collective creation in contemporary performance · alex mermikides and jackie smart’s devising in...

Collective Creation in Contemporary Performance

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

Copyrighted Material - 9781137331267


collective creation in contemporary performanceCopyright © Kathryn Mederos Syssoyeva and Scott Proudfit, 2013.

All rights reserved.

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.

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ISBN: 978- 1- 137- 33126- 7

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Collective creation in contemporary performance / edited by Kathryn Mederos Syssoyeva and Scott Proudfit.

pages cmIncludes 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 2013791.094— dc23 2013009069

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

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First edition: September 2013

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Contents

List of Figures ix

Introduction: Toward a New History of Collective Creation 1Kathryn Mederos Syssoyeva

1 Preface: From Margin to Center— Collective Creation and Devising at the Turn of the Millennium (A View from the United States) 13Scott Proudfit and Kathryn Mederos Syssoyeva

2 The Playwright and the Collective: Drama and Politics in British Devised Theatre 39Roger Bechtel

3 Collective Creation and the “Creative Industries”: The British Context 51Alex Mermikides

4 Eugenio Barba and the Odin Teatret: A Collective Ethos 71Ian Watson

5 An Actor Proposes: Poetics of the Encounter at the Workcenter of Jerzy Grotowski and Thomas Richards 95Kris Salata

6 Lecoq’s Pedagogy: Gathering up Postwar Europe, Theatrical Tradition, and Student Uprising 111Maiya 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 125Claire Canavan

8 Framework for Change: Collective Creation in Los Angeles after the SITI Company 137Scott Proudfit

9 The Nature Theater of Oklahoma: Staging the Chaos of Collective Practice 151Rachel Anderson- Rabern



viii CONTENTS

10 In Search of the Idea: Scenography, Collective Composition, and Subjectivity in the Laboratory of Dmitry Krymov 165Bryan Brown

11 The Case of Spain: Collective Creation as Political Reaction 187Nuria Aragonés

12 Collective (Re)Creation as Site of Reclamation, Reaffirmation, and Redefinition 195Thomas Riccio

Notes on Contributors 211

Index 215



Introduction

Toward a New History of Collective Creation

Kathryn Mederos Syssoyeva

Collective Creation in Contemporary Performance is the second book in a larger body 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 investi-

gations, 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 vol-

ume 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.



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 six-ties 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 his-tory, 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 interac-tion, 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 soci-ety 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 (fre-quently 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 his-tories 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



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 inter-est 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 cre-ation 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 col-lective 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 politi-cal 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 emer-gence of collective creation in leftist political rebellions of the 1960s.




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 cre-ation 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– World 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 the-atre 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 collec-tive 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 supra-individualist 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 con-fluence 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,




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 facil-itating 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 cre-ation. 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 con-sensus, 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 dra-matic 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 con-temporary 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 ‘col-laborative 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 com-pany.”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




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 col-lective 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, unethi-cal. 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 impe-tus. 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 fol-lowing: 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




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 struc-turing 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 inclu-sive. 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 collec-tive 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 collec-tively 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 consider-ation 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




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 relation-ship 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 attribu-tion 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 emer-gence 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 gener-ated 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 manifesta-tions 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




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 ques-tion 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 col-lective 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




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 collec-tive 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; collec-tive 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, per-haps, 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, the-atre 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.



Index

1900s, 1, 4, 5, 9, 13, 21, 1651910s, 22, 1661920s, 21, 111, 165– 66, 182n171920s, 9, 23, 28– 29, 56– 57, 181n2, 1901930s, 13– 14, 17, 22, 1871940s, 16, 56, 113– 14, 127, 1571950s, 4, 8, 14, 113, 127, 1391960s, 1– 3, 7, 13– 19, 21– 24, 26– 27, 32,

36n22, 40, 42, 59, 71, 77, 79, 84, 88, 118, 126– 27, 148n9, 152– 53, 156, 187, 189, 192

1968, 2, 8, 14, 17, 26, 30, 32, 76, 111– 12, 115– 17, 122; events of May, 115– 17; generation of ’68, 2, 8; student strikes, France, 30, 11, 115– 16, 122

1970s, 1– 3, 13– 22, 24, 26– 27, 29– 30, 36n21– 22, 40, 42, 45– 46, 51, 53– 54, 57– 58, 72, 79– 80, 92n30, 95, 103, 126– 28, 148n9, 152, 158, 170, 189– 93

1980s, 1, 3– 8, 13– 24, 27– 31, 35– 36, 37n35, 43, 45, 48, 52, 56– 58, 60, 74, 91n30, 92n32, 93n44, 95, 97, 127, 142, 143, 145, 148n9, 189, 190, 195

1990s, 2, 3, 9n4, 10n8, 15– 16, 19, 21– 23, 25, 29– 31, 36n14, 52– 53, 55– 58, 61, 67n6 and n13, 77, 90n15, 92n30 and n32, 96– 97, 109n2, 112, 18, 137– 42, 144– 45, 148n7, 149n23– 24, 181n2, 190, 205

2000s, 3, 4, 10n4 and n10, 15– 16, 27, 37n40– 41, 51– 53, 55– 57, 61, 63– 64, 67, 68n45, 91n30, 92n32, 97, 98, 100– 102, 109n4, 112, 125, 128– 29, 131, 132n27 and n30, 142– 46, 148n9, 149, 151– 52, 156, 168– 70, 172, 175, 178– 79, 183n30, 184n36, 190, 203, 206

2010s, 1, 3, 25, 28, 34, 36n8, 37– 38, 51, 53, 60, 64, 67n18, 92n32, 107, 110, 119– 20, 146,

169, 172– 73, 179, 182n20, 183n30– 31, 185, 190

27 Anarchist Notes for the Case of a Concept, 189

99- Seat theatre scene (Los Angeles), 25– 27, 138, 148n1

Abigail’s Party, 43– 45Abramov, Gennady, 184n38Abstract, 103, 131Academic theatre, 10n9Acrobat, 127, 129, 136, 179Acrobatics, 127, 129Acting: classical, 63, 67n13, 134;

proposition, 96, 99– 101, 105– 6; scenic, 7, 8, 43– 44, 60– 61, 71– 76, 78– 84, 88, 90n6, 93n44, 96, 97, 99– 102, 104– 6, 108, 113, 115, 120– 22, 125– 34, 136n31, 142– 45, 160, 169, 172– 74, 176– 77, 183n27, 196, 199– 200, 202, 209n7; sociopolitical, 3, 7, 17, 19, 26, 32– 34, 62, 115– 16, 139, 188, 204

Action, 97– 98, 103Action: aesthetic, 7; creative, 7, 120;

collective, 132, 139; dance as, 159; imitation of an, 97; international, 33; local, 33– 34; orality as, 79; organic, 83; physical, 96, 126, 208; political, 26, 34, 122; psychophysical, 96; scenic, 44, 60, 74, 82, 83, 84, 99– 102, 104, 108, 142, 144, 174, 199– 200; sequence of, 72– 73; shared, 157; simultaneous, 140; social, 7, 122; Stanislavsky’s method of psychophysical actions, 96; theatrical, 33; vocal, 72, 79– 80. See Deed

Activism, 15, 17, 19, 32– 34, 116, 204; activist theatre, 17, 19, 34, 204



216 INDEX

Actor, 4, 26, 28, 44, 49, 52, 56, 58, 76– 77, 134, 137, 144, 148n1, 167, 171, 196, 198, 203– 4; actor- activist, 204; actor/audience relationship, 19, 80, 90n6, 93n44, 96, 105, 113– 15, 132, 157; actor- auteur, 127; actor- author, 25, 40– 41, 45– 46, 56, 60, 62, 143, 189; actor- centered, 6, 7, 9, 15, 57– 58, 72, 77– 78, 81, 83, 85, 88, 91n24, 95, 99– 100, 108, 113– 14, 145– 46, 172, 175, 183n27; actor- creator, 7– 9, 52, 54, 61– 63, 73, 80, 84, 115, 125– 27, 129, 131– 32, 134, 140, 171, 176– 77, 190, 204; actor- director, 42, 46, 169; actor- generated, 8, 42– 45, 48, 53, 63– 64, 72– 75, 79, 82, 96, 99– 100, 112, 127, 139, 142, 145, 154, 191; actor- manager, 26, 47, 59, 78, 86. See Doer

Actor’s Gang, 17, 28, 142– 44, 147– 49Acts of Thomas, 100ACT- UP, 19Adaptation, 46, 56, 67n14, 129, 187, 201Addis Adaba (Ethiopia), 195Administration, 26; Administration of

Vaçlav Havel, 14– 15; administrative director, 112; administrative responsibilities, 72; administrative team, 26, 57; administrator, 9n4; shared administrative decisions, 27, 57

Adventures of the Stoneheads, 63– 64Aesthetics, 3, 7, 15, 21, 31– 32, 40– 41,

45– 46, 51, 57, 143, 158– 59, 162, 169, 187, 191; aesthetic as brand, 25, 59, 61, 152; aesthetic lineage, 24, 31, 157; aesthetics opposed to politics, 6, 8, 23– 24, 40, 62

Africa, 30, 47, 201, 203– 4, 207Afro- Caribbean diaspora, 99Agamben, George, 151, 154– 55, 160Agitation, 14; agitational theatre, 32, 34,

187– 88; agitprop, 14, 17, 187AIDS epidemic, impact on theatre, 18– 19,

36n14Akalaitis, JoAnne, 16AKhE Engineering Theatre, 170Akropolis, 71, 76, 78, 80, 90n20, 91n29Alaska, 5, 22, 33, 195, 198, 200– 201, 209n7Alberti, Rafael, 187Alexander, Catherine, 61Alexander technique, 126, 129

Algeria, 4, 30Alias Serrallonga, 190Aliveness, 82, 103– 4, 108, 196. See PresenceAlley Theatre, The, 31Alliance of Antifascist Intellectuals, 187Alternative theatre, 7, 15, 18– 19, 21, 25, 28,

51, 54– 56, 71, 105Alyokhina, Maria, 34Amateur, 139, 161, 181, 188, 204American Repertory Theatre (ART), 28Amharic language, 207Amnesty International, 34“Amsterdam,” 177Anarchism, 189; anarchic aesthetic, 32, 40Ancestors, 199, 201Andalusia (Spain), 17, 189, 191Andegna, 206– 8, 209n8Anderson, Laurie, 18, 31Anderson’s Dream, 92n31Animal: actors as, 178; - human spiritual

transformation, 200; sounds, 79; totemic animal, 202

Animating Democracy, 128, 136n18Animist, 207Anthropology, 3, 198. See Theatre

anthropologyAnti- establishmentism, 24, 115Antigone. Tertiary. Sexxx., 145– 46, 149n30Anti- theatrical prejudice, 51, 55– 56Apartheid, 205; postapartheid, 203, 206Applied theatre, 5Aquila (Italy), 114Arden, Annabel, 57Argentina: Coup d’état of 1976, 14Aristotle, 108Ark of the Covenant, 207Art as Vehicle, 84, 93n44, 96, 99, 101– 3Artistic director, 15, 39, 52– 53, 57, 59, 63,

