Authority, hierarchy and method in devised theatre

Abstract

In this dissertation I intend to examine a particular contemporary theatre practice, specifically companies which take on this practice and their sustainability in the twenty-first century. Based on the works of recent practitioners, I will look at devised theatre and point out factors that have become predominant within this method of theatre creation. The study will analyse the relationship between theatre artists and collaborators. How is a company sustained if the main sources contributing to its growth are not only the individuals working within it but also its collaborators? Therefore, how does collaboration alter the need for specific distribution of tasks and roles within a theatre company? The primary role which is challenged through this kind of work, is naturally that of the director. I will look at the importance of the director, if at all, within the devising process, but also how that reflects the role of the director within the company as a whole. This then leads to other roles, which include the writer, actors, and technical team. However, my concern will not solely be that of the creatives, I will also be analysing the effects of collaboration on the whole structure of the company, even from a production point of view. Furthermore I will also touch upon the role of the actor within a contemporary company where ensemble work is one of the dominant factors of this kind of (devised) theatre. Where does this leave the actor? Has the actor lost his individuality or has this given the actor the space to grow? How is collaboration affecting the individual performer? Moreover, have theatre companies become less project-based and more concerned with actor training due to the nature of devising? And if so, how does this influence both the actor and the company? Attention will also be drawn to the role of the audience and whether this theatre is playing for its elites or whether it is reaching out to all audiences. More specifically, how does the collaborative aspect of this kind of theatre make this a theatre for everyone, if it does so? Does the space affect the kind of theatre which is being created? Or is this a mere factor that makes up the total process of creation. How does the commissioning entity come about in all of this? If a theatre company is being funded to devise a piece of work, then are they succumbing to the ethos of the higher hierarchal powers? Is the artistic vision of a company getting lost in the greater artistic vision of its buyer? Finally, my aim is to answer the following hypothetical question: Is there a formula for devised theatre companies? Who is the author, and who owns a piece of theatre if there are so many parts contributing to the final product? Does everyone follow a common structure or does every company have its own political structure, and therefore does the hierarchal structure of a devised piece depend on whoever is making it?