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In the theatre world, ‘off book’ signifies a deadline in the creative process: the date by which performers are to have memorised their lines and will no longer be allowed to carry their play script – the ‘book’ – on stage. As such, Off Book makes a strangely appropriate title for a book about devised performance in higher education. In its usual context, ‘off book’ captures the tension between ephemeral, live performance and durable, author-ized literature: in one sense, the book – the written play – is the essential core, the seed that gives the performance life and meaning. Yet the opposite could be equally true: an ‘on book’ performance would not really be a play at all, and an actor reciting lines out of a script in hand is not really acting. A play is only realised in, or through, a performance. We cannot really learn, or play, our part until we can put the book down and enter the stage without it.

Devised performance might be described as ‘theatre without the book.’ Yet devisors also often use books – books like this one, practical guidebooks and how-to manuals, as well as a myriad of literature outside the discipline mined for inspiration. This is particularly manifest when devising in the context of higher education - a milieu, like theatre, wherein books traditionally signify authority, status, and meaning. So, to the extent that theatres and campuses are places where one expects everything to be done ‘by the book,’ devising on campuses is rebellious, even sacrilegious. But on the other hand, both the theatre and the university are expected to challenge tradition, defy expectations, and conduct experiments.

The book is presented in four sections reflecting the range of roles devising plays in higher education. The first section, Devising Pedagogy: Teaching Transferable Tools, examines how and why practitioners, educators, and programs conceptualise and plan for devising with adult learners in a range of higher education contexts. The second, Devising Friction: Ensembles, Individuals, and the Institution, shifts the discussion to the classroom, where abstract, pedagogical rubber meets the road of concrete reality. The third, Devising (by) Degrees, Practice-led postgraduate devising projects features contributions by emerging scholar-practitioners who engage with devising as both an object and method of creative scholarship. Finally, the chapters in Devising Bridges: University-Community Engagement explore how devising connects higher education institutions with the public they are intended to serve — particularly in populations and communities that are marginalised within, or even explicitly excluded from participating in, higher education, such as children and people with intellectual disabilities.

A valuable and unique resource for drama educators in universities, university students in education, drama, and arts managements, graduate students conducting research, theatre historians, practicing devised theatre artists.

List of Figures

List of Tables

1. Throw away the Book: Devising and Higher Education – Heather Fitzsimmons Frey, Nicola Hyland and James McKinnon

2. Up Top/Down Low: Devising and Higher Education in Aotearoa New Zealand and Canada – Heather Fitzsimmons Frey and Nicola Hyland

PART 1: DEVISING PEDAGOGY: TEACHING TRANSFERABLE TOOLS

3. ‘The Science Behind the Poetry’: Articulating a Pedagogy for Devising in the Tertiary Sector – Lynne Bradley and Steph Kehoe

4. Experiential Learning Theory as a Pedagogical Frame for Devising in the D12Dreaming Project – Sarah Peters

5. Teaching the Cycles REPÈRE: A Conversation with Jacques Lessard – Gabrielle Houle

6. ‘But I’m Not a Drama Teacher’: Devising Identity in Teacher Education Programmes – Kelsey Jacobson

7. Teaching Devising for Young Audiences – Heather Fitzsimmons Frey

8. Devising in the Twenty-First-Century University: Contexts, Constraints and Creative Messiness – Glenn D’Cruz, Rea Dennis, Yoni Prior, Kate Hunter, Louise Morris with Mary Luckhurst (moderator)

PART 2: DEVISING FRICTION: ENSEMBLES, INDIVIDUALS AND THE INSTITUTION

9. Climate Change and Devising Theatre Landscapes: A Discussion on the Collaboration and Development of

an Ecocritical and Sustainable Performance – Linda Hassall

10. Memories of the Future: The Problem of Devising Contested History in a University Context – Pedro Ilgenfritz and Paul Janman

11. Devising ImPossibility: How to Turn an Early Modern Ending on Its Head in Celebration of Aotearoa New Zealand’s Marriage Equality Act – Megan Evans

