 Dominance: cultural dominance, 23, 31, East Village. See Lower East Side (New 40; directorial dominance, 8, 13, 84, York Cit y) 88; dominant modes of theatrical Eastern Bloc, 14 production, 40, 42, 55, 128, 166, Eastern Europe, 17, 161 169, 183n28; male dominance, 20; Eastern religion and philosophy, 75 playwright’s dominance, 56 École Jacques Lecoq, 9, 30, 56, 112, 122, Dostoyevsky, Fyodor, 72 127. See Lecoq, Jacques Do- Tantsa, 184n38 Economics, 7, 14– 15, 17, 72, 189, 207; Double Edge Theatre, 22 economic benefit of a wider audience, Downstairs Action, 93n44, 97 57; economic pressures, 3, 9, 62, Downtown theatre (New York), 18– 19, 22 187; recent economic downturn, Drama, 83, 98, 113, 119, 126–27, 189, 191, 28; resulting in core- and- pool 196– 97; Brechtian historical drama, organization, 27, 57– 59; trickle- down 41; drama therapy, 195; dramatic economics, 22. See Finances conflict, 104; dramatic questions, 104; Ecstasy, 43, 45 “Objective Drama,” 30; traditional Ecuador, 32 concerns of, 7, 45; working with Edge of the World Theatre Festival, 138 existing drama, 5 Edinburgh Fringe Festival 27, 55– 56, Dramatic territories, 126–27 149n24 Dramatist. See Playwright Education, 23, 128, 133, 158, 203, 207; Dramaturge, 85, 88, 138, 146 higher education, 27, 116; teaching, Dramaturgical structure: collage, 31, 48, 15, 30, 86, 92n40, 108, 116, 118, 127, 187, 189; composite, 62; dramatic, 129, 130, 133, 169, 176, 179, 198, 203; 98; epic, 42; linear, 62, 74, 79; by theatre companies, 37n35 performance- based, 72, 75; poetic, 98; Efficiency, 26, 62, 80, 117, 199, 202 postmodern, 56; text- based, 72 Efros, Anatoly, 168, 170, 173 Dramaturgy, 14, 101, 138, 146; actor’s, Egalitarianism, 2, 7– 8, 27, 51, 53, 57– 58, 88; adopted versus place-based, 61, 64, 112, 118, 203 202; Barba’s concept of, 71– 75, 81, Ego, 49, 177 83; Brechtian, 40, 42; collective, 88; Egyptian dynasties, 207 93n52; as composition, 44, 71– 75, Ehn, Eric, 25 77, 79, 81, 83, 85, 88, 93n52, 189, Eiben, Gabel, 153 202; embodied, 83; evocative, 74; El Aleph, 17 Grotowski’s concept of, 81, 83; El Nacional, 190 hybrid of theatrical dramaturgy and El Retablo de las Maravillas, 190 Art as Vehicle in the work of Mario El Teatro Experimental de Cali (EL TEC), Biagini and the Open Program, 101; 17 narrative, 74; organic, 83 Elders, 175, 198 DreamPlay, 143 Elektra-la- la, 149n23 Dr. Faustus, 71, 76–77, 80 Elephant Vanishes, The, 55, 57, 61 Dr. Floit & Mr. Pla, 190 Elevator Repair Service, 152 Drillon, Lilyane, 191 Els Joglars, 17, 189– 90, 192 Drumming, 196, 198, 205 Emancipation, 61 Dubuffet, Jean, 157–58 Emandulu, 205 Duchamp, Marcel, 158 Embodied: confession, 105; dramaturgy, Dullin, Charles, 193n2 88; experience, 125; knowledge, 198; Duration, as aesthetic principle, 28, 140 place- based perspective, 202 Durban (South Africa), 205 Emergency theatre, 187 DV8, 64 Emerson College, 28

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

INDEX 223

Emotion, 46, 73– 75, 138, 142, 171, 173– 74, 4, 6, 9, 15, 17, 40– 41, 48, 53, 113, 176, 191, 199– 200, 204; emotional 117– 18, 120, 122, 126, 133, 165– 66, peers, 139; emotional retaliation, 20; 169, 171, 174, 179, 181n1, 190, 192; emotional sensitivity, 196; emotional in postmodern dance, 159; in solo truth, 82; emotive storylines, 62 performance art, 18 Encounter, 7, 29, 37n35, 95, 97, 99– 102, Expertise, 23, 28, 42, 48– 49 105– 6, 108, 113, 119, 157, 176, 204– 5; Exploration: of collective creation, 7, 30, cultural, 203; poetics of, 96; with the 126– 27, 129– 31, 133, 136n2, 139; scene partner, 112, 121 creative, 53, 71, 76, 78, 83, 93n44, 113; Endurance, 14, 154–55 in rehearsal, 46– 47, 52, 72, 80– 81, 85, Energy, 82– 83, 115, 133, 178 141, 146, 156, 204, 207; self- 103, 170; England. See Great Britain of text, 39, 79 Ensemble theatre, 6, 8, 15, 22, 33, 53– 54, Expression, 30, 78, 93n44, 154, 158, 171; of 57– 63, 69n62, 106, 123n1, 125– 36. See dominant ideology, 40; freedom of, 190, Laboratory theatre; Research theatre; 192; of group, 26, 54, 59, 62; human, Studio theatre 78, 106; of ideas, 3, 19, 209n7; of Environment, 19– 20, 52, 119, 122, 153, identity, 3, 33, 106, 139, 153, 155, 157, 192, 196, 200; scenic, 31 191, 204; of indigenous groups, 195– Epic theatre, 42, 46, 62, 108 96, 198– 99, 201– 3, 206; of politics, Epsom Downs, 47 24, 190, 192, 205; scenographic Equality, 20, 53, 58, 77, 79, 84, 86, 157, 175, expressivity, 55; somatic expressivity, 182n12 55, 201– 2; of virtuosity, 160– 61 Esoteric practices, 99 Extra- daily physicality, 82 Esperpento, 189 Eyre, Richard, 52– 53 Essence, 71, 81, 99, 109n4, 191 Essentialism, 108 Fable, 79 “Estatutos de la Federación de Teatros Facilitator: director as, 24, 33, 63, 101, 195, Independientes,” 193n5 203, 206; facilitating leadership, 57; Estonia, 196 teacher as, 117 Estrada theatre, 171, 176– 77, 184n46 Factory Theatre (Los Angeles), 148n7 Ethics, 7, 8, 9, 20, 23, 24, 31, 41, 45, 49, 71, Failure, 2, 48, 117– 18, 120 77, 92n40, 151, 154; unethical, 6, 61 Falater, Scott, 143– 44 Ethiopia, 32– 33, 195– 96, 203– 8, 209n7 Fall of Communism, Poland, 35n2 Ethnomusicology, 33 Fanshen, 46–48 Etude, 73– 74, 173 Far Side of the Moon, The, 55 Europe, 1, 2, 4, 9, 13– 16, 23, 29, 32–34, Farce, 47, 49 37n40, 59, 78, 81, 86, 88, 91n24, Farmers, 191 92n40, 98, 111, 114, 126, 128, 149n24, Fascism, 8 161, 173, 193n2 Faulkner, William, 56 Events of May. See 1968 Faulty Optic Theatre of Animation, Ex nihilo mode of collective creation, 5, 10n10 44, 61 Feeling circle, 20 Exchange, 20, 29– 30, 59, 98– 99, 113, 133, Feminism, 41; Feminist theatre, 19– 21, 26, 175, 203 34, 127 Exile, 16, 30, 170, 190 Ferai, 71, 80, 89n1 Experimental Theatre Project (ETP; Ferslev, Jan, 87 Moscow), 179 Festival of Zurich, 189 Experimentation, 28, 52, 71, 73, 75, 79– Festival: Alaskan native festivals, 198; theatre 80, 96, 100, 105, 112, 114, 127, 152, festivals, 22, 27, 29– 30, 55– 56, 59, 90n15, 183n29, 184n38; in collective creation, 101, 138, 142, 149n24, 189, 191