67n13, 68n40, 126, 137, 143, 148n9, 167, 170, 179, 182n20, 195

Arts Council of England, 58, 64, 69n54Arts Emerson, 28Ashfield (Massachusetts), 22Asia, 78, 82; Asian theatre forms, 72, 82,

92n38As I Lay Dying, 56Assistant director, 76Atlanta (Georgia), 21Attisani, Antonio, 109n7



INDEX 217

Attribution, 8, 41– 42, 45. See Authorship; Credit

Auction, 172, 176Audience, 3, 15– 17, 21, 22, 25– 28, 53, 60,

62, 74, 93n44, 98, 108, 109n4, 115, 133, 142, 151– 52, 154, 159– 60, 162, 170– 72, 176– 77, 191, 208; audienceless research, 95; complacency, 22; exclusion, 96; non- traditional, 16; participation, 16, 31, 105, 114– 15, 128, 157; performers among, 80; pre- and post- performance talks, 105; proximity, 19, 81, 90– 91n30, 113; size, 17, 23, 25, 31, 52, 57, 81, 188, 207. See Spectator; Witness

Aukin, David, 46Auschwitz, 78, 91Australia, 2, 4, 10n9, 115Austria, 8, 109Auteur: actor as, 127; authoritarian, 7;

director as, 24, 59, 69n66, 165, 167, 170, 182n21; lack of, 166; rise of, 9

Authenticity, 114, 119, 177, 203Author, 6, 23– 24, 39, 46, 173, 188– 89;

authorship, 40– 43, 45, 54, 56– 57, 62, 126; authorship and attribution, 43, 62; authorship and authority, 5, 40– 41, 45, 54– 55, 57, 85, 126; collective authorship, 25, 40– 44, 57, 62, 68n22, 132, 137– 38, 141, 143, 146, 190; solo authorship, 16, 18, 42, 47– 49, 51– 52, 54– 57, 137, 146, 189. See Playwright; Writing

Authoritarianism: anti- authoritarianism, 8; in artistic auteurism, 7, 165, 167; within collectives, 8, 171; of Copeau’s leadership, 123n4; of instructors, 117; of Putin- Medvedev regime, 34

Authority: authorship and authority, 5, 40– 41, 45, 54– 55, 57, 85, 126; centralized artistic, 23, 49, 127, 146; of the choreographer, 153, 156; in a collective process, 165; of the director, 58, 79, 97, 165– 68, 171, 179, 182n21; of a discipline, 160; of the government, 172; of the mentor- teacher, 97, 116, 122; Military authorities, 190

Auto- cours, 111– 13, 115– 22, 127, 129

Autocracy, 165, 179, 181. See Director: as autocrat; Playwright: as autocrat

Avant- garde, 8, 10, 19, 54– 55, 91n29, 103n28

Avenue Q, 56

Bacci, Roberto, 109Bali, 4, 91n24, 129Ballet, classical, 160– 61Barba, Eugenio, 7, 9, 24, 71– 93Barbican, 52Barcelona (Spain), 190Bard College, 148Barrault, Jean- Louis, 29, 56, 91, 115– 16Bartók, Béla, 33Battersea Arts Center, 56Baum, Terry, 20Beautiful Burnout, 39Beauty and the Beast, 53, 60, 67n18Beck, Julian, 16, 18, 22Berkley Repetory Theatre, 31Berlin, West (Germany), 3Bethlehem (Pennsylvania), 22BFA theatre programs, 7Biagini, Mario, 24, 97– 98Big Cheap Theatre (BCT) movement, 25Bigot, George, 142Billington, Michael, 55, 59Birmingham, England, 45Bjorneboe, Jens, 89n1Blair, Tony, 59Bleak Moments, 42Blocking, 44, 176, 188Bloomsburg (Pennsylvania), 22Bloomsburg Theatre Ensemble, 17, 22Blue Lake (California), 4, 22, 125– 26Boadella, Albert, 189– 90Body, 119; the body and physical

tolerance, 155; body art, 18; body- centered acting, 56, 82, 111, 115, 203; as cultural vessel, 199, 202, 204; force between bodies, 75, 90n6; trained and untrained bodies, 156– 62

Body Weather Laboratory, 184n38Bogart, Anne, 24, 28, 137– 49Bogosian, Eric, 18Bogota (Colombia), 17Bolshevik, 8Bolzano (Italy), 114Bond, Chris, 41



218 INDEX

Borges Mendéz, Itahisa, 110Botinaccio (Italy), 99Bourdieu, Pierre, 134Bourgeois, 40, 49Box Play, The, 45Brackett, Gary, 16Bral, Grzegorz, 85Brand identity, creative attribution as, 25,

55, 57, 59, 62– 63, 67n8Brazil, 16, 22Bread and Puppet Theater, 19– 20Brecht, Bertolt, 32, 40– 42, 56, 91n27, 108;

Brechtian, 40– 42; neo- Brechtian cabaret, 32

Bredholdt, Kai, 86– 87Brel, Jacques, 177Brenton, Howard, 47Breuer, Lee, 15Bricken, Lloyd, 102, 110Brig, The, 16Britain. See Great BritainBritish Arts Council, 55Broadway, 25, 51; Off- Broadway, 25; off-

off Broadway, 18Brook, Peter, 29– 31, 93n44Brooklyn Academy of Music (BAM), 18,

27, 30Brown, Kenneth, 16Buber, Martin, 99Buchenwald concentration camp, 91n29Budget. See FinanceBuilders Association, The, 152Bunin, Ivan, 172Burden, Chris, 18Burglars of Hamm, 149n23Burgundy (France), 21Burkina Faso, 5, 195– 96, 209n7Business: interests, 41; models, 58;

orientation, 59Businessmen, 157Butkeivich, Mikhail, 184n38

Cabaret, 18, 32Cabin Pressure, 137Caffe Cino, 19Cage, John, 10n18, 156Cage, John, 10, 156Calderon, 83Calderón de la Barca, Pedro, 83

California, 2, 4, 22, 25, 27, 95, 125– 26, 132, 138; Southern California (a.k.a. SoCal), 2, 25, 138

Callow, Simon, 47Call- response songs. See MusicCambridge (Massachusetts), 28Canada, 2, 3, 8, 15, 23, 110n15; English

Canada, 2– 3. See QuebecCantania (Italy), 114Capital, economic, 40– 41; “cultural

capital,” 134Capitalism, 3, 22, 26, 40, 101, 128, 136n31,

197; relationship to authorship, 41Caravan Project, 33Carmen, 191Catalonia (Spain), 17, 189– 90Catholicism, 8, 204Caucasian Chalk Circle, 56Causal connection, 75, 104Celebration, 32, 104, 108, 190– 91Censorship, 15, 188Centre Dramatique de Normandie, 109n9Centre Internationale de Recherche

Théâtrale [International Centre for Theatre Research], 30

Centro Living Europa, 16. See Living TheatreCentro per la Sperimentazione e la Ricerca

Teatrale, 109n1Ceremonial, 205Ceremony, 30, 177, 205Cervantes, Miguel de, 168, 172Chaikin, Joseph, 15– 16, 18, 122Chance in an indigenous worldview, 198Chance operations, 156Character, 55, 104, 128, 140, 144, 161, 174,

197; commedia, 142– 43; creation of, 48, 130, 177; development through improvisation, 43– 45, 75, 125, 127, 129, 131; - driven naturalism, 42; motivation of, 43; ownership of, 146; psychology, 134

Chekhov, Anton, 137, 146, 172, 176Chekhov, Michael, 165, 171Cherry Orchard, The, 146Chevelle, Benoit, 110n17Chicano, 30– 31Childcare, 54Childhood: creativity of, 114; as an image

of naiveté, 173– 75, 176– 77; as a metaphor for the role of the student



INDEX 219

in the masterskaya system, 179; and the sense of play, 171– 72

Chile, 17, 110China, 5, 46, 195, 201; communist

revolution of, 46Chinese Opera, 82Choreography, 73– 75, 82, 92n38, 119, 125,

151– 58, 160– 61; choreographer, 28, 140, 148n9; choreographic sensibility, 8; fight, 104

Christ the Savior Cathedral, Moscow, 34Christianity, 207; Orthodox Christianity,

204, 207Chronic Life, The, 86– 87, 92n31– 32Churchill, Caryl, 47– 49Cieslak, Ryszard, 81, 83, 91n24Cinga, Cinzia, 110n15Circle X Theatre Company, 25Circus, 81, 126, 175– 77, 191Cirque Picnique, 149n23City Theatre (Pittsburgh), 140– 41Civic life, 128Clarke, Jocelyn, 137Class: social class, 22, 41, 43, 128, 191,

203; struggle, 26, 34, 40, 42, 188, 190, 204; theatre classes. See Education; Teaching; Training

Classical text, 78Cloud Nine, 47– 49Clown, 119, 126– 27, 129, 136n8, 178Clyt at Home, 145Cohen, Robert, 30Cohesion, aesthetic, 120, 169Collaboration: in collective creation, 2,

5, 6, 15, 17– 18, 24, 28, 30, 39, 45, 49, 53, 61, 71– 72, 75, 84, 108, 111– 12, 114– 15, 117– 19, 130, 133, 138, 140, 144, 146, 153– 54, 158– 59, 191, 196, 202; with communities, 31, 33, 128; in design, 8, 27, 53, 81, 92n31, 166, 169, 179, 183n28, 184n34; in devising, 2, 5, 8, 51– 52, 57– 59, 61, 137, 141, 143, 145, 165, 168, 172, 175; among organizations, 16, 22, 29, 53, 56, 146; in pairs, 10, 96, 139, 144, 148n9

Collaborative ethos, 52, 118Collaborative philosophy, 51, 72Collage, 31, 38, 187, 189Collective: collectively- generated

performance, 3, 7, 11n22, 23;

collectivism, 8; collectivity, 11n23, 23, 25, 29, 34, 48– 49, 71, 79, 84, 88, 95, 137– 39, 153, 166, 171, 174– 75, 179; memory, 172

Collège de France, 83Colombia, 17, 110n17Colonialism, 3, 49Colonization, 204, 207Columbia University, 30Columbus (Ohio), 27Come! And the Day Will Be Ours, 80– 81Comédie de Cean, 109n9Comedy, 31, 48, 55, 127, 130Commedia dell’ arte, 8, 113– 14, 119, 125–

27, 129– 30, 136n8, 142Commercialism, 21, 59, 62;

commercialization of collective creation, 5, 27, 52; commercialization of performance, 18, 55; commercial model of actor training, 126, 132; commercial organizational practice, 64, 85; commercial producers, 19; commercial success, 18, 70n98; commercial theatre, 18, 27, 188, 192; rejection of, 86, 127, 134

