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Devising Theatre is a practical handbook that combines a critical
analysis of contemporary devised theatre practice with descriptions
of selected companies, and suggestions for any group devising
theatre from scratch. It is the first book to propose a general
theory of devised theatre. After identifying the unique nature of
this type of performance, the author examines how devised theatre
is perceived by professional practitioners, and provides an
historical overview illustrating how it has evolved since the
1960s. Alison Oddey examines the particular working practices and
products of a number of professional companies, including a
Reminiscence theatre for the elderly and a theatre-in-education
group, and offers ideas and exercises for exploration and
experimentation.
Devising Theatre is a practical handbook that combines a critical analysis of contemporary devised theatre practice with descriptions of selected companies, and suggestions for any group devising theatre from scratch. It is the first book to propose a general theory of devised theatre. After identifying the unique nature of this type of performance, the author examines how devised theatre is perceived by professional practitioners, and provides an historical overview illustrating how it has evolved since the 1960s. Alison Oddey examines the particular working practices and products of a number of professional companies, including a Reminiscence theatre for the elderly and a theatre-in-education group, and offers ideas and exercises for exploration and experimentation.
Alison Oddey's interviews with prominent performing women span
generations, cultures, perspectives, practice and the best part of
the twentieth-century, telling various stories collectively.
Stand-ups, 'classic' actresses, film and television personalities,
experimental and 'alternative' practitioners discuss why they want
to perform, what motivates them, and how their personal history has
contributed to their desire to perform.
Oddey's critical introductory and concluding chapters analyze both
historical and cultural contexts and explore themes arising from
the interviews. These include sense of identity, acting as playing
(recapturing and revisiting childhood), displacement of roots,
performing, motherhood and 'being', performing comedy, differences
between theatre, film and television performance, attitudes towards
and relationships with audiences, and working with directors. The
prominent subtext of motherhood reveals a consciousness of split
subjectives with and beyond performance. This new edition of the
book includes three new interviews with actresses, and is useful
primary resource material for undergraduate students on performance
studies courses.
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