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

224 INDEX

Fierce Love, 36n14 Garkalin, Valery, 176 Fifth International Forum on Ancient Gasbarra, Felix, 176 Greek Drama, 191 Gaskill, William, 46 Film: Film industry, 25 Gay, 19, 36n14. See Lesbian; Queer Filter Theatre, 56 Gecko, 10n10 Finances, 25, 37, 63, 66, 67n13, 134, Gender: all-female companies, 19, 20, 152; budget, 25, 63, 101, 161, 179; 48; gender dynamics, 19; male-led earnings, 46, 77; funding, 15, 18, 19, companies, 20, 152, 167, 182n19; male 58, 78, 91n24, 198; income, 54, 70n98; company members, 103; male directors, subsidy, 15, 54, 62– 63 152, 167, 182; mixed-sex companies, Finland, 196 group dynamics of, 20; patriarchy, 19; Finley, Karen, 18– 19, 31 roles for women, 20; women directors Firebird Ball, The, 68n40 in Russia, 182n19; women in collective First Act, 189 creation, 19; women of the Paris First National Congress of the New Theatre, Commune, 41; women, institutional Valladolid, Spain [1er Congreso empowerment of, 48; women theatre Nacional de Teatro Nuevo], 193n5 artists, views of, 20, 182n18; women, Flaszen, Ludwik, 76, 91n29 obstacles to artistic leadership, 20; Fleck, John, 19 women’s collaborative writing, 138. See Fo, Dario, 114, 127 Feminism Fomenko, Petr, 170, 179, 184n37 Generalitat, 190 Fondazione Pontedera Teatro, 109n1 Generative: actors as generative artists, Fools, 189 125, 129; capacity of the group, For a New Bulgarian University 153; collaborative process, 117, 119; Foundation, 109n9 creativity, 8, 130; generative power of Foreman, Ronlin, 127 ambiguity, doubt, and failure, 120 Formal Theatre, 170 Gentlemen Prefer Blondes, 42 Foucault, Michel, 41 George, Bill, 118 Framework ’98, 145 Germany, 13, 22, 34, 161; East, 91n24 Framework: of collective creation, 33, Gesture, 28, 116, 121– 23, 140, 151, 154– 56, 51; conceptual, 68n22, 105, 113, 159; 158– 62, 199, 201 Framework ’98, 141– 46; ideological, 4, Gestus, 154– 55, 161 151, 156; of performance, 81– 82, 131, Ghost Road Company, 145– 46, 149n24 159, 176, 199, 202; scholarly, 23, 45, Ginsberg, Allen, 101 158; socio- temporal, 14 GITIS (Russian University of Theatrical France, 2, 4, 8, 22–23, 30, 109n9, 110n15 Arts), 24, 166– 67, 169– 71, 177– 79, and n17, 115– 16, 126, 142, 157, 190, 182n16–17, 183n22 and n27, 184n34 193n8; French Revolution and n37, 185n74 Franco, Francisco, 17, 22, 26, 187, 190, 192 Glass, Philip, 16 Frankenstein, 16 Global, 4, 14, 16– 17, 27, 30, 32– 33, 134; Frantic Assembly, 39 anti- globalization movement, 16; Freedom, 25, 32, 39, 45, 48, 127, 133, 190, 192 globalization, 27, 33, 195, 197– 98 Fringe, 27, 34, 55, 64, 149n24 Global Theatre Festival of Nancy, 191 Front Room Theater Guild, The, 21 Gogol Bordello, 32– 33 Fusion theory of collaboration, 138, 144 Gogol Center (Moscow), 182n19 Gogol, Nikolai, 172 Games, 31, 58, 129, 178, 204 Goldoni, Carlo, 113 Gardzienice Center for Theatre Practices, Gomez- Peña, Guillermo, 30 11n22, 29 Goodman Theatre, The, 31 Garin, Erast, 185n74 Gordon, David, 152

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

INDEX 225

Gordon, Fiona, 57 focus on, 2, 54; group identity, 32, 46– 47, Gorki- 10, 172–74, 176 54, 93n51, 174, 204; group interaction, 8, Government, 15, 19, 54– 55, 58, 63–64, 30, 43, 108, 142, 144; group morality, 24; 115– 16, 170– 71, 173, 181n2, 187– 88, group movement, 112; group process, 20, 190, 207, 208 48, 59, 112, 118, 131, 133, 146, 173, 202; Graham, Scott, 39 as model to society, 2, 40, 54, 152, 159; Gran Fury, 19 organizational structure of, 17, 46–47, 53, Grand Union, 152 139, 153, 189; theatre movements, 88, 152 Gray, Spalding, 15, 18, 21 Guerilla Theatre, 20 Great Britain, 25, 39, 40, 51– 56, 58, 62, Gürses, Gülsen, 109n9 64, 68n35, 109n9; Conservative Gypsy-punk, 32 government, 54, 58; England, 1– 2, 4, 8, 10n10, 15, 23, 26– 27, 64, 68n38, Haiti, 30 196; Labour government, 55; New Halprin, Anne, 157 Labour, 63; Postwar economy, 40 Hamlet, 165– 66, 169, 183n29, 184n36 Great Depression, 132 Handspring Puppet Company, 53, 63 Greece, 109n9 Hare, David, 46, 48, 64 Greek: myth, 81; tragedy, 119, 121 Harper, Stephen, 63 Green Ginger, 56 Hauser, Kaspar, 89n1 Greenland Inuit, 196 Havel, Vaçlav, 14– 15 Gregory, Andre, 30 Healing, 3, 200, 206, 209 Gregory, Marina, 102, 110n15 Hébrail, Jessica Losilla, 110n17 Gregory, Mercedes, 30, 97 Hegemony: of the author, 45; of the Gridley, Anne, 153 culture industry, 51 Griess, Terry, 37n35 Henderson, Joyce, 58 Grotowski Institute, 92n43 Heraclitus, 108 Grotowski, Jerzy, 7– 9, 26, 31, 91n24 and Hierarchy, 2, 8, 49, 56, 112, 160, 165, 181, n29; and intercultural theatre, 29–30; 207; of ability, 151, 156– 61; “benign,” and his legacy in Barba’s work, 24, 71– 60; within collectives, 24, 60, 108, 138, 84, 90n15, 92n40; and the Workcenter, 147, 171, 174, 177; nonhierarchical, 21, 24, 93n44, 95– 109 15, 17, 20, 53– 54, 56, 58, 128, 152, 154, Group dynamics, 9, 16, 20; antagonism, 173; traditional theatre hierarchies, 143, 146; conflict, 20, 37, 69n75, 112, 9n4, 40, 43, 51, 59, 132, 167 138, 154, 189; conflict resolution, Hill, Jane, 126 20, 37; confrontation, 143– 47; Hinkley, Brent, 142 coordination, 153, 162; criticism, 20, His Dark Materials 46, 129, 209; critique, 129– 30, 132– Historiography, 2, 55; of collective 33, 171; cross- talk, 20; debate, 5, 42, creation, 1– 11, 13, 15, 154; of training, 46, 120, 133, 139, 141– 45, 147, 202; 126 discussion, 5, 20, 24, 43, 48, 134, 141, History: shared production history, 139, 172– 73, 204– 5, 207–8, 209n7; honesty, 143– 45, 147; as source material, 31, 20, 146; insider/outsider structure, 170, 172– 73, 179, 182n12, 190, 198, 27; interpersonal interaction, 2, 7, 203, 206– 7; of theatre, 2, 4, 5, 8–9, 13, 209; interruption, 30; opposition, 21, 34, 35n2, 37n35, 39– 40, 75, 88, 144, 148n, 4. See Decision making; 92n40, 105, 126, 151, 165, 171, 185n74 Discussion: talking circles; Feeling Hoggett, Steven, 39 Circle; Rehearsal: dynamics Hohki, Kazuko, 55 Group: of co-artistic directors, 15; creation Holland, 3 by, 3, 6, 9, 25, 26, 41, 46, 53, 55, 57– 58, 62, Hollywood, 62, 142, 145 125, 130, 132, 153– 54, 199; of equals, 58; Holmes, Sean, 56

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

226 INDEX

Holstebro (Denmark), 29, 78, 86, 90 ritual and performance traditions, Hong Kong (People’s Republic of China), 32 33, 195, 198, 200, 202; nonindigenous Hopfner, Timothy, 102, 110n15 groups, 201 Horizons (Wroclaw), 101 Individual, 2, 4, 6– 7, 22– 24, 28, 40– 43, 48– House Un- American Activities Committee 49, 51, 54– 59, 69n62 and n75, 72–74, (HUAC), 22, 36n22 77– 78, 80, 82– 83, 91n23, 93n52, 95, Hughes, Holly, 18–19, 21 99– 101, 108, 112, 129– 33, 138– 39, Humana Festival, 27 143, 153, 155– 57, 166, 171– 73, 175, Humboldt County (California), 128 197, 203 Hummel, Thomas, 153 Induction, 99 Hungary, 33; Uprising of 1956, 14 Influence: absence of, 157; behind Hutz, Eugene, 33 Argentina’s collective creation Hytner, Nicholas, 52– 53, 63, 68n40 movement, 14; of Barba, 81; on Barba, 91n27; of canon of European Ictus, 17 directors, 59; of Joseph Chaikin, 15; of Ideal: of alternative theatre practice, 21, collectives, 47– 48, 54; of commedia, 115, 170; ideal proportions, 161; of 127; of Copeau, 4, 111, 113, 126; of leaderlessness, 4, 9, 24, 58, 152, 154, dance on the history of collective 175; of permanent company, 26, creation, 151; destructive influences, 179; of stillness, 160; way to teach 200; of directors on one another, collaboration, 118 166, 174; of Grotowski, 77, 79, 83; on Identity: and brand, 25, 63; geographical, Krymov, 167; of Lecoq, 111, 126; of 3, 52, 138, 197, 206; group, 32, 93n51, modernism on collective creation, 4; 143, 203– 4; identity politics, 21; of multimedia performance, 55; of individual, 85, 172, 204– 5; of the Mary Overlie, 29; of San Francisco worker, 158 Mime Troupe, 128; of SITI Company, Ideology: actor- centered, 72; of 142, 145– 46; of Théâtre de Soleil, 142; attribution, 42; behind collective of Western culture, 197 process, 6– 8, 20, 25, 27, 32, 54, 58, 62– Ingulsrud, Leon, 142 64, 188; dominant, 40– 41, 158, 173; as Innovation, 114, 121– 22, 136n8, 169, 202 historical lens, 3– 4; political, 9, 23, 26, Installations, 19, 31, 169 53, 159, 189 Institution: institutionalization of Immigrant performance, 30, 32– 33 auto- cours, 115; institutionalized Improbable Theatre, 25, 57, 64 transmission of collective creation Improvisation, 3, 42– 45, 47– 48, 56, 58, practices, 7, 27– 28; institutional 63, 67n13, 68n22, 71–75, 77–85, 88, model of collective, 2–3, 5, 7–8, 24, 93n52, 98, 100, 108, 112– 13, 117, 121– 26, 40, 42; institutional orthodoxy, 22, 127, 129– 31, 134, 142– 43, 146, 51; institutional power, 26, 54, 57, 154, 157, 187, 189– 92, 195 187n17, 189; institutional practices, In Paris, 172 17, 20, 48, 64; institutional structures Incantation, 79 of commercial theatre, 27, 42, 45, 51, Incarceration, 16, 34, 190. See Prison 167. See Organization Income. See Finances Insularity of collectives, 18– 20. See Independent theatre, 78, 86, 88, 92, 187– Invisibility; Retreat; Visibility 89, 192, 193n5 Interaction, 6, 8, 26, 30, 43, 58, 73, 173, India, 30, 195 197, 200, 200– 203 Indigeneity, 191, 196; indigenous Interculturalism, 29– 30, 33, 73, 81, 195; communities, 5, 199; indigenous intercultural reconciliation, 33. See cultural context, 203; indigenous Multiculturalism; Transculturalism groups, 195– 98, 201, 206; indigenous Interdisciplinarity, 152