12. Devising Exodus – James McKinnon

13. We’re All on this Waka: Utilizing Māori Narrative Forms in Collaborative Devising – Nicola Hyland

PART 3: DEVISING (BY) DEGREES

14. Devising with Empathy – Hannah Joyce Banks

15. The Inside Project: Towards a ‘Universal’ Inclusive Theatre Devising Framework for Disabled and

Non-Disabled Collaborators – Milly Cooper, Peter Copeman and Stacy Holman Jones

16. The Many Hats of the Applied Theatre (Student) Facilitator: Devising Across the Whole Community – Anita Hallewas

17. Working Together as One: Directing Devised Autobiographical Solo Performance – Sally Richards

PART 4: DEVISING BRIDGES: UNIVERSITY–COMMUNITY ENGAGEMENT

18. Giving – and Taking – Voice: Self-Devising Theatrical Performance with Learning-Disabled Actors – Tony McCaffrey

19. Devising as Research: Challenging Power and Ethics in Methodology through the Onion Theatre Project –Taiwo Afolabi and Leah Tidey

20. Working with Children: Intergenerational Devising Across Institutions – Kerryn Palmer

21. Collaborating with Soldiers in Devising Contact!Unload – George Belliveau and Graham W. Lea

22. Afterwards: A Conversation about Devising and Higher Education in a Post-Pandemic World – Heather Fitzsimmons Frey, Nicola Hyland and James McKinnon