Committee: of artistic directors, 143; writing by, 132

Commodity, theatre as, 59, 62, 64Communal, 16, 32, 108, 197, 204;

commune, 24, 41, 182n12; communitarian, 8

Commune, 24Communication, 3; interdisciplinary

communication as a theme in the work of Nature Theater of Oklahoma, 152; in neutral mask, 121; sensory, 75, 80; semiotic communication, 75; somatic, 74, 83; synesthetic, 83

Communism, 8, 14, 35n2, 46, 188; Communist Party, 26, 76

Communitarian ethos, 8Community, 121, 206; arts, 19, 98, 111,

131, 152, 157, 172; - based projects, 129, 132; - building through creative acts, 157; collaboration with, 128; engagement, 113– 14, 126– 28; indigenous, 5, 128, 199, 200; local, 21– 22, 31, 33, 112– 14, 125– 29, 132, 134; orientation, 21, 204, 208; national, 172; responsibility to, 202;



220 INDEX

Compagnie des Quinze, 21Competition, 116, 145Complicite. See Théâtre de la ComplicitéComposer, 8, 33Composition: of actions (as in Barba’s

work), 72– 74; organizational, 47; of performance, 126, 156, 168– 69, 172– 76; SITI’s composition work, 137, 139– 43, 145, 148n9; visual, 58, 62

Comprehension, 106, 174, 176Compromise, 23, 26, 57, 60, 63, 146– 47,

154Concentration camp, 78, 80. See

Auschwitz; BuchenwaldConcert, 32, 102, 106, 190Conductor, 85Conference of the Birds, 30Conner, Elizabeth, 153Consciousness- raising groups, 20Constant Prince, The, 76, 83Constraint, 25, 45, 141, 161, 188Constructions, 71– 74, 80, 176, 178Contact Improvisation, 129Control: administrative, 143; directorial,

62, 81, 143, 174; governmental, 15, 181, 188, 207; physical, 78, 155, 204; self- control, 118; textual, 143

Controversia del toro y el torero, 190Conventionalized theatre, 67n18, 73, 80,

86, 88, 134, 183n28Cook, Jon Paul, 126Cooperation, 2, 53, 81, 189Copeau, Jacques, 4, 7, 21, 111, 113– 14, 122,

123n4, 126Copenhagen (Denmark), 3Copiaus, 4, 21Core- and- pool structure, 26– 27, 57– 59, 72Cornerstone Theatre Company, 149n23Corum Boy, 53Costume, 25, 72, 74, 80– 81, 86, 91n30, 106,

152, 183n30Counterculture, 2, 13, 17, 33Cow, 172Craft, 40, 44, 82, 85– 86, 95, 203; craft guild

model, 167, 179; craftsperson, 80, 85– 86; stagecraft, 106, 129

Creativity: of the actor, 8, 59, 61– 62, 78, 83, 111, 113, 117, 119, 121– 22, 126– 27, 129– 31, 134, 171, 204; of constraint, 25, 45,

106; of the group, 8, 51, 55, 57, 59, 63, 131, 153; individual, 55– 56

Creator, 156; actor- creator, 8– 9, 28, 61, 115, 125– 27, 129– 31, 134, 140, 143– 46, 148n9, 204– 5; audience as, 101; scenic creators, 166. See also Attribution; Author

Credit, 57, 62, 64, 91n29. See AttributionCreole music, 103Crew, film, 97Crisis: AIDS, 18, 19, 36; as generative of

creativity, 117, 122; as scene element, 125, 130; in Spain’s independent theatre during the Franco regime, 188; of the text, 23

Critical discourse, 56Criticism/self- criticism, 20Cruel Urbis, 190Cuartotablas, 17“Culture 2000” Program of the European

Union, 98Culture Clash, 31Culture of Desire, 137– 39, 141, 146Culture: clash of cultures, 81, 197; of

collaboration, 28; cultural marketplace, 56; culture industries, 15, 25, 41, 45, 59, 62– 64, 105; dominant culture, 31, 33, 44, 47, 52, 57, 116, 134, 157– 58, 166, 169, 182n12, 190– 91; first- world culture, 30– 33, 198; indigenous cultures, 196– 98, 202– 7; oral cultures, 99; rehearsal- room culture, 58, 62– 63, 147; third- world culture, 30; workshop culture, 167; youth culture, 2

Cunningham, Merce, 10n18, 156Curzio, Davide, 110n15Czechoslovakia: Prague Spring of 1968, 14;

Velvet Revolution of 1989, 14

Daalí, 190Dagoll Dagom, 189D’Amico, Silvio, 114Dance, 60, 74, 91n24, 106, 151– 62,

176, 191– 92, 196, 199, 202, 205; as gesture, 154– 56; influence on theatre practices, 8, 28, 148n9, 151; pedestrian movement as, 151, 155– 57, 159– 61; as traditional movement, 199, 207; untrained dancers, 151– 52, 155– 61. See Kinetic; Movement



INDEX 221

Darke Nick, 48Dasté, Jean, 114Davis, R. G. (a.k.a. Ronnie Davis), 21, 139,

152de Gaulle, Charles, 116Death of Giraffe, 168, 172, 175– 78Decentralization, 15, 21, 33, 49, 55Decision- making, 20, 60; actor- generated,

131; consensus- based, 2– 3, 5, 20, 68n22, 138, 148n4; delayed, 63; directorial, 61, 80, 143; in the masterskaya system, 183n24; shared, 27, 57; unanimous, 3

Decroux, Etienne, 21, 91n24, 115Deed, 99– 100, 105. See ActionDell’ Arte International Company and

School of Physical Theatre, 4, 22, 125– 36

Delpeche, Emmanuelle, 153Democracy, 22, 165, 190, 207; democratic

collective, 40– 41, 46, 47; democratic creative process, 42, 51, 54, 113, 118, 128, 152– 53, 159; participatory, 40, 84– 85; radical, 5, 8, 42

Demon: View from Above, 168, 172, 175, 178

Demonstrations, public, 29, 112, 115– 16, 206; instructive, 90, 158

Denmark, 29, 78, 86, 196Deportation, 207Design: actors as designers, 112,

140, 173– 75; collaboration with designers, 8, 26, 80– 81, 91n29– 30, 92n31, 137, 153, 179, 183n28; design- driven aesthetic, 57, 168– 69, 172, 176, 181n6, 184n34

Devising, 1, 2, 39, 55– 56, 64, 96, 101, 122, 126, 137, 143, 152, 195; as depoliticized collective creation, 7, 9n4, 23, 25– 26, 54; devising mise en scene, 5, 60, 80; devising processes, 130, 139, 177, 203; devising techniques, 51, 53, 154; director- driven, 16, 23, 45, 57– 63, 69n75, 145; mainstream acceptance of devising, 23, 25, 28, 51– 52, 154; as reaction to economic challenges, 15; as shift in terminology, 1, 3, 4, 10n9, 13, 23, 44, 53; writer’s role in devising, 39, 54, 67n18, 140, 177

DeWan, Chris, 146di Viteri, Robbie Saenz, 153Dialogue: in creative process, 43, 47, 98,

103, 105, 112, 125, 153; scenic, 45, 55, 120, 131, 145, 207; sociopolitical, 20, 30, 33, 98, 116, 198, 203, 208

Diaspora, 32, 99Dictatorship: artistic, 85, 90n19; political,

17, 187, 190Dies Irae: The Preposterous Theaturm

Interioris Show, 101Dijmat, I Made, 91n24Director, 7, 9n4, 17– 18, 26, 29, 41, 45,

53, 71– 73, 76– 77, 112, 114, 126, 132, 140, 166– 67, 169, 183n31; accommodation of director in collective creation, 5, 8, 24, 44, 46– 47, 54, 57, 74, 79, 85, 88, 96, 141, 153, 165, 173, 189– 90, 203; auteur- director, 165, 167, 170, 182n21; as autocrat, 44– 45, 48, 60, 123n4, 166; branding, 57– 59, 63; collective directing, 166, 171, 174; director- driven devising, 11n22, 16, 23, 42– 43, 48, 54, 57, 60– 63, 69n75, 75, 97, 108, 142, 154; director- master, 165– 66, 170, 173; director/scenographer collaboration, 179, 184n34; emergence of the modern director, 5, 8, 13; as facilitator, 24, 57, 63, 195, 203; guest director, 145

Disciple, 96, 108, 171Discipline, 28, 40, 51, 158, 160, 195; self-

discipline, 42, 122Discovery, 48, 73, 83– 84, 90n15, 122, 127,

130– 31, 156, 196, 208; rediscovery, 78, 102, 119, 162, 203; self- discovery, 129– 30, 133

Discussion, 5, 20, 76, 83, 134; as collaboration, 5, 43, 47– 48, 68n22, 105, 139, 141, 173, 204– 8; talking circles, 206, 209n7

Dissident theatre, 15, 22Dissolution of collective creation

companies, 17, 144, 189Diversity, 31, 112, 128Division of labor, 9n4, 72, 139Documentary theatre, 3, 10n5, 28, 48Documentation, 52, 73, 91n26Dodin, Lev, 11n22, 82



222 INDEX

Doer, 84, 93n44Dominance: cultural dominance, 23, 31,

40; directorial dominance, 8, 13, 84, 88; dominant modes of theatrical production, 40, 42, 55, 128, 166, 169, 183n28; male dominance, 20; playwright’s dominance, 56

Dostoyevsky, Fyodor, 72Do- Tantsa, 184n38Double Edge Theatre, 22Downstairs Action, 93n44, 97Downtown theatre (New York), 18– 19, 22Drama, 83, 98, 113, 119, 126– 27, 189, 191,

196– 97; Brechtian historical drama, 41; drama therapy, 195; dramatic conflict, 104; dramatic questions, 104; “Objective Drama,” 30; traditional concerns of, 7, 45; working with existing drama, 5

Dramatic territories, 126– 27Dramatist. See PlaywrightDramaturge, 85, 88, 138, 146Dramaturgical structure: collage, 31, 48,

187, 189; composite, 62; dramatic, 98; epic, 42; linear, 62, 74, 79; performance- based, 72, 75; poetic, 98; postmodern, 56; text- based, 72

Dramaturgy, 14, 101, 138, 146; actor’s, 88; adopted versus place- based, 202; Barba’s concept of, 71– 75, 81, 83; Brechtian, 40, 42; collective, 88; 93n52; as composition, 44, 71– 75, 77, 79, 81, 83, 85, 88, 93n52, 189, 202; embodied, 83; evocative, 74; Grotowski’s concept of, 81, 83; hybrid of theatrical dramaturgy and Art as Vehicle in the work of Mario Biagini and the Open Program, 101; narrative, 74; organic, 83