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

INDEX 227

Intermediality, 9. See Mixed Media Kaosmos, 92n31 International Centre for Theatre Research Kaspariana, 71, 89 [Centre Internationale de Recherche Kathakali, 82 Théâtrale], 30 Katya, Sonya, Polya, Galya, Vera, Olya, International School of Theatre Tanya . . ., 172 Anthropology, 29, 73 Kaufman, Moisés, 28– 29 International: centers of theatre research, Kearns, Martha, 19– 20 29– 30, 88; circuit of festivals, Keefe, Barrie, 48 27– 29, 59; devising practices, 7; Kenya, 5, 195– 96 focus of theatre history, 3, 13; Khwe Bushmen, 196 internationalism, 33, 116; reputation, Kinetic: expression, 154; differentiation, 52– 53, 71, 77, 88, 90n15, 137, 169; 155, 157– 58, 160; goal, 162; variation, residencies, 98 151. See Dance; Movement Inter-Scandinavian Workshops (Odin Klein, Stacy, 36n21 Teatret), 91n24 Knebel, Maria, 182n19 Interwar period, 8, 11 Kneehigh, 56, 59, 64 Intrigue at the Ah- Pah, 128 Koonen, Alissa, 91n24 Inuit, 196 Korbel Trilogy, The, 128 Inupiat, 199 Kordian, 76, 80, 90n20 Invisibility of collectives and collective Korea, 5, 33, 195– 97 creation, 18, 20– 21, 25, 32– 33, 154; Korean National University for the Arts, operating under the radar, 25, 32. See 196–97 Insularity; Retreat; Visibility Kremlin, 34 Irondale Ensemble Project, 37n35 Krienke, Joe, 129 IRS (Internal Revenue Service), 16 Kronis and Alger, 149n23 Islam, 207 Krymov, Dmitry, 165– 85 Italy, 4, 16, 21, 29–30, 75, 92–93, 95, 99, Krymova, Natalia, 168 109n9, 110n15, 111, 113–15, 122, KURMASTEP [Courses in the Mastery of 127, 196 Staging], 166 Itinerance. See Peripeteticism Kwasa Group, 205– 6

Jail. See Incarceration; Prison L.S.D. ( . . . Just the High Points . . .), 24 Japan, 28 La Candelaria, 17 Jarry, Alfred, 190 La Cena, 190 Jerry Springer the Opera, 64 La Cuadra de Sevilla, 17, 24, 189, 191– 92 Johansen, Robert, 153 La Jolla Playhouse, 31 Joint Stock, 40, 46–49 La Mama, 18– 19 Jouvet, Louis, 193n2 La Pocha Nostra, 30– 31, 33 Joy, 151, 184n36; 203 La Torna, 190 Judson Dance Theatre, 28, 148n9, La Torna de la Torna, 190 156–57 Labor: of collective creation, 21; deskilling Jugglers, 189 of, 158; divisions of, 2, 72, 139; hard Jumbo, Paul, 200 labor, 34 Juneau (Alaska), 22 Laboratory theatre, 11n23, 29, 77, 88, Just for Show, 64 90n15 and n20, 91n23 and n29, 103, 105, 165, 167–79, 183n29–30, Kabuki, 82 184n36–38. See Ensemble theatre; Kamenkovich, Evgeny, 179 Research theatre; Studio theatre Kamyangkuk tradition, 197 LaMendola, Julie, 153 Kanze, Hisao, 91n24 Landau, Tina, 139

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

228 INDEX

Language, 198; ancient languages, 75; Literature, 76, 79, 172– 74, 176, 187; English language, 2, 169; invented literary theatre, 6, 71, 85; scholarly languages, 75, 79, 80, 91n27, literature, 11 116, 207; language tradition, 67; Litooma, 208 limitations of, 105; minority, Live art, 55– 56, 68n45. See Performance 75; physical, 114, 121; polyglot art performance, 32; quoted, 152, 157; Living museums, 31 theatrical, 15, 58, 134, 191, 202, 204 Living Theatre, 2, 6, 16– 18, 22, 24, 27, Laramie Project, The, 28 31–32, 36n8 “Last Dance,” 159 Local, 3, 11n24, 14, 16– 17, 21, 31, 33, Latin America, 2, 11n24, 14, 17, 86, 92n40 37n35, 114, 128, 138, 140, 145, 196 Lavender Cellar, 21 Location: farm community, 21, 190, Lavery, Byrony, 39 191; metropolitan area, 18– 19, 21; Leadership, 5, 9, 24, 28, 57, 69n51, 114, provincial town, 76, 86; rural area, 21– 123n4, 165, 168, 179; accommodated, 22, 27, 127, 129, 132, 134, 136n9, 190; 1, 5, 9; charismatic, 88, 152; co- small town, 22, 126– 27; urban center, leadership, 15, 143, 152, 157, 166; and 21, 33, 102, 127; village, 22, 198– 99 company longevity, 88; ethical, 9; as London (England), 3, 9– 10, 26, 32, 41, 43, facilitation, 9, 57; leaderlessness, 4–5, 51, 53– 54, 56, 64, 68n40 8–9, 24 London International Mime Festival, 56 London International School of Lebanon, 16 Performing Arts (LISPA), 112, 119– 21 LeCompte, Elizabeth, 15 Longevity: of collectives, 60, 137– 38, 146; Lecoq, Jacques, 9, 30, 56– 57, 91n24, 111– organizational longevity, 144– 46. See 24, 126– 27, 129, 236n9 Sustainability Lee, Stewart, 18, 64 Loos, Anita, 42 Legacy of Cain, The, 16 Lorca, Federico García, 191 Legacy, artistic, 1, 24, 54, 103, 109, 111, Los Angeles (California), 25– 28, 30, 137– 165, 179, 198. See Lineage 38, 142, 145, 148n1 Leigh, Mike, 40, 42– 46, 48–50, 64 Los Goliardos, 188 Lenin, Vladimir, 174 Louisville (Kentucky), 27 León, Maria Teresa, 187, 193n2 Lower East Side (New York City), 16, 18, Leopold and Loeb: a Goddamn Laff Riot, 21, 32, 36n8 149n23 Luckham, Claire, 41 Lepage, Robert, 23, 53, 55 Ludlum, Charles, 19 Lermontov, Mikhail, 172 Lul Theatre, 208, 209n8 Lesbian, 19– 21. See Gay; Queer Lumberob, 153 Lesbian- Feminist Theatre Collective of Luo, 205 Pittsburgh, 21 Lyotard, Jean- François, 23, 26 Letter, The, 100–101 Lyubimov, Yuri, 184n37 Levinas, Emmanuel, 99 Liegerot, Fletcher, 153 M7 Catalonia, 190 Life Game, 64 Mabou Mines, 15, 19 Lighting designer, 81 Mackenzie- Wood, Barbara, 37n35 Lilith: a Woman Theatre, 19– 20 Mad World My Masters, 48 Lillian Booth Actor’s Home, 36n8 Madrid (Spain), 188 Lineage, 9, 17, 108, 126, 128 Magni, Marcello, 57 Linguistic, 33, 75, 79, 121 Main Action, 84, 93n44 Lion King, The, 56 Mainstream, 7, 23, 25, 33, 51– 52, 54–56, Liska, Pavel, 151, 153–54 58– 60, 96, 108, 111, 116