Notes on Contributors

Sujets

Theater

Performing Arts

EDUCATION

Theatre

Performance art

General officer

Art

General

Performance

Informations

Publié par	Intellect Books
Date de parution	21 février 2023
Nombre de lectures	0
EAN13	9781789385007
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,1750€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Off Book
Off Book
Devised Performance and Higher Education
EDITED BY
Heather Fitzsimmons Frey, Nicola Hyland and James McKinnon
First published in the UK in 2023 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2023 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright 2023 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Copy editor: MPS Limited
Cover designer: Aleksandra Szumlas
Production manager: Debora Nicosia
Typesetter: MPS Limited
Hardback ISBN 978-1-78938-770-4
ePDF ISBN 978-1-78938-499-4
ePUB ISBN 978-1-78938-500-7
To find out about all our publications, please visit our website. There you can subscribe to our e-newsletter, browse or download our current catalogue and buy any titles that are in print.
www.intellectbooks.com
This is a peer-reviewed publication.
Contents
List of Figures
List of Tables
1. Throw away the Book: Devising and Higher Education
Heather Fitzsimmons Frey, Nicola Hyland and James McKinnon
2. Up Top/Down Low: Devising and Higher Education in Aotearoa New Zealand and Canada
Heather Fitzsimmons Frey and Nicola Hyland
PART 1: DEVISING PEDAGOGY: TEACHING TRANSFERABLE TOOLS
3. The Science Behind the Poetry : Articulating a Pedagogy for Devising in the Tertiary Sector
Lynne Bradley and Steph Kehoe
4. Experiential Learning Theory as a Pedagogical Frame for Devising in the D12Dreaming Project
Sarah Peters
5. Teaching the Cycles REP RE: A Conversation with Jacques Lessard
Gabrielle Houle
6. But I'm Not a Drama Teacher : Devising Identity in Teacher Education Programmes
Kelsey Jacobson
7. Teaching Devising for Young Audiences
Heather Fitzsimmons Frey
8. Devising in the Twenty-First-Century University: Contexts, Constraints and Creative Messiness
Glenn D'Cruz, Rea Dennis, Yoni Prior, Kate Hunter, Louise Morris with Mary Luckhurst (moderator)
PART 2: DEVISING FRICTION: ENSEMBLES, INDIVIDUALS AND THE INSTITUTION
9. Climate Change and Devising Theatre Landscapes: A Discussion on the Collaboration and Development of an Ecocritical and Sustainable Performance
Linda Hassall
10. Memories of the Future: The Problem of Devising Contested History in a University Context
Pedro Ilgenfritz and Paul Janman
11. Devising ImPossibility: How to Turn an Early Modern Ending on Its Head in Celebration of Aotearoa New Zealand's Marriage Equality Act
Megan Evans
12. Devising Exodus
James McKinnon
13. We're All on this Waka: Utilizing M ori Narrative Forms in Collaborative Devising
Nicola Hyland
PART 3: DEVISING (BY) DEGREES
14. Devising with Empathy
Hannah Joyce Banks
15. The Inside Project: Towards a Universal Inclusive Theatre Devising Framework for Disabled and Non-Disabled Collaborators
Milly Cooper, Peter Copeman and Stacy Holman Jones
Choosing a space
Assembling the team
Choosing a theme
Inside : The performances
16. The Many Hats of the Applied Theatre (Student) Facilitator: Devising Across the Whole Community
Anita Hallewas
17. Working Together as One: Directing Devised Autobiographical Solo Performance
Sally Richards
PART 4: DEVISING BRIDGES: UNIVERSITY-COMMUNITY ENGAGEMENT
18. Giving - and Taking - Voice: Self-Devising Theatrical Performance with Learning-Disabled Actors
Tony McCaffrey
19. Devising as Research: Challenging Power and Ethics in Methodology through the Onion Theatre Project
Taiwo Afolabi and Leah Tidey
20. Working with Children: Intergenerational Devising Across Institutions
Kerryn Palmer
21. Collaborating with Soldiers in Devising Contact!Unload
George Belliveau and Graham W. Lea
22. Afterwards: A Conversation about Devising and Higher Education in a Post-Pandemic World
Heather Fitzsimmons Frey, Nicola Hyland and James McKinnon
Notes on Contributors
Figures
3.1 Devising with Composition and Autocours. Students of the Masters of Professional Practice, USC (University of the Sunshine Coast). Australia, 2016. Image: Simon Woods. 3.2 Students utilising Viewpoints in site-specific work. Australia, 2017. Image: Simon Woods. 3.3 Lynne Bradley working with students. Australia, 2019. Image: Simon Woods. 3.4 A hybrid devising practice in performance. Australia, 2017. Image: Simon Woods. 5.1 Schema of Cycles REPÈRE. Canada, 2018. Courtesy of Jacques Lessard. All rights reserved. 8.1 Group sequence – Flock 2016. Phoenix Theatre, Burwood, Australia, 2016. Dir. Kate Hunter. Courtesy of D. Donaldson. 8.2 Worker with apple – The Gainers 2015. Phoenix Theatre, Burwood, Australia, 2015. Dir. Rea Dennis. Courtesy of D. Donaldson. 8.3 Game Boy with Production Design – Uprooted 2021. Phoenix Theatre, Burwood, Australia, 2021. Dir. Rea Dennis. Courtesy of Lokie Yeung. 9.1 Rehearsal for Dust . Australia, 2015. Image: Shaun Charles. 9.2 ‘Sacrifices’ in Dust . Australia, 2015. Image: Shaun Charles. 10.1 Unitec graduation production 2063 at Q Theatre, New Zealand, November 2015. Image: Peter Jennings. 10.2 Grace Augustine (Eleanor Gibbon), James Corcoran (Thomas Mackenzie) and Amber Liberté (Elizabeth Finn) in 2063 at Q Theatre , New Zealand, November 2015. Image: Peter Jennings. 11.1 Kris Sian as Marcia, after being robbed and stripped by thieves, soon to be perceived as a ghost by Francisco. New Zealand, 2015. Image: Lori Leigh. 11.2 Kimre Viviers as Violetta and Iris Henderson as Philippa. New Zealand, 2015. Image: Lori Leigh. 14.1 Creative Showing Two: Script Extract of Layered Voices. New Zealand, 2018. Image: Hannah Joyce Banks. 14.2 Brainstorm for Creative Showing Three. New Zealand, 2018. Image: Hannah Joyce Banks. 14.3 Creative Showing Three. New Zealand, 2018. Image: Maja Zonjić. 14.4 Creative Showing Three Discussion. New Zealand, 2018. Image: Maja Zonjić. 16.1 Early workshops. Canada, 2017. Image: Keri Knapp. 16.2 Workshops at the museum. Canada, 2017. Image: Keri Knapp. 16.3 Boarding the train. Canada, 2017. Image: Keri Knapp. 16.4 Audience and performers. Canada, 2017. Image: Keri Knapp. 18.1 John Lambie foreground in The Wizard of Oz . New Zealand, 2010. Image: Stuart Lloyd Harris. 18.2 Louise Payne (centre) in The Wizard of Oz . New Zealand, 2010. Image: Stuart Lloyd Harris. 18.3 Glen Burrows (right) devising Still Lives . New Zealand, 2011. Image: Stuart Lloyd-Harris. 18.4 Josie Noble in The History of Different Light . New Zealand, 2019. Image: Paul McCaffrey. 20.1 Moonlight , devised by the THEA 311 class at Victoria Universityof Wellington, New Zealand, 2017. Image: Kerryn Palmer. 20.2 Intergenerational play at Tawa School. New Zealand, 2017. Image: Kerryn Palmer. 20.3 Discussion groups at Tawa School. New Zealand, 2017. Image: Kerryn Palmer. 20.4 A child's drawing of the play. New Zealand, 2017. Image: Georgia Ball. 20.5 The Signposts. New Zealand, 2017. Image: Isadora Lao. 20.6 Children acting out the signpost scene. New Zealand, 2017. Image: Kerryn Palmer. 21.1 Performing and sharing inner experiences in the rehearsal space. Left to right: Chuck MacKinnon, Oliver Longman, Warren Geraghty, Phillip Lopresti and Candace Marshall. Canada, 2015. Image: Blair McLean. 21.2 Tableau. Left to right: Marv Westwood, Dale Hamilton, Oliver Longman, Candace Marshall, Warren Geraghty, Tim Garthside, Mike Waterman and Carson Kivari. Canada, 2015. Image: Graham W. Lea.
Table
15.1 Meta-framework for an inclusive approach to devising, as applied in the Inside project.
1 Throw away the Book: Devising and Higher Education
Heather Fitzsimmons Frey, Nicola Hyland and James McKinnon