DreamPlay, 143Dr. Faustus, 71, 76– 77, 80Dr. Floit & Mr. Pla, 190Drillon, Lilyane, 191Drumming, 196, 198, 205Dubuffet, Jean, 157– 58Duchamp, Marcel, 158Dullin, Charles, 193n2Duration, as aesthetic principle, 28, 140Durban (South Africa), 205DV8, 64

Eagleton, Terry, 3East Village. See Lower East Side (New

York City)Eastern Bloc, 14Eastern Europe, 17, 161Eastern religion and philosophy, 75École Jacques Lecoq, 9, 30, 56, 112, 122,

127. See Lecoq, JacquesEconomics, 7, 14– 15, 17, 72, 189, 207;

economic benefit of a wider audience, 57; economic pressures, 3, 9, 62, 187; recent economic downturn, 28; resulting in core- and- pool organization, 27, 57– 59; trickle- down economics, 22. See Finances

Ecstasy, 43, 45Ecuador, 32Edge of the World Theatre Festival, 138Edinburgh Fringe Festival 27, 55– 56,

149n24Education, 23, 128, 133, 158, 203, 207;

higher education, 27, 116; teaching, 15, 30, 86, 92n40, 108, 116, 118, 127, 129, 130, 133, 169, 176, 179, 198, 203; by theatre companies, 37n35

Efficiency, 26, 62, 80, 117, 199, 202Efros, Anatoly, 168, 170, 173Egalitarianism, 2, 7– 8, 27, 51, 53, 57– 58,

61, 64, 112, 118, 203Ego, 49, 177Egyptian dynasties, 207Ehn, Eric, 25Eiben, Gabel, 153El Aleph, 17El Nacional, 190El Retablo de las Maravillas, 190El Teatro Experimental de Cali (EL TEC),

17Elders, 175, 198Elektra- la- la, 149n23Elephant Vanishes, The, 55, 57, 61Elevator Repair Service, 152Els Joglars, 17, 189– 90, 192Emancipation, 61Emandulu, 205Embodied: confession, 105; dramaturgy,

88; experience, 125; knowledge, 198; place- based perspective, 202

Emergency theatre, 187Emerson College, 28



INDEX 223

Emotion, 46, 73– 75, 138, 142, 171, 173– 74, 176, 191, 199– 200, 204; emotional peers, 139; emotional retaliation, 20; emotional sensitivity, 196; emotional truth, 82; emotive storylines, 62

Encounter, 7, 29, 37n35, 95, 97, 99– 102, 105– 6, 108, 113, 119, 157, 176, 204– 5; cultural, 203; poetics of, 96; with the scene partner, 112, 121

Endurance, 14, 154– 55Energy, 82– 83, 115, 133, 178England. See Great BritainEnsemble theatre, 6, 8, 15, 22, 33, 53– 54,

57– 63, 69n62, 106, 123n1, 125– 36. See Laboratory theatre; Research theatre; Studio theatre

Environment, 19– 20, 52, 119, 122, 153, 192, 196, 200; scenic, 31

Epic theatre, 42, 46, 62, 108Epsom Downs, 47Equality, 20, 53, 58, 77, 79, 84, 86, 157, 175,

182n12Esoteric practices, 99Esperpento, 189Essence, 71, 81, 99, 109n4, 191Essentialism, 108“Estatutos de la Federación de Teatros

Independientes,” 193n5Estonia, 196Estrada theatre, 171, 176– 77, 184n46Ethics, 7, 8, 9, 20, 23, 24, 31, 41, 45, 49, 71,

77, 92n40, 151, 154; unethical, 6, 61Ethiopia, 32– 33, 195– 96, 203– 8, 209n7Ethnomusicology, 33Etude, 73– 74, 173Europe, 1, 2, 4, 9, 13– 16, 23, 29, 32– 34,

37n40, 59, 78, 81, 86, 88, 91n24, 92n40, 98, 111, 114, 126, 128, 149n24, 161, 173, 193n2

Events of May. See 1968Ex nihilo mode of collective creation, 5,

44, 61Exchange, 20, 29– 30, 59, 98– 99, 113, 133,

175, 203Exile, 16, 30, 170, 190Experimental Theatre Project (ETP;

Moscow), 179Experimentation, 28, 52, 71, 73, 75, 79–

80, 96, 100, 105, 112, 114, 127, 152, 183n29, 184n38; in collective creation,

4, 6, 9, 15, 17, 40– 41, 48, 53, 113, 117– 18, 120, 122, 126, 133, 165– 66, 169, 171, 174, 179, 181n1, 190, 192; in postmodern dance, 159; in solo performance art, 18

Expertise, 23, 28, 42, 48– 49Exploration: of collective creation, 7, 30,

126– 27, 129– 31, 133, 136n2, 139; creative, 53, 71, 76, 78, 83, 93n44, 113; in rehearsal, 46– 47, 52, 72, 80– 81, 85, 141, 146, 156, 204, 207; self- 103, 170; of text, 39, 79

Expression, 30, 78, 93n44, 154, 158, 171; of dominant ideology, 40; freedom of, 190, 192; of group, 26, 54, 59, 62; human, 78, 106; of ideas, 3, 19, 209n7; of identity, 3, 33, 106, 139, 153, 155, 157, 191, 204; of indigenous groups, 195– 96, 198– 99, 201– 3, 206; of politics, 24, 190, 192, 205; scenographic expressivity, 55; somatic expressivity, 55, 201– 2; of virtuosity, 160– 61

Extra- daily physicality, 82Eyre, Richard, 52– 53

Fable, 79Facilitator: director as, 24, 33, 63, 101, 195,

203, 206; facilitating leadership, 57; teacher as, 117

Factory Theatre (Los Angeles), 148n7Failure, 2, 48, 117– 18, 120Falater, Scott, 143– 44Fall of Communism, Poland, 35n2Fanshen, 46– 48Far Side of the Moon, The, 55Farce, 47, 49Farmers, 191Fascism, 8Faulkner, William, 56Faulty Optic Theatre of Animation,

10n10Feeling circle, 20Feminism, 41; Feminist theatre, 19– 21, 26,

34, 127Ferai, 71, 80, 89n1Ferslev, Jan, 87Festival of Zurich, 189Festival: Alaskan native festivals, 198; theatre

festivals, 22, 27, 29– 30, 55– 56, 59, 90n15, 101, 138, 142, 149n24, 189, 191



224 INDEX

Fierce Love, 36n14Fifth International Forum on Ancient

Greek Drama, 191Film: Film industry, 25Filter Theatre, 56Finances, 25, 37, 63, 66, 67n13, 134,

152; budget, 25, 63, 101, 161, 179; earnings, 46, 77; funding, 15, 18, 19, 58, 78, 91n24, 198; income, 54, 70n98; subsidy, 15, 54, 62– 63

Finland, 196Finley, Karen, 18– 19, 31Firebird Ball, The, 68n40First Act, 189First National Congress of the New Theatre,

Valladolid, Spain [1er Congreso Nacional de Teatro Nuevo], 193n5

Flaszen, Ludwik, 76, 91n29Fleck, John, 19Fo, Dario, 114, 127Fomenko, Petr, 170, 179, 184n37Fondazione Pontedera Teatro, 109n1Fools, 189For a New Bulgarian University

Foundation, 109n9Foreman, Ronlin, 127Formal Theatre, 170Foucault, Michel, 41Framework ’98, 145Framework: of collective creation, 33,

51; conceptual, 68n22, 105, 113, 159; Framework ’98, 141– 46; ideological, 4, 151, 156; of performance, 81– 82, 131, 159, 176, 199, 202; scholarly, 23, 45, 158; socio- temporal, 14

France, 2, 4, 8, 22– 23, 30, 109n9, 110n15 and n17, 115– 16, 126, 142, 157, 190, 193n8; French Revolution

Franco, Francisco, 17, 22, 26, 187, 190, 192Frankenstein, 16Frantic Assembly, 39Freedom, 25, 32, 39, 45, 48, 127, 133, 190, 192Fringe, 27, 34, 55, 64, 149n24Front Room Theater Guild, The, 21Fusion theory of collaboration, 138, 144

Games, 31, 58, 129, 178, 204Gardzienice Center for Theatre Practices,

11n22, 29Garin, Erast, 185n74

Garkalin, Valery, 176Gasbarra, Felix, 176Gaskill, William, 46Gay, 19, 36n14. See Lesbian; QueerGecko, 10n10Gender: all- female companies, 19, 20,

48; gender dynamics, 19; male- led companies, 20, 152, 167, 182n19; male company members, 103; male directors, 152, 167, 182; mixed- sex companies, group dynamics of, 20; patriarchy, 19; roles for women, 20; women directors in Russia, 182n19; women in collective creation, 19; women of the Paris Commune, 41; women, institutional empowerment of, 48; women theatre artists, views of, 20, 182n18; women, obstacles to artistic leadership, 20; women’s collaborative writing, 138. See Feminism

Generalitat, 190Generative: actors as generative artists,

125, 129; capacity of the group, 153; collaborative process, 117, 119; creativity, 8, 130; generative power of ambiguity, doubt, and failure, 120

Gentlemen Prefer Blondes, 42George, Bill, 118Germany, 13, 22, 34, 161; East, 91n24Gesture, 28, 116, 121– 23, 140, 151, 154– 56,

158– 62, 199, 201Gestus, 154– 55, 161Ghost Road Company, 145– 46, 149n24Ginsberg, Allen, 101GITIS (Russian University of Theatrical

Arts), 24, 166– 67, 169– 71, 177– 79, 182n16– 17, 183n22 and n27, 184n34 and n37, 185n74

Glass, Philip, 16Global, 4, 14, 16– 17, 27, 30, 32– 33, 134;

anti- globalization movement, 16; globalization, 27, 33, 195, 197– 98

Global Theatre Festival of Nancy, 191Gogol Bordello, 32– 33Gogol Center (Moscow), 182n19Gogol, Nikolai, 172Goldoni, Carlo, 113Gomez- Peña, Guillermo, 30Goodman Theatre, The, 31Gordon, David, 152



INDEX 225

Gordon, Fiona, 57Gorki- 10, 172– 74, 176Government, 15, 19, 54– 55, 58, 63– 64,

115– 16, 170– 71, 173, 181n2, 187– 88, 190, 207, 208

Graham, Scott, 39Gran Fury, 19Grand Union, 152Gray, Spalding, 15, 18, 21Great Britain, 25, 39, 40, 51– 56, 58, 62,

64, 68n35, 109n9; Conservative government, 54, 58; England, 1– 2, 4, 8, 10n10, 15, 23, 26– 27, 64, 68n38, 196; Labour government, 55; New Labour, 63; Postwar economy, 40

Great Depression, 132Greece, 109n9Greek: myth, 81; tragedy, 119, 121Green Ginger, 56Greenland Inuit, 196Gregory, Andre, 30Gregory, Marina, 102, 110n15Gregory, Mercedes, 30, 97Gridley, Anne, 153Griess, Terry, 37n35Grotowski Institute, 92n43Grotowski, Jerzy, 7– 9, 26, 31, 91n24 and

n29; and intercultural theatre, 29– 30; and his legacy in Barba’s work, 24, 71– 84, 90n15, 92n40; and the Workcenter, 21, 24, 93n44, 95– 109