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

INDEX 229

Male. See Gender McLuhan, Marshall, 137 Malina, Judith, 16, 36n8 Medcalf, Charlotte, 61 Malta, 109n9 Medium, The, 137 Maly Theatre of Saint Petersburg, 11n22 Medusa’s Revenge, 20– 21 Manifesto, 76, 189; Manifesto in action, Mee, Charles, 146 101 Melodrama, 119, 126, 129, 131– 32 Mao Tse- Tung, 19; Maoism, 20, 46 Memory, 60, 83– 84, 106, 206 Mapplethorpe, Robert, 19 Men. See Gender Marceau, Marcel, 115 Mentoring, 76, 78, 80, 88, 97 Marcelli, Felicita, 110 Merce Cunningham, 10n18, 156 Marginalization: of devised work, 51, Merleau- Ponty, Maurice, 119 54; of indigenous performance, Methodology, 1, 3, 5, 7, 53, 58, 61, 64, 78, 198; marginalized bodies, 151, 161; 139, 144– 45, 154, 196, 202 marginalized culture, 33; marginalized Metropolitan regions, 18– 19, 21. See populations, 21; of nonpolitical Urban regions collective creation, 7 Mexico, 4, 30 Mariano, Nola, 30 Meyerhold, Vsevolod, 4, 5, 7, 165–66, 171, Marlowe, Christopher, 71 173, 176, 179, 181n1, 182n17, 183n22, Marowitz, Charles, 43 185n74, 191, 193n1 Martial Law, Poland, 35n2 MFA Programs, 112, 126, 129, 132, 134, Martinez, Ursula, 55 136n30, 153 Martinuinova, Vera, 179 Midlands Arts Centre, 45 Marxism, 3, 8, 40, 59 Midsummer Night’s Dream/As You Like It, Mary d’Ous, 190 172 Mask, 72, 78, 103, 119, 121–22, 125, 127, Midwest (United States), 152 130, 197 Militancy, 188 Massachusetts, 22 Miller, Tim, 19 Master: director as, 165–66, 170, 173; Mime, 8, 56, 115, 126, 127, 159, 189. See and disciple, 96; Grotowski as, 108; Pantomime Krymov as, 174; master- apprentice Mimetic, 43, 67, 158, 200 relationship, 167, 183n22; masterful Min Far Hus, 72, 79– 81 execution, 97; mastering text, 75; Mind: collective, 85– 86; governing, 4; masters of craft, 86; master teacher, supraindividualist, 4, 166 167, 171, 176, 179, 183; mastery of Minneapolis (Minnesota), 21 scenic staging in Russian theatre Minority: cultural minorities, 32; training, 166– 67; Noh masters, 91; languages, 75; populations, 21, 30; skills mastery, 88, 93n52; technical subject, 31 mastery, 82, 129 Min-Tanaka, 184n38 Masterskaya of Petr Fomenko, 184n37 Minute Too Late, A, 64 Masterskaya system, 167, 169– 71, 177– 79, Mise en scène, 73– 74, 79, 83, 190; 182n17 and n21, 183n22 and n24, collectively devised, 5, 6, 8, 75, 84 184n37, 185n74 Mission District (San Francisco), 31 Matter of Life and Death, A, 64 Mitchell, Katie, 51, 57– 58, 60, 62, 64, May ’68. See 1968 67n17–18, 69 Mazzone- Clementi, Carlo, 126– 27, 130 Mixed Media, 55, 66. See Intermediality McBurney, Simon, 57, 61, 112 Mnouchkine, Ariane, 29– 31, 85 McClellan, Wendy, 146 Model Theatre, 184n37 McDermott, Phelim, 57 Modernism, 4, 8, 23, 104 McGrath, John, 40, 42 Monarchy, 8 McKenna, Mark, 112 Monasticism, 8, 21, 77

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

230 INDEX

Money Tower, The, 16 Myth, 33, 79, 81, 191, 200, 201, 203, 207– 8; Monologue, 31, 83, 132, 134, 177; myth making, 95, 152– 54 monologist, 18 Mythos, 92n31 Monsalve, Sofia, 86 Myths, 157 Monstrous Regiment, 40–42, 45, 48, 49, 53, 58 Naropa University, 112 Montage, 5, 73– 75, 78, 80, 82, 84, 105 Narrative, 26, 31, 43– 44, 49, 53, 56, 68n38, Montoya, Richard, 31 72– 75, 83, 99, 104, 142, 145, 199, Morality, 24, 46, 179, 182n12 203–5 Morris, Tom, 53, 62, 63 Natal Performing Arts Council, 205 Moscow (Russia), 6, 21, 24, 34, 167, 169– National Theatre (London; a.k.a. Royal 70, 179, 184n37, 185n79 National Theatre of Great Britain), Moscow Art Theatre (MKhT), 6, 21, 168, 51–60, 62–64, 67–70 182n19–20; First Studio of, 175; National Theatre of Sakha, 196, 201, 204, School- Studio, 168; Second Moscow 209n7 Art Theatre, 165– 66, 171, 175; Seventh National: arts funding, 15; boundaries, Studio of, 182n20 30, 33; community, 172; festivals, Moscow Cultural Committee, 170 27– 28; nationalization, 40; political Moslem, 203 atmosphere, 19; prophecy, 179; status, Motram, Stephen, 56 52– 53, 68n40, 114, 138; touring, 28 Movement: physical comedy, 55, 127, 130; Nationalism, 3, 8, 30, 196 physicality, 15, 25, 42, 44, 51, 67, 71– Native: Alaskan Native cultures, 195– 98; 75, 78– 80, 82– 84, 92n38, 93n52, 103, Native American peoples, 128, 171 114, 138, 145, 154– 55, 159– 60, 198– Naturalism, 42, 44, 46, 48; nonnaturalist, 46 200, 204, 208; physical movement, Nature Theatre of Oklahoma, 151– 63 74, 100, 110– 12, 119, 121, 126– 27, Nazi, 91 148, 151– 52, 154– 61, 184n38, 199– NEA Four, 19 200, 204; physical spectacle, 25, 51; Negotiation, 48, 49, 138, 144, 195– 96 physical technique, 82, 92, 126, 128– Neo-liberalism, 59 29; physical theatre, 8, 11n22, 15, 39, Nepal, 195 55– 56, 58, 61, 125– 30; sociopolitical/ Networks, 3, 29, 30 cultural movement, 2, 4, 9, 10n6, Neumann, Fred, 16 13– 18, 20, 23, 25–26, 32, 35, 54, 78, New Left, 2, 5 88, 111, 114, 116, 123n9, 187, 189– 90, New York Theatre Workshop, 138, 141 192. See Dance; Kinetic Next Wave Festival (Brooklyn Academy of Multicultural, 29, 32, 205 Music), 27 Multi- ethnic, music, 132 Niesen, Jim, 37n35 Multiplicity. See Polyphony Nizhny Novgorod (Russia), 32 Music, 8, 25, 31– 33, 106, 140, 173, 179; No Dice, 152 call- response songs, 100; musicality, Noh, 82, 91n24, 114 75, 79– 80; musical theatre, 25; music- Noise of Time, The, 57, 61 driven theatre, 11n22, 4; musician, 87, Nonprofit status (501c3), 37n35 177, 179, 184n36; song, 18, 32, 41, 75, Noon, Katherine, 145 96, 99– 101, 103– 6, 144, 158, 177, 191– Nordic Theatre Laboratory. See Odin 92, 196, 199, 202, 205, 207; vibratory Teatret song, 99, 104– 5 North America, 2, 15, 81 Mutuality, 108, 122, 138, 179 Norton (Virginia), 22 Myers, Carolyn, 20 Norway, 75, 78 Mysteries and Smaller Pieces, 16 Nosferatu, 149n23 Mystery play, 99 Nunn, Trevor, 53, 67n13

