The
trail begins with my anxiety that my approach to devised theatre – as a
critic – is based in the same concerns as my approach to scripted theatre.
After wide reading, I stumbled upon a common theme in many devised process: a
dialectic process informs their creation and development.
The
following research trail examines fragments of my quest to find an
interrogative instrument for devised theatre. There’s no conclusion, beyond a
vague assertion that some but not all devised performances can be analysed in
terms of a dialectic process.
One major case study of Joint Stock’s Fanshen and a smaller one for Gecko’s The Arab and The Jew
provide examples of dialectic in devised work.
A
brief survey of devised political work from the 1950s to the 1980s is conducted
through studies of Heddon and Milling’s Devising Performance, Baz
Kershaw’s The Politics of Performance and C. Carr’s On Edge, concentrating
on evidence of dialectic in their construction, alongside Joan
Littlewood’s Theatre Workshop and Lecoq's auto-cours teaching technique.
A
tentative suggestion is made that a dialectic process informs the development of devised theatre and is an important process within it.