Group dynamics, 9, 16, 20; antagonism, 143, 146; conflict, 20, 37, 69n75, 112, 138, 154, 189; conflict resolution, 20, 37; confrontation, 143– 47; coordination, 153, 162; criticism, 20, 46, 129, 209; critique, 129– 30, 132– 33, 171; cross- talk, 20; debate, 5, 42, 46, 120, 133, 139, 141– 45, 147, 202; discussion, 5, 20, 24, 43, 48, 134, 141, 172– 73, 204– 5, 207– 8, 209n7; honesty, 20, 146; insider/outsider structure, 27; interpersonal interaction, 2, 7, 209; interruption, 30; opposition, 144, 148n, 4. See Decision making; Discussion: talking circles; Feeling Circle; Rehearsal: dynamics

Group: of co- artistic directors, 15; creation by, 3, 6, 9, 25, 26, 41, 46, 53, 55, 57– 58, 62, 125, 130, 132, 153– 54, 199; of equals, 58;

focus on, 2, 54; group identity, 32, 46– 47, 54, 93n51, 174, 204; group interaction, 8, 30, 43, 108, 142, 144; group morality, 24; group movement, 112; group process, 20, 48, 59, 112, 118, 131, 133, 146, 173, 202; as model to society, 2, 40, 54, 152, 159; organizational structure of, 17, 46– 47, 53, 139, 153, 189; theatre movements, 88, 152

Guerilla Theatre, 20Gürses, Gülsen, 109n9Gypsy- punk, 32

Haiti, 30Halprin, Anne, 157Hamlet, 165– 66, 169, 183n29, 184n36Handspring Puppet Company, 53, 63Hare, David, 46, 48, 64Harper, Stephen, 63Hauser, Kaspar, 89n1Havel, Vaçlav, 14– 15Healing, 3, 200, 206, 209Hébrail, Jessica Losilla, 110n17Hegemony: of the author, 45; of the

culture industry, 51Henderson, Joyce, 58Heraclitus, 108Hierarchy, 2, 8, 49, 56, 112, 160, 165, 181,

207; of ability, 151, 156– 61; “benign,” 60; within collectives, 24, 60, 108, 138, 147, 171, 174, 177; nonhierarchical, 15, 17, 20, 53– 54, 56, 58, 128, 152, 154, 173; traditional theatre hierarchies, 9n4, 40, 43, 51, 59, 132, 167

Hill, Jane, 126Hinkley, Brent, 142His Dark MaterialsHistoriography, 2, 55; of collective

creation, 1– 11, 13, 15, 154; of training, 126

History: shared production history, 139, 143– 45, 147; as source material, 31, 170, 172– 73, 179, 182n12, 190, 198, 203, 206– 7; of theatre, 2, 4, 5, 8– 9, 13, 21, 34, 35n2, 37n35, 39– 40, 75, 88, 92n40, 105, 126, 151, 165, 171, 185n74

Hoggett, Steven, 39Hohki, Kazuko, 55Holland, 3Hollywood, 62, 142, 145Holmes, Sean, 56



226 INDEX

Holstebro (Denmark), 29, 78, 86, 90Hong Kong (People’s Republic of China), 32Hopfner, Timothy, 102, 110n15Horizons (Wroclaw), 101House Un- American Activities Committee

(HUAC), 22, 36n22Hughes, Holly, 18– 19, 21Humana Festival, 27Humboldt County (California), 128Hummel, Thomas, 153Hungary, 33; Uprising of 1956, 14Hutz, Eugene, 33Hytner, Nicholas, 52– 53, 63, 68n40

Ictus, 17Ideal: of alternative theatre practice, 21,

115, 170; ideal proportions, 161; of leaderlessness, 4, 9, 24, 58, 152, 154, 175; of permanent company, 26, 179; of stillness, 160; way to teach collaboration, 118

Identity: and brand, 25, 63; geographical, 3, 52, 138, 197, 206; group, 32, 93n51, 143, 203– 4; identity politics, 21; individual, 85, 172, 204– 5; of the worker, 158

Ideology: actor- centered, 72; of attribution, 42; behind collective process, 6– 8, 20, 25, 27, 32, 54, 58, 62– 64, 188; dominant, 40– 41, 158, 173; as historical lens, 3– 4; political, 9, 23, 26, 53, 159, 189

Immigrant performance, 30, 32– 33Improbable Theatre, 25, 57, 64Improvisation, 3, 42– 45, 47– 48, 56, 58,

63, 67n13, 68n22, 71– 75, 77– 85, 88, 93n52, 98, 100, 108, 112– 13, 117, 121– 22, 127, 129– 31, 134, 142– 43, 146, 154, 157, 187, 189– 92, 195

In Paris, 172Incantation, 79Incarceration, 16, 34, 190. See PrisonIncome. See FinancesIndependent theatre, 78, 86, 88, 92, 187–

89, 192, 193n5India, 30, 195Indigeneity, 191, 196; indigenous

communities, 5, 199; indigenous cultural context, 203; indigenous groups, 195– 98, 201, 206; indigenous

ritual and performance traditions, 33, 195, 198, 200, 202; nonindigenous groups, 201

Individual, 2, 4, 6– 7, 22– 24, 28, 40– 43, 48– 49, 51, 54– 59, 69n62 and n75, 72– 74, 77– 78, 80, 82– 83, 91n23, 93n52, 95, 99– 101, 108, 112, 129– 33, 138– 39, 143, 153, 155– 57, 166, 171– 73, 175, 197, 203

Induction, 99Influence: absence of, 157; behind

Argentina’s collective creation movement, 14; of Barba, 81; on Barba, 91n27; of canon of European directors, 59; of Joseph Chaikin, 15; of collectives, 47– 48, 54; of commedia, 127; of Copeau, 4, 111, 113, 126; of dance on the history of collective creation, 151; destructive influences, 200; of directors on one another, 166, 174; of Grotowski, 77, 79, 83; on Krymov, 167; of Lecoq, 111, 126; of modernism on collective creation, 4; of multimedia performance, 55; of Mary Overlie, 29; of San Francisco Mime Troupe, 128; of SITI Company, 142, 145– 46; of Théâtre de Soleil, 142; of Western culture, 197

Ingulsrud, Leon, 142Innovation, 114, 121– 22, 136n8, 169, 202Installations, 19, 31, 169Institution: institutionalization of

auto- cours, 115; institutionalized transmission of collective creation practices, 7, 27– 28; institutional model of collective, 2– 3, 5, 7– 8, 24, 26, 40, 42; institutional orthodoxy, 51; institutional power, 26, 54, 57, 187n17, 189; institutional practices, 17, 20, 48, 64; institutional structures of commercial theatre, 27, 42, 45, 51, 167. See Organization

Insularity of collectives, 18– 20. See Invisibility; Retreat; Visibility

Interaction, 6, 8, 26, 30, 43, 58, 73, 173, 197, 200, 200– 203

Interculturalism, 29– 30, 33, 73, 81, 195; intercultural reconciliation, 33. See Multiculturalism; Transculturalism

Interdisciplinarity, 152



INDEX 227

Intermediality, 9. See Mixed MediaInternational Centre for Theatre Research

[Centre Internationale de Recherche Théâtrale], 30

International School of Theatre Anthropology, 29, 73

International: centers of theatre research, 29– 30, 88; circuit of festivals, 27– 29, 59; devising practices, 7; focus of theatre history, 3, 13; internationalism, 33, 116; reputation, 52– 53, 71, 77, 88, 90n15, 137, 169; residencies, 98

Inter- Scandinavian Workshops (Odin Teatret), 91n24

Interwar period, 8, 11Intrigue at the Ah- Pah, 128Inuit, 196Inupiat, 199Invisibility of collectives and collective

creation, 18, 20– 21, 25, 32– 33, 154; operating under the radar, 25, 32. See Insularity; Retreat; Visibility

Irondale Ensemble Project, 37n35IRS (Internal Revenue Service), 16Islam, 207Italy, 4, 16, 21, 29– 30, 75, 92– 93, 95, 99,

109n9, 110n15, 111, 113– 15, 122, 127, 196

Itinerance. See Peripeteticism

Jail. See Incarceration; PrisonJapan, 28Jarry, Alfred, 190Jerry Springer the Opera, 64Johansen, Robert, 153Joint Stock, 40, 46– 49Jouvet, Louis, 193n2Joy, 151, 184n36; 203Judson Dance Theatre, 28, 148n9,

156– 57Jugglers, 189Jumbo, Paul, 200Juneau (Alaska), 22Just for Show, 64

Kabuki, 82Kamenkovich, Evgeny, 179Kamyangkuk tradition, 197Kanze, Hisao, 91n24

Kaosmos, 92n31Kaspariana, 71, 89Kathakali, 82Katya, Sonya, Polya, Galya, Vera, Olya,

Tanya . . ., 172Kaufman, Moisés, 28– 29Kearns, Martha, 19– 20Keefe, Barrie, 48Kenya, 5, 195– 96Khwe Bushmen, 196Kinetic: expression, 154; differentiation,

155, 157– 58, 160; goal, 162; variation, 151. See Dance; Movement

Klein, Stacy, 36n21Knebel, Maria, 182n19Kneehigh, 56, 59, 64Koonen, Alissa, 91n24Korbel Trilogy, The, 128Kordian, 76, 80, 90n20Korea, 5, 33, 195– 97Korean National University for the Arts,

196– 97Kremlin, 34Krienke, Joe, 129Kronis and Alger, 149n23Krymov, Dmitry, 165– 85Krymova, Natalia, 168KURMASTEP [Courses in the Mastery of

Staging], 166Kwasa Group, 205– 6

L.S.D. ( . . . Just the High Points . . .), 24La Candelaria, 17La Cena, 190La Cuadra de Sevilla, 17, 24, 189, 191– 92La Jolla Playhouse, 31La Mama, 18– 19La Pocha Nostra, 30– 31, 33La Torna, 190La Torna de la Torna, 190Labor: of collective creation, 21; deskilling

of, 158; divisions of, 2, 72, 139; hard labor, 34

Laboratory theatre, 11n23, 29, 77, 88, 90n15 and n20, 91n23 and n29, 103, 105, 165, 167– 79, 183n29– 30, 184n36– 38. See Ensemble theatre; Research theatre; Studio theatre

LaMendola, Julie, 153Landau, Tina, 139



228 INDEX

Language, 198; ancient languages, 75; English language, 2, 169; invented languages, 75, 79, 80, 91n27, 116, 207; language tradition, 67; limitations of, 105; minority, 75; physical, 114, 121; polyglot performance, 32; quoted, 152, 157; theatrical, 15, 58, 134, 191, 202, 204