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

INDEX 231

Oasis Theatre Company, 145 Ownership: artistic, 95, 146; water, 128 Oberzan, Zachary, 153 Oxford University, 60 Objective drama, 30 Oxyrhincus Evangeliet, 74, 80– 81; 91n26, Occupy Movement, 20, 26 92n31–32 Odin Teatret, 24, 29, 32, 33, 71– 93 Odissi (Indian classical dance), 91n24 Padua Players, 127 Off-Broadway, 25 Painting, 169, 173, 175, 190 Office staff, 86 Palermo (Italy), 16 Off- off- Broadway, 18 Panigrahi, Sanjukta, 91n24 Oleg Tabakov Theatre Studio, 184n37 Pantomime, 115, 119, 121. See Mime Omena-G , 190 Paradise Now, 16, 31 Open Fist Theatre, 25 Paratheatre, 103, 105 Open Program (Workcenter of Jerzy Parenti- Fo- Durano Company, 127 Grotowski and Thomas Richards), Paris (France), 3, 21, 29– 30, 90n15, 92n42, 101, 110n15 111–12, 115–16, 127 Open Space Theatre, 42 Paris Commune, 41 Open Stages Project, 170 Parity, 24, 138 Open Theater, 15, 19– 20 Parker, Daniel, 142 Open Theater, The, 15, 19– 20 Parody, 30 Opera, 191 Participation: audience, 16, 31, 98, 105; Opole (Poland), 71, 76–78, 80, 88 company, 26, 60, 129, 153, 166, 191, Opposition: to commercialism, 21, 25; 200– 201, 203, 205 to folklorist aesthetics, Andalusia, Partnership: between director and 191; political, 34, 51, 192. See Group company, 77, 83; between director dynamics and designer, 165, 183n28, 184n34; Oppression: institutional, 6, 20, 182n19; directorial, 153; institutional, 109, personal, 6; sociopolitical, 2, 32 112; among multiple collaborators, Opus No. 7, 172– 73 58, 118, 132; in pairs, 10, 30; in scenes, Oral: culture, 99; orality as action, 79; text, 96– 97, 99, 176, 204 75; transmission, 82, 198 Passloff, Aileen, 148n9 Orchard, Robert, 28 O’Reilly, Terry, 16 Pastiche, 24, 146 Organization, 98, 114, 188; collective Peasants, 14, 46; Peasants’ rights organization, 26, 47, 53, 189; movement, 14 organizational changes, 23, 37n35, Peck, Evie, 142 67n6; organizational identity, 19; Pedagogy, 30, 111– 24, 125– 36, 169 organizational longevity, 138, Peepolykus, 55 144–46; organizational structure, People Show, The, 10n10 10, 16–17, 24, 26, 53, 55, 57, 59–60, People’s theatre, 3, 26– 27, 31 62, 73–74, 112, 153, 167, 171, 192; “Perfect Moment, The,” 19 Victor Turner’s theories of, 7. See Performance art, 18, 21, 30–32, 34, 68n38, Institution 184n34. See Live art Orthodox Christianity, 204 Performance Group, 15, 18– 19, 24 Ortnitofilene, 71, 89n1 Performance: clandestine, 188; making, Oslo, Norway, 91n27 1– 3, 5– 9, 13, 23–24, 52– 53, 55– 56, 64, Oslzy, Peter, 14 71– 72, 75, 79, 84–85, 99, 141– 42, 165, “O Superman,” 18 167– 68, 174, 192; performance lab at Outdoor, 209n8 Dell’ Arte International School, 125, Outsider art, 158 129– 31; principles, 81, 83, 88, 92n38, Overlie, Mary, 28– 29 93n52

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

232 INDEX

Peripeteticism, 16, 30, 32–33, 58, 75; Pleasure, 105, 151, 196 itinerance, 29; nomadism, 16; Plot, 113, 130; absence of, 43, 99, 104, wandering, 32. See Exile; Touring Plurality, 74, 108. See Polyphony Permanent Way, The, 64 Poetic theatre, 98, 102, 104, 131. See Permanent: base, 54; companies, 26, 57; Dramaturgical structure core, 27, 57– 58, 72; employment, 28; Poetics: A Ballet Brut, 151–52, 155–56, 159, ensemble, 146; home, 170; member, 161–62 57; organizational structure, 27, 57; Poetics: of encounter, 95– 96, 108; of partnership, 118; residency, 28; retreat, mime, 115; sensory, 191 127; theatres, 114 Poetry, 31, 101, 104, 110n19, 113 Perpignan (France), 190 Poggelli, Elisa, 110 Perseverance Theatre, 22 Pogodin, Mikhail, 172 Personal, 20, 43, 112, 118, 204; personal Poke in the Eye, A, 114 connection, 49, 74, 78, 83– 84, 99, Poland: martial law, 14; 1970 Riots 157, 173, 175, 177, 196, 199, 206; of Gdansk, 14; student theatre personalized culture, 202; personal style, movement, 14 59, 63, 170– 71. See Individual; Self Polish Laboratory Theatre, 88 Peru, 17 Politics: anti- Franco, 17, 187, 190; of Philadelphia (Pennsylvania), 153 collectivity, 5, 7, 10, 23– 26, 33, 40, Philosophy, 75; collaborative, 72; company, 45–46, 48–49, 53–54, 113–15, 139, 128, 132; conflicting, 143; pedagogical, 143, 154, 195, 207; cultural exchange 134; political, 40; popular, 191 as political praxis, 30– 31; of First Physical theatre. See Movement Wave of collective creation, 8; of Piccolo Teatro di Milano, 114, 127 gesture, 151, 154, 161; hostile, 19, 22, Pig Iron Theatre, 15, 24, 26, 153 187, 190, 207; of identity, 3, 21; local, Pisa (Italy), 95 16; Marxist, 3, 8; of nationalism, 3; of Piscator, Erwin, 193n2 New Agitational Theatre, 32– 34; New Pittsburgh (Pennsylvania), 16, 21, 138, Left, 2, 3, 6, 13, 15, 42, 46; of Occupy 140–41 Movement, 26; opposed to aesthetics, Place- based: legacy, 202; values, 197; 6, 8, 23– 24, 40, 49, 62; as personal, worldview, 204. See Theatre of place 20, 43; political justice, 24; political Play without Words, 64 subversion, 15, 188, 190; political Play: acting, 32, 55–56, 73– 74, 79– 81, 103, thaw, 22; political upheaval, 2; 133– 34, 170; drama, 4–6, 16, 25, 39– rejection of, 9, 25– 26, 42; of Russia in 49, 52– 53, 64, 67n18, 68n40, 69n75, 1905, 6; of Second Wave of collective 71, 75, 79, 86, 89n1, 92n38, 99, 105, creation, 14, 23; socialist, 41, 76; of 131– 34, 137, 139– 41, 143– 44, 146, Spain in the 1960s, 189, 192 166, 173– 74, 177, 187– 91; playing, 7, Pollastrelli, Carla, 109 113, 115, 117, 126–27, 130, 171– 73, Polyglot performance, 32 175–76, 178 Polyphony, 2, 5, 23, 26, 74, 108, 142, 144. Playwright, 23, 45, 55, 57, 59, 72, 112– 13, See Plurality 116, 132, 137, 153, 167, 169, 177, Pomo Afro Homo, 36n14 188, 203; as autocrat, 44; role in the Pontedera (Italy), 21, 30, 93n44, 95n1 collective process, 6, 23– 24, 39– 49, 52, and n9 54, 126, 132, 190; single playwright, pool (no water), 39 13, 17– 18, 24, 40, 47, 55– 56, 72, 85, Poor theatre, 76, 101, 106 146. See Author; Writing Popular forms Playwriting, 41, 43, 153; collective Popular theatre, 8, 14, 25–26, 56, 62– 63, playwriting (see Writing); in isolation, 113, 126– 28, 191 47; as specialized skill, 41 Portland Stage (Maine), 138, 141

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

INDEX 233

“Possibilities of Theatre, The,” 76 Protest, 8, 19, 22, 32–34, 115–16, 185, Postmodern, 23, 55– 56, 74, 159 187–88 Post-theatrical, 84 Provocation, 129– 30 Postwar, 15, 30, 39–40, 111, 113– 14 Pruit (Spain), 190 Povarskaia Street Theatre-studio, 21, Psychoanalysis, 82, 105 166, 170 Psychology, 60, 82, 105, 134, 199, 204; Poverty, 32, 187 anti- psychological, 43, 127, 115; Power Book, The, 64, 67n14 psychological realism, 131, 169 Power, 26, 79, 111, 123n4, 151; of the Public, 8, 15, 25, 32– 34, 41, 62, 79, 86, 96, director, 45, 54; disempowerment, 61; 101– 2, 109n4, 114, 129, 170, 177, 188, empowerment, 48, 78, 113, 203– 5; 190, 196 governance, 14, 19, 181n2; hierarchies Public Agency for Culture, Tourism and of, 48, 117, 167; institutional, 26, Development of Haraklion City, 109 114, 182n21; pedagogical, 111, 120; Publicity, 62 relations, 79, 118; shared, 11. See Punchdrunk Theatre, 25, 68n40 Authority; Dominance Punk, 32, 34 Prattki, Thomas, 112, 121 Puppetry, 19– 20, 25, 53, 55– 56, 63 pre- Christian Slavic, 196 Pussy Riot, 32, 34 Pregones Theater, 17 Putin, Vladimir, 34, 185n78; anti-Putin Preparation: of facilitator, 206; of protests, 34; Putin- Medvedev regime, 34 frequent collaborators, 58; of Quebec (Canada), 2, 4, 53 performed sequences (Barba), 75, Queen of Sheba, 207 78, 83, 85, 93n52; performers’ 60, Queer, 18. See Gay; Lesbian 97, 115, 139; preparatory research, Quejio, 191 30; Ritual Preparation, 199– 202, Quotation, 103, 136n2, 137, 144, 146 205; of spectators, 105; of text for performance, 61; of training, 96, 140 Race, 203; racism, 204. See Tribal/ethnic Presence: of collective creation, 14, 23, differences 51– 52; of directors and writers or Radical Alternative Theatre (RAT) choreographers in collective creation, conference, 25 23, 46– 47, 57, 156; of performers, Radicalism, 5, 8, 9n4, 25– 26, 114, 116, stage, 29, 73– 74, 82– 83, 96, 104, 160, 208; radical generosity, 120; radical 171, 196; shared, 100; of totemic or politics, 13, 17, 23– 24, 42 emblematic animal, 200; of untrained Radiohole, 152 bodies, 158 Rainer, Yvonne, 152– 53, 156 Presentational style, 42, 142 Rambo Solo, 152 Prison, 26, 34, 78, 91n29; imprisonment, Rancière, Jacques, 158 190; jail, 207; prisoner, 91n29. See Ravenhill, Mark, 39 Incarceration Raymond, Bill, 16 Prisoner of conscience, 34. See Reagan, Ronald, 22 Incarceration Realism, 196; anti- realism, 127; Producer, 19, 101, 145 psychological, 131, 169 Professionalism, 55– 56, 139, 156–59, 161, Rebellion, 3, 22 166– 67, 169– 70, 183n25, 185n74, Reconfiguration of collective creation 187–88 companies, 15, 17 Profit, 49 Red Dyke Theatre, 21 Projections, 25, 31, 176 Red Ladder, 53, 58 Propaganda, 19 Red Room, The, 10n10 Props, 72, 74, 80–81, 91n30, 106, 152 Reduta, 9