We acknowledge the original Indigenous custodians of the regions we three inhabit and the lands that are the ultimate resource in supporting all of our endeavours; the Treaty 6 First Nations, and the First Nations, M tis, and Inuit who gather in amiskwaciw skahikan; the Skwxw 7mesh (Squamish) peoples; the mana whenua of Te Whanganui-a-Tara: Te tiawa, Taranaki Wh nui ki te Upoko o te Ika and Ng ti Toa Rangatira; and the caretakers of many lands, whose territories support the infrastructures that make gathering in virtual space possible.
Off Book: A very good place to start
In the theatre world, off book signifies a deadline in the creative process: the date by which performers are to have memorized their lines and will no longer be allowed to carry their play script - the book - on stage. As such, Off Book makes a strangely appropriate title for a book about devised performance in higher education. In its usual context, off book captures the tension between ephemeral, live performance and durable, author-ized literature: in one sense, the book - the written play - is the essential core, the seed that gives the performance life and meaning. Yet the opposite could be equally true: an on book performance would not really be a play at all, and an actor reciting lines out of a script in hand is not really acting. A play is only realized in, or through, a performance. We cannot really learn, or play, our part until we can put the book down and enter the stage without it.
Devised performance might be described as theatre without the book . Yet devisors also often use books - books like this one, practical guidebooks and how-to manuals, as well as a myriad of literature outside the discipline mined for inspiration. This is particularly manifest when we devise in the context of higher education - a milieu, like theatre, wherein books traditionally signify authority, status and meaning. So, to the extent that theatres and campuses are places where one expects everything to be done by the book , devising on campuses is rebellious, even sacrilegious. But on the other hand, both the theatre and the university are expected to challenge tradition,