Laramie Project, The, 28“Last Dance,” 159Latin America, 2, 11n24, 14, 17, 86, 92n40Lavender Cellar, 21Lavery, Byrony, 39Leadership, 5, 9, 24, 28, 57, 69n51, 114,

123n4, 165, 168, 179; accommodated, 1, 5, 9; charismatic, 88, 152; co- leadership, 15, 143, 152, 157, 166; and company longevity, 88; ethical, 9; as facilitation, 9, 57; leaderlessness, 4– 5, 8– 9, 24

Lebanon, 16LeCompte, Elizabeth, 15Lecoq, Jacques, 9, 30, 56– 57, 91n24, 111–

24, 126– 27, 129, 236n9Lee, Stewart, 18, 64Legacy of Cain, The, 16Legacy, artistic, 1, 24, 54, 103, 109, 111,

165, 179, 198. See LineageLeigh, Mike, 40, 42– 46, 48– 50, 64Lenin, Vladimir, 174León, Maria Teresa, 187, 193n2Leopold and Loeb: a Goddamn Laff Riot,

149n23Lepage, Robert, 23, 53, 55Lermontov, Mikhail, 172Lesbian, 19– 21. See Gay; QueerLesbian- Feminist Theatre Collective of

Pittsburgh, 21Letter, The, 100– 101Levinas, Emmanuel, 99Liegerot, Fletcher, 153Life Game, 64Lighting designer, 81Lilith: a Woman Theatre, 19– 20Lillian Booth Actor’s Home, 36n8Lineage, 9, 17, 108, 126, 128Linguistic, 33, 75, 79, 121Lion King, The, 56Liska, Pavel, 151, 153– 54

Literature, 76, 79, 172– 74, 176, 187; literary theatre, 6, 71, 85; scholarly literature, 11

Litooma, 208Live art, 55– 56, 68n45. See Performance

artLiving museums, 31Living Theatre, 2, 6, 16– 18, 22, 24, 27,

31– 32, 36n8Local, 3, 11n24, 14, 16– 17, 21, 31, 33,

37n35, 114, 128, 138, 140, 145, 196Location: farm community, 21, 190,

191; metropolitan area, 18– 19, 21; provincial town, 76, 86; rural area, 21– 22, 27, 127, 129, 132, 134, 136n9, 190; small town, 22, 126– 27; urban center, 21, 33, 102, 127; village, 22, 198– 99

London (England), 3, 9– 10, 26, 32, 41, 43, 51, 53– 54, 56, 64, 68n40

London International Mime Festival, 56London International School of

Performing Arts (LISPA), 112, 119– 21Longevity: of collectives, 60, 137– 38, 146;

organizational longevity, 144– 46. See Sustainability

Loos, Anita, 42Lorca, Federico García, 191Los Angeles (California), 25– 28, 30, 137–

38, 142, 145, 148n1Los Goliardos, 188Louisville (Kentucky), 27Lower East Side (New York City), 16, 18,

21, 32, 36n8Luckham, Claire, 41Ludlum, Charles, 19Lul Theatre, 208, 209n8Lumberob, 153Luo, 205Lyotard, Jean- François, 23, 26Lyubimov, Yuri, 184n37

M7 Catalonia, 190Mabou Mines, 15, 19Mackenzie- Wood, Barbara, 37n35Mad World My Masters, 48Madrid (Spain), 188Magni, Marcello, 57Main Action, 84, 93n44Mainstream, 7, 23, 25, 33, 51– 52, 54– 56,

58– 60, 96, 108, 111, 116



INDEX 229

Male. See GenderMalina, Judith, 16, 36n8Malta, 109n9Maly Theatre of Saint Petersburg, 11n22Manifesto, 76, 189; Manifesto in action,

101Mao Tse- Tung, 19; Maoism, 20, 46Mapplethorpe, Robert, 19Marceau, Marcel, 115Marcelli, Felicita, 110Marginalization: of devised work, 51,

54; of indigenous performance, 198; marginalized bodies, 151, 161; marginalized culture, 33; marginalized populations, 21; of nonpolitical collective creation, 7

Mariano, Nola, 30Marlowe, Christopher, 71Marowitz, Charles, 43Martial Law, Poland, 35n2Martinez, Ursula, 55Martinuinova, Vera, 179Marxism, 3, 8, 40, 59Mary d’Ous, 190Mask, 72, 78, 103, 119, 121– 22, 125, 127,

130, 197Massachusetts, 22Master: director as, 165– 66, 170, 173;

and disciple, 96; Grotowski as, 108; Krymov as, 174; master- apprentice relationship, 167, 183n22; masterful execution, 97; mastering text, 75; masters of craft, 86; master teacher, 167, 171, 176, 179, 183; mastery of scenic staging in Russian theatre training, 166– 67; Noh masters, 91; skills mastery, 88, 93n52; technical mastery, 82, 129

Masterskaya of Petr Fomenko, 184n37Masterskaya system, 167, 169– 71, 177– 79,

182n17 and n21, 183n22 and n24, 184n37, 185n74

Matter of Life and Death, A, 64May ’68. See 1968Mazzone- Clementi, Carlo, 126– 27, 130McBurney, Simon, 57, 61, 112McClellan, Wendy, 146McDermott, Phelim, 57McGrath, John, 40, 42McKenna, Mark, 112

McLuhan, Marshall, 137Medcalf, Charlotte, 61Medium, The, 137Medusa’s Revenge, 20– 21Mee, Charles, 146Melodrama, 119, 126, 129, 131– 32Memory, 60, 83– 84, 106, 206Men. See GenderMentoring, 76, 78, 80, 88, 97Merce Cunningham, 10n18, 156Merleau- Ponty, Maurice, 119Methodology, 1, 3, 5, 7, 53, 58, 61, 64, 78,

139, 144– 45, 154, 196, 202Metropolitan regions, 18– 19, 21. See

Urban regionsMexico, 4, 30Meyerhold, Vsevolod, 4, 5, 7, 165– 66, 171,

173, 176, 179, 181n1, 182n17, 183n22, 185n74, 191, 193n1

MFA Programs, 112, 126, 129, 132, 134, 136n30, 153

Midlands Arts Centre, 45Midsummer Night’s Dream/As You Like It,

172Midwest (United States), 152Militancy, 188Miller, Tim, 19Mime, 8, 56, 115, 126, 127, 159, 189. See

PantomimeMimetic, 43, 67, 158, 200Min Far Hus, 72, 79– 81Mind: collective, 85– 86; governing, 4;

supraindividualist, 4, 166Minneapolis (Minnesota), 21Minority: cultural minorities, 32;

languages, 75; populations, 21, 30; subject, 31

Min- Tanaka, 184n38Minute Too Late, A, 64Mise en scène, 73– 74, 79, 83, 190;

collectively devised, 5, 6, 8, 75, 84Mission District (San Francisco), 31Mitchell, Katie, 51, 57– 58, 60, 62, 64,

67n17– 18, 69Mixed Media, 55, 66. See IntermedialityMnouchkine, Ariane, 29– 31, 85Model Theatre, 184n37Modernism, 4, 8, 23, 104Monarchy, 8Monasticism, 8, 21, 77



230 INDEX

Money Tower, The, 16Monologue, 31, 83, 132, 134, 177;

monologist, 18Monsalve, Sofia, 86Monstrous Regiment, 40– 42, 45, 48, 49,

53, 58Montage, 5, 73– 75, 78, 80, 82, 84, 105Montoya, Richard, 31Morality, 24, 46, 179, 182n12Morris, Tom, 53, 62, 63Moscow (Russia), 6, 21, 24, 34, 167, 169–

70, 179, 184n37, 185n79Moscow Art Theatre (MKhT), 6, 21, 168,

182n19– 20; First Studio of, 175; School- Studio, 168; Second Moscow Art Theatre, 165– 66, 171, 175; Seventh Studio of, 182n20

Moscow Cultural Committee, 170Moslem, 203Motram, Stephen, 56Movement: physical comedy, 55, 127, 130;

physicality, 15, 25, 42, 44, 51, 67, 71– 75, 78– 80, 82– 84, 92n38, 93n52, 103, 114, 138, 145, 154– 55, 159– 60, 198– 200, 204, 208; physical movement, 74, 100, 110– 12, 119, 121, 126– 27, 148, 151– 52, 154– 61, 184n38, 199– 200, 204; physical spectacle, 25, 51; physical technique, 82, 92, 126, 128– 29; physical theatre, 8, 11n22, 15, 39, 55– 56, 58, 61, 125– 30; sociopolitical/cultural movement, 2, 4, 9, 10n6, 13– 18, 20, 23, 25– 26, 32, 35, 54, 78, 88, 111, 114, 116, 123n9, 187, 189– 90, 192. See Dance; Kinetic

Multicultural, 29, 32, 205Multi- ethnic, music, 132Multiplicity. See PolyphonyMusic, 8, 25, 31– 33, 106, 140, 173, 179;

call- response songs, 100; musicality, 75, 79– 80; musical theatre, 25; music- driven theatre, 11n22, 4; musician, 87, 177, 179, 184n36; song, 18, 32, 41, 75, 96, 99– 101, 103– 6, 144, 158, 177, 191– 92, 196, 199, 202, 205, 207; vibratory song, 99, 104– 5

Mutuality, 108, 122, 138, 179Myers, Carolyn, 20Mysteries and Smaller Pieces, 16Mystery play, 99

Myth, 33, 79, 81, 191, 200, 201, 203, 207– 8; myth making, 95, 152– 54

Mythos, 92n31Myths, 157

Naropa University, 112Narrative, 26, 31, 43– 44, 49, 53, 56, 68n38,

72– 75, 83, 99, 104, 142, 145, 199, 203– 5

Natal Performing Arts Council, 205National Theatre (London; a.k.a. Royal

National Theatre of Great Britain), 51– 60, 62– 64, 67– 70

National Theatre of Sakha, 196, 201, 204, 209n7

National: arts funding, 15; boundaries, 30, 33; community, 172; festivals, 27– 28; nationalization, 40; political atmosphere, 19; prophecy, 179; status, 52– 53, 68n40, 114, 138; touring, 28

Nationalism, 3, 8, 30, 196Native: Alaskan Native cultures, 195– 98;

Native American peoples, 128, 171Naturalism, 42, 44, 46, 48; nonnaturalist, 46Nature Theatre of Oklahoma, 151– 63Nazi, 91NEA Four, 19Negotiation, 48, 49, 138, 144, 195– 96Neo- liberalism, 59Nepal, 195Networks, 3, 29, 30Neumann, Fred, 16New Left, 2, 5New York Theatre Workshop, 138, 141Next Wave Festival (Brooklyn Academy of

Music), 27Niesen, Jim, 37n35Nizhny Novgorod (Russia), 32No Dice, 152Noh, 82, 91n24, 114Noise of Time, The, 57, 61Nonprofit status (501c3), 37n35Noon, Katherine, 145Nordic Theatre Laboratory. See Odin