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

234 INDEX

Refugees, 87 Richards, Cècile, 110n17 Regional, 3, 15, 17, 27, 31, 134 Richards, Thomas, 9, 21, 24, 26, 84, 93n44, Rehearsal, 17; Barba’s process, 72– 83, 85, 88, 95–110 90n19; at BOTHarts, 143– 44; dynamics, Ridiculous Theatre Company, The, 19 58, 154; group rehearsals, 131, 137, Rigor, 140, 155 140, 153, 206; longer rehearsal period, Risk, 118, 120 63; performances in a rehearsal room, Ritual, 33, 81, 105, 195, 199, 201– 2, 205 188; pre-rehearsal, 44, 139; rehearsal- Roadside Theatre, 22 room culture, 58, 62– 63, 147; at SITI Robbins, Tim, 143 Company, 140– 41; traditional, 47, 60– Rocchetta Ligure (Italy), 16 61, 90n19, 146, 154; at Workcenter, 97, Rolland, Romain, 36 100, 102, 104–6; with a writer, 39, 41, 43, Roma, 32, 37n40– 41 45, 48, 60, 67, 137, 146, 189 Rome (Italy), 3, 30 Relationality, 108 Romeo and Juliet, 152 Relations of production, 54 Romero, Juan, 191 Religion, 75, 204, 209n7 Rote learning, 72, 75, 82 Renewal of theatre, 115– 16, 192 Royal Academy of Dramatic Art (RADA), 42 Repertory system, 27, 58, 67n19, 85, Royal Court, The, 68n40 170–71, 178; Repertoire, 16, 52, 82, Royal Shakespeare Company, 30, 52, 58 92n38, 189 Rozov, Viktor, 172 Republic of Sakha (Central Siberia), 5, 32– Rubinstein, Anton, 172 33, 195– 97, 201, 204, 209n7 Russell, Amy, 112, 121 Resa Fantastikst Mystick, 149n23 Russia, 4– 5, 22, 32, 34, 82, 91n27, 109n9, Research: in preparation for performance, 165– 85, 187, 195– 96; Cultural 30, 41, 47, 59– 60, 78, 139– 40; research Revolution, 166; Revolution of 1905, team, 102, 110n17; research theatre, 6, 165, 183n28; Revolution of 1917, 4, 29– 30, 71– 73, 77, 80– 84, 88, 92n43, 183n22; Russian empire, collapse, 8 93n44, 95– 96, 98, 101–3, 105, 108–9, Ruzza, Lucca, 92n30 109n4, 133, 136n2, 170, 179, 188, 191, Ruzzante, 113 195, 201; theatre history research, 1, 4, Rytchtarik, Jarid, 153 8– 9, 14, 125, 167, 198 Residency, 28– 30, 37n35, 91n30, 97, 98, Sahara (Africa), 30 101, 129, 132, 136n9, 179, 190, 195 Saint- Denis, Michel, 7, 21 Responsibility, 9, 41, 58, 67n, 13, 72– 75, Saint- Luis Augustin, Chrystèle, 110n15 130, 153, 169, 172, 179, 196–97, Sakha, Central Siberian Republic of, 5, 33, 202– 3; shared, 3, 4, 27, 40, 44, 57, 77, 195– 97, 201, 204, 209n7 117–19, 166 Sakhalin Island (Russia), 32 Retreat of collectives away from urban Sakhnovasky, Vasily, 182n19 centers, 18, 21, 27, 33, 97, 127, 140– 41. Salas, Teresa, 107, 110n17 See Insularity; Invisibility; Visibility Salata, Philip, 107, 110n17 Review, theatrical, 138, 149n21 Salina, Ric, 31 Revolt, 2, 158 San Diego (California), 3 Revolution, 158; China, 46; creative, San Francisco Dancers’ Workshop, 156– 57 116– 19, 159, 188; May 1968, 116; San Francisco Institute of Art, 157 revolutionaries, 116; revolutionary, 6, San Francisco Mime Troupe, 19– 21, 128, 139 116; revolutionary creativity, 116– 18; San Francisco, California, 19–21, 31, 128, revolutionary songs, 158; Russian, 6, 139, 156– 57 8, 34, 166, 183n22; Velvet, 14 Santiago (Chile), 17 Rhythm, 79– 80, 84, 104, 106, 122, 155, Sardaana, 201 199, 202, 205 Sartre, Jean- Paul, 117

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

INDEX 235

Sarvig, Ole, 89n1 confront, 144; self- criticism, 20; Satire, 113– 15, 189 self- declaration, 54; self- discipline, 42; Say Your Prayers, 48 self- identification, 54; self- imposed Scandinavia, 76, 90, 91n15 exile, 170; self- inquiry, 46, 102; Scenario, 44, 89n1, 113, 130, 145 self- made, 22; self- promotion, 167; Scenes: alternative performance scene, self- revelation, 81, 95, 129– 30, 133; 18– 19, 21; L.A. 99- Seat theatre scene, self-sufficiency, 70 26– 27, 138; New York “downtown” Semantic, 73, 74, 79, 80 theatre scene, 18– 19; performance Sensory, 73– 75, 191 art scene, 18; scripted, 41, 43, 48, 129, Seoul (South Korea), 197 131, 144, 146, 159, 174, 190, 197, 200, Sequence, 72– 75, 84, 105, 115, 119, 152 205, 207– 8; St. Petersburg theatre- Serebrennikov, Kirill, 182 studio scene, 183n33; unscripted, 44, Set, 25, 74, 80, 86; designer, 8, 26, 57, 72– 75, 83, 88, 96– 97, 106, 125, 130, 68n19, 80– 81, 91n29, 92n31 and n39, 133–34 112, 137, 140, 153, 168– 69, 172– 75. Scenography, 55, 80– 81, 90n6, 91n29–30, See Scenography 92n32, 165, 169, 171, 178, 183n30, Seven Meditations on Political 184n34; Scenographer, 165–70; 172, Sado- Masochism 175, 179, 181n6, 185n73–74. See Set: Seventh Studio of the Moscow Art designer Theatre, 182n19 Schechner, Richard, 7, 11n21, 15, 30, Seville (Spain), 191, 193 81, 152 Sexism, 204, 209n7 Schneemann, Carolee, 18 Shaffer, Kelly, 153 Scholarship, 4– 5, 13–14, 21, 23, 29, 51, 76, Shakespeare, 67n13, 172 95, 128, 152– 54 Sharing: action, 157; administration, School of Dramatic Art (under the 28, 57, 169; creation, 40– 41, 43, 49, direction of Anatoly Vasiliev), 168, 77, 85, 177; experience through 170, 175, 178, 184n37–38 performance, 7, 97, 100, 103, 108, 176, Schumann, Peter, 152 202– 3; humanity, 203; interest, 178; Score: performance score, 5, 157; in the method, 47, 57, 85, 109, 112, 126, 128, work of Eugenio Barba and the Odin 141, 144– 47; politics, 46; power, 3, Teatret, 71– 84; in the work of the 27, 40, 44, 47, 112– 13, 115, 118, 120, Workcenter of Jerzy Grotowski and 122, 206; skill- , 9, 22; space, 22, 27; Thomas Richards, 97, 100 understanding, 58, 143 Scotland, 40 Shaw, Peggy, 21 Scott, Dakota, 153 Shikasta, 205 Script: collectively written, 41, 137, 141; Shockheaded Peter, 25, 27 scripted work, 15, 39, 43– 47, 61, 79, Shostakovich, Dmitry, 172 91n26, 113, 126, 143, 145– 46, 154; Shun-kin, 57 without a script, 5, 51 Shunt, 10n10 Scum: Death, Destruction, and Dirty Shut Eye, 15 Washing, 41 Sifuentes, Roberto, 30 Seattle (Washington), 21 Siguenza, Herbert, 31 Seclusion, 97– 100. See Retreat Silence, 19, 80, 187, 190 Secular: monasticism, 21; ritual, 105 Sincerity, 108, 177 Seeberg, Peter, 89n1 Sir Vantes: Donkey Hot, 168, 172 Self, 104, 126, 129, 196, 198, 201, 204, Site- specific, 140, 143 206; auto- cours, 111, 127; idealized SITI (Saratoga International Theatre self- image, 207; individuated self, Company), 9, 23– 26, 28, 69n62, 5; in relation to “other,” 99; self- 139–48

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

236 INDEX

Six Public Acts, 16 Speakers, The, 46, 48 Skill, 9, 41– 42, 45, 83, 88, 91n27, 93n52, Specialization, 9n4, 153; anti- 112, 115, 118, 121–22, 136n8, 139, 156 specialization, 24 Sklar, Roberta, 20 Spectacle, 16, 51, 62, 189, Slapstick, 55 Spectator, 73– 74, 80– 81, 85, 90, 93n44, Slavic, 196 96– 97, 101, 105, Sleep No More, 25 Spiderwoman Theatre, 17 Slowacki, Juliusz, 83 Spielberg, Steven, 25, 51 Slums, 16 Spiritual, 115, 199– 200, 202, 205 Small Lives / Big Dreams, 137 Spontaneity: spontaneous collective Social: action, 7, 24; change, 2, 22, 117, creation, 101 190, 204; chaos, 190; class, 43, 191; Sports, 7 conditions, 17, 115, 189, 192, 196; Sri Lankan Tamils, 196 conscience, 190; dance, 60; gatherings, St. Petersburg (Russia), 11, 166– 69, 181n2, 102; identity, 204; impulses, 6, 8; 183n33, 196 inclusion, 54; mobilization, 24; St. Petersburg State Theatre Arts Academy, polarization, 15, 188; policy, 3; 166 practice, 14, 26; practice collective Stafford- Clark, Max, 46– 48 creation as, 26; order, violation of, Stage manager, 141 34; reconciliation, 33; relevance, Stagecraft, 106 161; space, 101; structure, 7, 34, 46; Staniewski, Wlodzimierz, 29 trauma, 33, 206; union, 2; upheaval, 2; Stanislavsky, Konstantin, 7, 9, 21, 108, 165; value, 62 Method of Psychophysical Actions, 96; Socialism, 26, 40– 42, 76, 188 Stanislavsky System, 76, 96, 196 Society, 34, 101, 189, 190, 199; alternative, Stars (performers), 18, 86, 101, 134, 176 2, 54; and the body, 204; patriarchal, State Theatre Arts Academy, 182n17 42; postwar, 113, 114; role of the actor State University of Arts and Culture, in, 134 184n37 Soldevila, Carlota, 189 Station House Opera, 10n10 Solidarity, Poland, 35n2 Status, 7, 37n35, 46, 52, 56, 59, 156, 158, Somatic, 55, 74, 83, 201– 2 160, 169, 189n2 Some Trace of Her, 53, 67n18 Stelarc, 18 Song of the Goat, 85 Stewart, Ellen, 18 Sound, 61, 97, 101, 106, 110, 140, 199; Stockholm (Sweden), 3, 205 animal, 77, 200; non- verbal, 77 Stockholm, 39 Source material, 39, 73, 77, 79, 127, 137, Storyboard, 69n75, 79 152– 53, 162; ancient sources, 146; Storytelling, 31, 127 anecdote, 191; everyday occurrences, Street of Crocodiles, The, 52– 53, 59, 61 79; fable, 79; folktales, 172; historical Street theatre, 92, 184n46 events, 31, 79, 170, 172– 73, 179, Strike Support Oratorium, 16 182n12, 190, 198, 203, 206– 7 Strikes, 30 South Africa, 5, 53, 63, 195, 201, 203, 205 Strindberg, August, 137 South Coast Rep, 31 Structure: of auto- cours, 111– 13, 116– 19; Soviet Union: fall of Soviet Regime, 22 body structure, 155, 159– 60; core- Sovremennik Theatre, 184n37 and- pool, 26– 27, 57– 59; egalitarian, Space: open, 81; private, 101; public, 33; 3, 5, 7, 16– 17, 24, 26, 40, 53– 54, 57, shared, 22, 27; social, 101; urban, 102 112, 118, 152, 192; hierarchical, 9, Spain, 4, 17, 110n15, 187– 93; Franco 27, 40, 43, 53, 55, 108, 112, 167, 171, regime, 22, 26, 187, 190, 192; Spanish 179, 182; “idea structure,” 69n75; Civil War, 17, 187, 190 improvisatory, 113;

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

INDEX 237

linear dramatic, 62, 120, 155; Mike as teacher, 82; Jerzy Grotowski as Leigh’s “structuring,” 44– 45; of teacher, 21, 30, 108; Dmitry Krymov national arts funding, 15; oppressive as teacher, 169, 175– 76; Estrada- institutional, 6, 117; of performance, based, 176; at GITIS, 182; at the 31, 80– 81, 83, 96, 117, 130, 140– 41, Laboratory of Dmitry Krymov, 170, 207; postmodern narrative, 56, 179; Jacques Lecoq as teacher, 116; 68n38; of Russian works of art, 172; of Lecoq-based, 117–18, 121–22, 127; School of Dramatic Art, 184; social, 7 in the masterskaya system, 167; at Students, 14– 17, 26– 31, 75, 83, 111– 22, the Odin Teatret, 86, 92n40; Mary 125, 127, 129– 34, 139, 157, 161, 167, Overlie as teacher, 28– 29, 148n9; 170– 72, 175, 178– 79, 183– 84, 188, within performance development 196, 199, 208 workshops, 203; self- teaching, 116; Studio City (Los Angeles), 143 senior company members teaching Studio theatre, 17, 21, 28, 52, 60– 61, 63, 77– 78, new company members, 78; at the 88, 115, 117, 125, 166, 168, 175, 181n1, n2, SITI Company, 137– 38; to support and n4, 182n20, 183n25, n28, and n33, companies, 27; at the Workcenter 184n37– 38, 191. See Ensemble theatre; of Jerzy Gorotwski and Thomas Laboratory theatre; Research theatre Richards, 100, 108. See Education Stuff Happens, 64 TEAM (Theatre of the Emerging Style, the (Actor’s Gang training), 142– 43 American Moment), 152 Subjectivity, 165, 170– 72, 176– 77 Team, 112, 118; administrative, 26, 57; Subsidy. See Finances consultative, 52; creative, 39, 131, Summer, Donna, 159 145; pedagogical, 167; of student Supraindividualist mind, 4, 166 actors, 131; of the Workcenter of Jerzy Sustainability, 57, 134, 147. See Longevity Grotowski and Thomas Richards, 96– Sutherland, Michelle, 109 98, 100– 104, 106, 110n15 and n17 Suzuki, Tadashi, 28, 148n9; Suzuki Teatro Campesino, 2 training, 137, 139–42, 148n9 Teatro Stabile, 114, 123n9 Swarthmore College, 15 Teatro- Estudio Lebrihano, 191 Sweden, 196 TEC (Catalan Experimental Theatre), 188 Switzerland, 15 Technical director, 153 Synthesis, 5, 10n18, 122 Technician, 81, 86, 167 Synthetic theatre, 183n28 Technique, 91n24, 92n38, 119, 121, 126, 129, Szajna, Jósef, 91n29 139, 155, 167, 193n2, 203; Alexander, 126, 129; Barba’s, 82, 84; Copeau’s, Table work, 139 113; devising, 51, 63, 141– 42, 154, 189; Taganka Theatre, 184n37 exchange of, 29–30, 141; formal dance, Tairov, Alexander, 193n2 160; Grotowski’s, 84; pedagogical, 129; Talabot, 92n30–31 of popular theatre, 128 Talent, 4, 49, 80, 86, 143, 167 Technology, 25, 30, 197 Tamils, 196 Tectonic Theatre Project, 28 Tanzania, 5, 195–96, 203, 209n7 TEI, 189 Tararabumbia172 Telba, 17 Tate Modern, 32 Terminology: changes in, 3, 23; Távora, Salvador, 24, 189, 191– 93 Grotowski’s, 96 Teaching: acting, 8; in Alaska, 198; Text: ancient, 100, 146; - based, 61, 72, 81, 116, Eugenio Barba as teacher; Joseph 126, 131; classical, 78, 191; fragments of, Chaikin as teacher, 15; at the 72, 75, 79–80; nontext-based performance, Dell’Arte International School of 55; performance text, 11n22, 40, 44, 73, 77, Physical Theatre, 129– 34; Lev Dodin 141, 202; as pretext, 79