TeatretNorth America, 2, 15, 81Norton (Virginia), 22Norway, 75, 78Nosferatu, 149n23Nunn, Trevor, 53, 67n13



INDEX 231

Oasis Theatre Company, 145Oberzan, Zachary, 153Objective drama, 30Occupy Movement, 20, 26Odin Teatret, 24, 29, 32, 33, 71– 93Odissi (Indian classical dance), 91n24Off- Broadway, 25Office staff, 86Off- off- Broadway, 18Oleg Tabakov Theatre Studio, 184n37Omena- G, 190Open Fist Theatre, 25Open Program (Workcenter of Jerzy

Grotowski and Thomas Richards), 101, 110n15

Open Space Theatre, 42Open Stages Project, 170Open Theater, 15, 19– 20Open Theater, The, 15, 19– 20Opera, 191Opole (Poland), 71, 76– 78, 80, 88Opposition: to commercialism, 21, 25;

to folklorist aesthetics, Andalusia, 191; political, 34, 51, 192. See Group dynamics

Oppression: institutional, 6, 20, 182n19; personal, 6; sociopolitical, 2, 32

Opus No. 7, 172– 73Oral: culture, 99; orality as action, 79; text,

75; transmission, 82, 198Orchard, Robert, 28O’Reilly, Terry, 16Organization, 98, 114, 188; collective

organization, 26, 47, 53, 189; organizational changes, 23, 37n35, 67n6; organizational identity, 19; organizational longevity, 138, 144– 46; organizational structure, 10, 16– 17, 24, 26, 53, 55, 57, 59– 60, 62, 73– 74, 112, 153, 167, 171, 192; Victor Turner’s theories of, 7. See Institution

Orthodox Christianity, 204Ortnitofilene, 71, 89n1Oslo, Norway, 91n27Oslzy, Peter, 14“O Superman,” 18Outdoor, 209n8Outsider art, 158Overlie, Mary, 28– 29

Ownership: artistic, 95, 146; water, 128Oxford University, 60Oxyrhincus Evangeliet, 74, 80– 81; 91n26,

92n31– 32

Padua Players, 127Painting, 169, 173, 175, 190Palermo (Italy), 16Panigrahi, Sanjukta, 91n24Pantomime, 115, 119, 121. See MimeParadise Now, 16, 31Paratheatre, 103, 105Parenti- Fo- Durano Company, 127Paris (France), 3, 21, 29– 30, 90n15, 92n42,

111– 12, 115– 16, 127Paris Commune, 41Parity, 24, 138Parker, Daniel, 142Parody, 30Participation: audience, 16, 31, 98, 105;

company, 26, 60, 129, 153, 166, 191, 200– 201, 203, 205

Partnership: between director and company, 77, 83; between director and designer, 165, 183n28, 184n34; directorial, 153; institutional, 109, 112; among multiple collaborators, 58, 118, 132; in pairs, 10, 30; in scenes, 96– 97, 99, 176, 204

Passloff, Aileen, 148n9Pastiche, 24, 146Peasants, 14, 46; Peasants’ rights

movement, 14Peck, Evie, 142Pedagogy, 30, 111– 24, 125– 36, 169Peepolykus, 55People Show, The, 10n10People’s theatre, 3, 26– 27, 31“Perfect Moment, The,” 19Performance art, 18, 21, 30– 32, 34, 68n38,

184n34. See Live artPerformance Group, 15, 18– 19, 24Performance: clandestine, 188; making,

1– 3, 5– 9, 13, 23– 24, 52– 53, 55– 56, 64, 71– 72, 75, 79, 84– 85, 99, 141– 42, 165, 167– 68, 174, 192; performance lab at Dell’ Arte International School, 125, 129– 31; principles, 81, 83, 88, 92n38, 93n52



232 INDEX

Peripeteticism, 16, 30, 32– 33, 58, 75; itinerance, 29; nomadism, 16; wandering, 32. See Exile; Touring

Permanent Way, The, 64Permanent: base, 54; companies, 26, 57;

core, 27, 57– 58, 72; employment, 28; ensemble, 146; home, 170; member, 57; organizational structure, 27, 57; partnership, 118; residency, 28; retreat, 127; theatres, 114

Perpignan (France), 190Perseverance Theatre, 22Personal, 20, 43, 112, 118, 204; personal

connection, 49, 74, 78, 83– 84, 99, 157, 173, 175, 177, 196, 199, 206; personalized culture, 202; personal style, 59, 63, 170– 71. See Individual; Self

Peru, 17Philadelphia (Pennsylvania), 153Philosophy, 75; collaborative, 72; company,

128, 132; conflicting, 143; pedagogical, 134; political, 40; popular, 191

Physical theatre. See MovementPiccolo Teatro di Milano, 114, 127Pig Iron Theatre, 15, 24, 26, 153Pisa (Italy), 95Piscator, Erwin, 193n2Pittsburgh (Pennsylvania), 16, 21, 138,

140– 41Place- based: legacy, 202; values, 197;

worldview, 204. See Theatre of placePlay without Words, 64Play: acting, 32, 55– 56, 73– 74, 79– 81, 103,

133– 34, 170; drama, 4– 6, 16, 25, 39– 49, 52– 53, 64, 67n18, 68n40, 69n75, 71, 75, 79, 86, 89n1, 92n38, 99, 105, 131– 34, 137, 139– 41, 143– 44, 146, 166, 173– 74, 177, 187– 91; playing, 7, 113, 115, 117, 126– 27, 130, 171– 73, 175– 76, 178

Playwright, 23, 45, 55, 57, 59, 72, 112– 13, 116, 132, 137, 153, 167, 169, 177, 188, 203; as autocrat, 44; role in the collective process, 6, 23– 24, 39– 49, 52, 54, 126, 132, 190; single playwright, 13, 17– 18, 24, 40, 47, 55– 56, 72, 85, 146. See Author; Writing

Playwriting, 41, 43, 153; collective playwriting (see Writing); in isolation, 47; as specialized skill, 41

Pleasure, 105, 151, 196Plot, 113, 130; absence of, 43, 99, 104, Plurality, 74, 108. See PolyphonyPoetic theatre, 98, 102, 104, 131. See

Dramaturgical structurePoetics: A Ballet Brut, 151– 52, 155– 56, 159,

161– 62Poetics: of encounter, 95– 96, 108; of

mime, 115; sensory, 191Poetry, 31, 101, 104, 110n19, 113Poggelli, Elisa, 110Pogodin, Mikhail, 172Poke in the Eye, A, 114Poland: martial law, 14; 1970 Riots

of Gdansk, 14; student theatre movement, 14

Polish Laboratory Theatre, 88Politics: anti- Franco, 17, 187, 190; of

collectivity, 5, 7, 10, 23– 26, 33, 40, 45– 46, 48– 49, 53– 54, 113– 15, 139, 143, 154, 195, 207; cultural exchange as political praxis, 30– 31; of First Wave of collective creation, 8; of gesture, 151, 154, 161; hostile, 19, 22, 187, 190, 207; of identity, 3, 21; local, 16; Marxist, 3, 8; of nationalism, 3; of New Agitational Theatre, 32– 34; New Left, 2, 3, 6, 13, 15, 42, 46; of Occupy Movement, 26; opposed to aesthetics, 6, 8, 23– 24, 40, 49, 62; as personal, 20, 43; political justice, 24; political subversion, 15, 188, 190; political thaw, 22; political upheaval, 2; rejection of, 9, 25– 26, 42; of Russia in 1905, 6; of Second Wave of collective creation, 14, 23; socialist, 41, 76; of Spain in the 1960s, 189, 192

Pollastrelli, Carla, 109Polyglot performance, 32Polyphony, 2, 5, 23, 26, 74, 108, 142, 144.

See PluralityPomo Afro Homo, 36n14Pontedera (Italy), 21, 30, 93n44, 95n1

and n9pool (no water), 39Poor theatre, 76, 101, 106Popular formsPopular theatre, 8, 14, 25– 26, 56, 62– 63,

113, 126– 28, 191Portland Stage (Maine), 138, 141



INDEX 233

“Possibilities of Theatre, The,” 76Postmodern, 23, 55– 56, 74, 159Post- theatrical, 84Postwar, 15, 30, 39– 40, 111, 113– 14Povarskaia Street Theatre- studio, 21,

166, 170Poverty, 32, 187Power Book, The, 64, 67n14Power, 26, 79, 111, 123n4, 151; of the

director, 45, 54; disempowerment, 61; empowerment, 48, 78, 113, 203– 5; governance, 14, 19, 181n2; hierarchies of, 48, 117, 167; institutional, 26, 114, 182n21; pedagogical, 111, 120; relations, 79, 118; shared, 11. See Authority; Dominance

Prattki, Thomas, 112, 121pre- Christian Slavic, 196Pregones Theater, 17Preparation: of facilitator, 206; of

frequent collaborators, 58; of performed sequences (Barba), 75, 78, 83, 85, 93n52; performers’ 60, 97, 115, 139; preparatory research, 30; Ritual Preparation, 199– 202, 205; of spectators, 105; of text for performance, 61; of training, 96, 140

Presence: of collective creation, 14, 23, 51– 52; of directors and writers or choreographers in collective creation, 23, 46– 47, 57, 156; of performers, stage, 29, 73– 74, 82– 83, 96, 104, 160, 171, 196; shared, 100; of totemic or emblematic animal, 200; of untrained bodies, 158

Presentational style, 42, 142Prison, 26, 34, 78, 91n29; imprisonment,

190; jail, 207; prisoner, 91n29. See Incarceration

Prisoner of conscience, 34. See Incarceration

Producer, 19, 101, 145Professionalism, 55– 56, 139, 156– 59, 161,

166– 67, 169– 70, 183n25, 185n74, 187– 88

Profit, 49Projections, 25, 31, 176Propaganda, 19Props, 72, 74, 80– 81, 91n30, 106, 152

Protest, 8, 19, 22, 32– 34, 115– 16, 185, 187– 88

Provocation, 129– 30Pruit (Spain), 190Psychoanalysis, 82, 105Psychology, 60, 82, 105, 134, 199, 204;

anti- psychological, 43, 127, 115; psychological realism, 131, 169

Public, 8, 15, 25, 32– 34, 41, 62, 79, 86, 96, 101– 2, 109n4, 114, 129, 170, 177, 188, 190, 196

Public Agency for Culture, Tourism and Development of Haraklion City, 109

Publicity, 62Punchdrunk Theatre, 25, 68n40Punk, 32, 34Puppetry, 19– 20, 25, 53, 55– 56, 63Pussy Riot, 32, 34Putin, Vladimir, 34, 185n78; anti- Putin

protests, 34; Putin- Medvedev regime, 34

Quebec (Canada), 2, 4, 53Queen of Sheba, 207Queer, 18. See Gay; LesbianQuejio, 191Quotation, 103, 136n2, 137, 144, 146