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

238 INDEX

Theatre Art Studio, 184n37 Trade Union movement, Poland, 35n2 Théâtre de la Complicité (a.k.a. Tradition, 78, 101; of Asian theatre forms, Complicite), 23, 51– 53, 55– 56, 59, 61, 72, 82, 92n38; of auto- cours, 112–13; 64, 67n6, 70n87, 112 of collective creation, 2, 5, 7, 10n5, Théâtre de l’Odéon, 116 13, 142; of commedia character types, Théâtre du Soleil, 2, 9, 23, 29, 88, 142 127; of craft guild, 179; of indigenous Théâtre du Vieux Colombier, 126 performance, 33, 99, 195– 99, 201– 2, Theatre Genesis, 19 204– 7; of physical theatre, 126, 189; Theatre O, 10n10 of popular theatre, 8, 26, 31, 126, 128; Theatre of 13 Rows, 76, 79, 90n20 of the Roma of Transcarpathia, 32, Theatre of Blood, 63–64 37n39; traditional commercial theatre Theatre of Nations Festival (Paris), 90n15 practices, 40, 43, 47, 52, 54– 55, 67n13, Theatre of NOTE, 145 72, 82, 85– 86, 96– 97, 104– 5, 114– Theatre of Sources, 30, 105 17, 119, 129, 132, 134, 136n8, 146, Théâtre Passe- Muraille, 2 149n21, 165, 169– 70, 198; traditional Théâtre Repére, 23, 53 educational settings, 133; traditional Theatre: alternative theatre, 7, 15, 18– forms, 196, 207 19, 21, 25, 28, 51, 54– 56, 71, 105; Training: at Actors’ Gang (the Style), anti- theatricality, 55, 157; municipal 143; classical, 63, 156– 57, 159– theatre, 190; street theatre, 92, 184n, 61; commercial theatre, 126, 134, 46; theatre anthropology, 7, 11, 29, 136n31, 198; common training 73; theatre festivals (see Festivals); within a company, 28, 53, 56– 57, 63, theatre- making, 1– 3, 6, 8– 9, 13, 145, 147; at Dell’Arte International 23– 24, 29, 52, 56, 67n8, 141– 42, 192; School of Physical Theatre, 126– theatre of equals, 77; theatre of place, 29, 132– 34, 136n9; global diffusion 128; theatricalism, 25, 32; theatricality, of collective creation training, 48; total theatre, 9, 25 27– 28, 30; Grotowski at Opole, Theme, 43, 72, 83, 99, 101, 112, 117, 126, 78; Lecoq- based, 111–12, 117–20, 128, 130, 141, 168, 171, 191 127; of non- members, 37; at Odin Third Angel, 10n10 Teatret, 71– 72, 76, 77– 78, 80, 82– 83, Third Street Theatre, 16 88, 91n23, 93n52; Russian theatre Third Theatre, the, 30, 77 professionalization, 16– 17, 169, Three Sisters, 67n82, 172 176– 77, 179, 182n17 and n21, 183n25 Time: awareness of self in time, 126, 140– and n27, 185n74; at SITI Company 41, 155; change over time, 2, 16, 17, (Suzuki/Viewpoints), 69n62, 137– 42, 43, 147, 183n29, 189; time required 145– 46, 148n9; in Stanislavsky- for collective creation, 21, 43, 47, 63, derived style, 196; untrained 86, 97, 112, 118, 140, 174 performers, 151– 52, 155– 61 Tolokonnikova, Nadezhda, 34 Trance, 199 Tolstoy, Leo, 172 Transcarpathia, 32 Tont, Anton, 189 Transculturalism, 30, 33. See Intercultural Total artwork, 9, 191 Transmission, 7, 27– 28, 82, 92n40, 96, 202 Touchstone Theatre, 17, 22, 112 Transnationalism, 9 Touring: circuit, 27, 56; exhibition, 19; Trauma, 33, 197, 206 production, 16, 27– 29, 32– 33, 41, Traveling Jewish Theatre, 17 69n54, 86, 91n30, 93n44, 114, 141, Treguboca, Maria, 179 161; training, 9 Trestle Theatre, 56, 64 Tracing Roads Across (Workcenter of Jerzy Tribal/ethnic differences, 204 Grotowski and Thomas Richards), 98, Trieste (Italy), 114 100–101 Tristan and Yseult, 64

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

INDEX 239

Trust, 19, 61, 63, 78, 139, 196, 203–4, 209 US Olympic Arts Festival, 142 Tufts University, 22 Utemum, 200 Tuma Theatre, 198, 200 Utopia, 2, 8, 152 Turin (Italy), 114 Turner, Victor, 7 Valéry, Paul, 110n19 Turning the Earth, 16 Value, 7, 48, 52, 55, 59, 62, 108, 133– 34, Tuscany (Italy), 95 138, 153, 160, 166, 171– 72, 196– 97, Twelve Moons, 197 203; production value, 15, 25 “Twenty Movements, The,” 119 Variety theatre, 184n, 46 Twin: An Action in Creation, The, 93n44, Varley, Julia, 85, 87 100–101 Vasiliev, Boris, 172 Two Thousand Years, 64 Vassiliev, Anatoli, 165, 170, 172, 184n38 Vaudeville, 8 Ubú President, 190 Vawter, Ron, 19 Ubu Roi, 190 Venue: alternative, 16, 19, 25, 53; bars, UCLA Live, 27 102; churches, 102; collectives as Ukraine, 32 venues of tradition and place, 202; Ulehla, Julia, 110 and democratization, 128; festival, 30, Undertold Tales, 172 56; found urban space, 102; galleries, Unemployment, 40 102; homes, 102; international, 97, UNESCO’s Year of Grotowski, 101 101; mainstream, 25; museums, 32, Uniformity, 176 102; performance art venues versus United States, 32; collective creation National Theatre (London), 68n38; practices in, 1, 3– 4, 9– 10n10, 13–18, regional theatre, 31; small, 25; tents, 20– 23, 25, 127, 153; college theatre 128; University- affiliated, 27– 28; programs in, 7, 28; current economic workshops as a venue of cultural situation, 26; major metropolitan dialogue in Africa, 203 theatre companies in, 19, 24; Verbatim plays, 64 migration- based culture of, 206; Veto power, 47 nonprofits in, 37n35; performer Vibratory song. See Music training in, 126, 134, 136n31; theatre Viewpoints, 28– 29, 139– 43, 148n9 festivals in, 27; theatre professionals Virtuosity, 15, 102, 115, 158, 160– 61 in, 96, 115 Vishnevsky, Vsevolod, 172 Universities, 22, 27–30, 76, 88, 95, 109n9, Visibility of collectives and collective 111– 13, 115– 16, 130, 132, 182n16, creation, 2, 14– 19, 21– 23, 29, 33, 154. 184n37, 188, 192, 195–98, 208 See Insularity; Invisibility; Retreat University of Alaska, 195, 198 Vision, 4, 41, 48, 59– 63, 76, 85– 86, 88, 113, University of Bologna, 29 115, 117, 122, 134, 142, 152–53, 165, University of California at Irvine, 21, 30, 167, 170– 71, 191 99, 109n4, 156 Vivien, L., 182n17 University of Cyprus, 109n9 University of Eurasian Theatre, 29 Walesa, Lech, 35n2 University of Nanterre, 115 Wanlass Szalla Megan, 141 University of Padua, 112 War Horse, 25, 27, 51, 53, 55– 56, 62– 64, University of Rome La Sapienza, 30 67n9, 70n98 University Theatre of Murcia, 188 Warhol, Andy, 137, 139 Urban regions, 16, 19, 21, 31, 33, 127, Warm- up, 161, 198– 99, 204 134, 152; Urbanization, 197; Urban Warner, Deborah, 57, 64 movement, 152. See Metropolitan Warrilow, David, 16, 19 regions Warsaw (Poland), 76– 77

Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267

240 INDEX

Watermill Center (New York), 179 118, 149n21, 167, 183n22, 195, 203– 7; Waves, 53, 55, 60, 62, 64, 67n18 devising, 7, 56, 60– 61, 63, 99; training, Weaver, Lois, 21 9, 27– 28, 30, 33, 78, 85– 86, 90n15, Webber, Stephen, 142 91n24, 92n40, 106, 125, 130, 133, 137– Weimar Republic, 8, 26 38, 142, 188 Wells, Chris, 142, 144 World War I, 8 West Coast (United States), 26, 138 World War II, 4, 13– 15 West End (London), 25, 51, 56, 67n9 World Wide Web, circulation of protest Western: cultural, 196, 198, 201; drama, on, 34 197; Europe, 34, 161; nations, 2, Worrall, Kristy, 153 165; performance practice, 167, 198; WOW Café Theatre, 21 theatre, 88, 111, 177, 195 Wright, Jacqueline, 149n26 Westwood (California), 27 Writing, 31, 41; collective writing, 25, 40– Wexner Center, 27 44, 57, 62, 68n22, 132, 137– 38, 141, Whitney Museum, 32 143, 146, 190; solo writing, 16, 18, 42, Wide Open Ocean, The, 149n23 47– 49, 51– 52, 54– 57, 137, 146, 189. Williams, Heathcote, 46 See Author; Playwright Wilson, Robert, 137 Wroclaw (Poland), 90n20, 101 Winter Group, 15 Wyspianski, Stanislaw, 71 Witness, spectator as, 93, 97, 99, 100, 104– 5. See Audience; Spectator !Xuu, 196 Women. See Gender Wooster Group, 15–16, 18–19, 21, 24, 147 Yoga, 204 Work in progress, 102– 3 Young, Tracy, 142 Workcenter of Jerzy Grotowski and Yup’ik performers, 199 Thomas Richards, 21, 24, 26, 93n44, Yuyachkani, 17 95–110 Workers, 158, 188; workers’ rights Zambia, 5, 195, 196 movement, 14; steel mill workers, 16; Zero Budget Festival, 101 striking workers, 116; theatre workers, Zero Festival of the Independent Theatres 40; working class, 43; working class of San Sebastian, 189 audience, 128, 191. See Farmers; Zhenovach, Sergei, 184n37 Peasants Zones, 149n23 Workshop: conflict-resolution, 37; Zoo District, 25, 149n23 developing production, 16, 46– 49, Zulu, 5, 195– 96, 203, 205– 6, 209; Zululand, 205