Race, 203; racism, 204. See Tribal/ethnic differences

Radical Alternative Theatre (RAT) conference, 25

Radicalism, 5, 8, 9n4, 25– 26, 114, 116, 208; radical generosity, 120; radical politics, 13, 17, 23– 24, 42

Radiohole, 152Rainer, Yvonne, 152– 53, 156Rambo Solo, 152Rancière, Jacques, 158Ravenhill, Mark, 39Raymond, Bill, 16Reagan, Ronald, 22Realism, 196; anti- realism, 127;

psychological, 131, 169Rebellion, 3, 22Reconfiguration of collective creation

companies, 15, 17Red Dyke Theatre, 21Red Ladder, 53, 58Red Room, The, 10n10Reduta, 9



234 INDEX

Refugees, 87Regional, 3, 15, 17, 27, 31, 134Rehearsal, 17; Barba’s process, 72– 83, 85, 88,

90n19; at BOTHarts, 143– 44; dynamics, 58, 154; group rehearsals, 131, 137, 140, 153, 206; longer rehearsal period, 63; performances in a rehearsal room, 188; pre- rehearsal, 44, 139; rehearsal- room culture, 58, 62– 63, 147; at SITI Company, 140– 41; traditional, 47, 60– 61, 90n19, 146, 154; at Workcenter, 97, 100, 102, 104– 6; with a writer, 39, 41, 43, 45, 48, 60, 67, 137, 146, 189

Relationality, 108Relations of production, 54Religion, 75, 204, 209n7Renewal of theatre, 115– 16, 192Repertory system, 27, 58, 67n19, 85,

170– 71, 178; Repertoire, 16, 52, 82, 92n38, 189

Republic of Sakha (Central Siberia), 5, 32– 33, 195– 97, 201, 204, 209n7

Resa Fantastikst Mystick, 149n23Research: in preparation for performance,

30, 41, 47, 59– 60, 78, 139– 40; research team, 102, 110n17; research theatre, 4, 29– 30, 71– 73, 77, 80– 84, 88, 92n43, 93n44, 95– 96, 98, 101– 3, 105, 108– 9, 109n4, 133, 136n2, 170, 179, 188, 191, 195, 201; theatre history research, 1, 4, 8– 9, 14, 125, 167, 198

Residency, 28– 30, 37n35, 91n30, 97, 98, 101, 129, 132, 136n9, 179, 190, 195

Responsibility, 9, 41, 58, 67n, 13, 72– 75, 130, 153, 169, 172, 179, 196– 97, 202– 3; shared, 3, 4, 27, 40, 44, 57, 77, 117– 19, 166

Retreat of collectives away from urban centers, 18, 21, 27, 33, 97, 127, 140– 41. See Insularity; Invisibility; Visibility

Review, theatrical, 138, 149n21Revolt, 2, 158Revolution, 158; China, 46; creative,

116– 19, 159, 188; May 1968, 116; revolutionaries, 116; revolutionary, 6, 116; revolutionary creativity, 116– 18; revolutionary songs, 158; Russian, 6, 8, 34, 166, 183n22; Velvet, 14

Rhythm, 79– 80, 84, 104, 106, 122, 155, 199, 202, 205

Richards, Cècile, 110n17Richards, Thomas, 9, 21, 24, 26, 84, 93n44,

95– 110Ridiculous Theatre Company, The, 19Rigor, 140, 155Risk, 118, 120Ritual, 33, 81, 105, 195, 199, 201– 2, 205Roadside Theatre, 22Robbins, Tim, 143Rocchetta Ligure (Italy), 16Rolland, Romain, 36Roma, 32, 37n40– 41Rome (Italy), 3, 30Romeo and Juliet, 152Romero, Juan, 191Rote learning, 72, 75, 82Royal Academy of Dramatic Art (RADA), 42Royal Court, The, 68n40Royal Shakespeare Company, 30, 52, 58Rozov, Viktor, 172Rubinstein, Anton, 172Russell, Amy, 112, 121Russia, 4– 5, 22, 32, 34, 82, 91n27, 109n9,

165– 85, 187, 195– 96; Cultural Revolution, 166; Revolution of 1905, 6, 165, 183n28; Revolution of 1917, 183n22; Russian empire, collapse, 8

Ruzza, Lucca, 92n30Ruzzante, 113Rytchtarik, Jarid, 153

Sahara (Africa), 30Saint- Denis, Michel, 7, 21Saint- Luis Augustin, Chrystèle, 110n15Sakha, Central Siberian Republic of, 5, 33,

195– 97, 201, 204, 209n7Sakhalin Island (Russia), 32Sakhnovasky, Vasily, 182n19Salas, Teresa, 107, 110n17Salata, Philip, 107, 110n17Salina, Ric, 31San Diego (California), 3San Francisco Dancers’ Workshop, 156– 57San Francisco Institute of Art, 157San Francisco Mime Troupe, 19– 21, 128, 139San Francisco, California, 19– 21, 31, 128,

139, 156– 57Santiago (Chile), 17Sardaana, 201Sartre, Jean- Paul, 117



INDEX 235

Sarvig, Ole, 89n1Satire, 113– 15, 189Say Your Prayers, 48Scandinavia, 76, 90, 91n15Scenario, 44, 89n1, 113, 130, 145Scenes: alternative performance scene,

18– 19, 21; L.A. 99- Seat theatre scene, 26– 27, 138; New York “downtown” theatre scene, 18– 19; performance art scene, 18; scripted, 41, 43, 48, 129, 131, 144, 146, 159, 174, 190, 197, 200, 205, 207– 8; St. Petersburg theatre- studio scene, 183n33; unscripted, 44, 72– 75, 83, 88, 96– 97, 106, 125, 130, 133– 34

Scenography, 55, 80– 81, 90n6, 91n29– 30, 92n32, 165, 169, 171, 178, 183n30, 184n34; Scenographer, 165– 70; 172, 175, 179, 181n6, 185n73– 74. See Set: designer

Schechner, Richard, 7, 11n21, 15, 30, 81, 152

Schneemann, Carolee, 18Scholarship, 4– 5, 13– 14, 21, 23, 29, 51, 76,

95, 128, 152– 54School of Dramatic Art (under the

direction of Anatoly Vasiliev), 168, 170, 175, 178, 184n37– 38

Schumann, Peter, 152Score: performance score, 5, 157; in the

work of Eugenio Barba and the Odin Teatret, 71– 84; in the work of the Workcenter of Jerzy Grotowski and Thomas Richards, 97, 100

Scotland, 40Scott, Dakota, 153Script: collectively written, 41, 137, 141;

scripted work, 15, 39, 43– 47, 61, 79, 91n26, 113, 126, 143, 145– 46, 154; without a script, 5, 51

Scum: Death, Destruction, and Dirty Washing, 41

Seattle (Washington), 21Seclusion, 97– 100. See RetreatSecular: monasticism, 21; ritual, 105Seeberg, Peter, 89n1Self, 104, 126, 129, 196, 198, 201, 204,

206; auto- cours, 111, 127; idealized self- image, 207; individuated self, 5; in relation to “other,” 99; self-

confront, 144; self- criticism, 20; self- declaration, 54; self- discipline, 42; self- identification, 54; self- imposed exile, 170; self- inquiry, 46, 102; self- made, 22; self- promotion, 167; self- revelation, 81, 95, 129– 30, 133; self- sufficiency, 70

Semantic, 73, 74, 79, 80Sensory, 73– 75, 191Seoul (South Korea), 197Sequence, 72– 75, 84, 105, 115, 119, 152Serebrennikov, Kirill, 182Set, 25, 74, 80, 86; designer, 8, 26, 57,

68n19, 80– 81, 91n29, 92n31 and n39, 112, 137, 140, 153, 168– 69, 172– 75. See Scenography

Seven Meditations on Political Sado- Masochism

Seventh Studio of the Moscow Art Theatre, 182n19

Seville (Spain), 191, 193Sexism, 204, 209n7Shaffer, Kelly, 153Shakespeare, 67n13, 172Sharing: action, 157; administration,

28, 57, 169; creation, 40– 41, 43, 49, 77, 85, 177; experience through performance, 7, 97, 100, 103, 108, 176, 202– 3; humanity, 203; interest, 178; method, 47, 57, 85, 109, 112, 126, 128, 141, 144– 47; politics, 46; power, 3, 27, 40, 44, 47, 112– 13, 115, 118, 120, 122, 206; skill- , 9, 22; space, 22, 27; understanding, 58, 143

Shaw, Peggy, 21Shikasta, 205Shockheaded Peter, 25, 27Shostakovich, Dmitry, 172Shun- kin, 57Shunt, 10n10Shut Eye, 15Sifuentes, Roberto, 30Siguenza, Herbert, 31Silence, 19, 80, 187, 190Sincerity, 108, 177Sir Vantes: Donkey Hot, 168, 172Site- specific, 140, 143SITI (Saratoga International Theatre

Company), 9, 23– 26, 28, 69n62, 139– 48



236 INDEX

Six Public Acts, 16Skill, 9, 41– 42, 45, 83, 88, 91n27, 93n52,

112, 115, 118, 121– 22, 136n8, 139, 156Sklar, Roberta, 20Slapstick, 55Slavic, 196Sleep No More, 25Slowacki, Juliusz, 83Slums, 16Small Lives / Big Dreams, 137Social: action, 7, 24; change, 2, 22, 117,

190, 204; chaos, 190; class, 43, 191; conditions, 17, 115, 189, 192, 196; conscience, 190; dance, 60; gatherings, 102; identity, 204; impulses, 6, 8; inclusion, 54; mobilization, 24; polarization, 15, 188; policy, 3; practice, 14, 26; practice collective creation as, 26; order, violation of, 34; reconciliation, 33; relevance, 161; space, 101; structure, 7, 34, 46; trauma, 33, 206; union, 2; upheaval, 2; value, 62

Socialism, 26, 40– 42, 76, 188Society, 34, 101, 189, 190, 199; alternative,

2, 54; and the body, 204; patriarchal, 42; postwar, 113, 114; role of the actor in, 134

Soldevila, Carlota, 189Solidarity, Poland, 35n2Somatic, 55, 74, 83, 201– 2Some Trace of Her, 53, 67n18Song of the Goat, 85Sound, 61, 97, 101, 106, 110, 140, 199;

animal, 77, 200; non- verbal, 77Source material, 39, 73, 77, 79, 127, 137,

152– 53, 162; ancient sources, 146; anecdote, 191; everyday occurrences, 79; fable, 79; folktales, 172; historical events, 31, 79, 170, 172– 73, 179, 182n12, 190, 198, 203, 206– 7

South Africa, 5, 53, 63, 195, 201, 203, 205South Coast Rep, 31Soviet Union: fall of Soviet Regime, 22Sovremennik Theatre, 184n37Space: open, 81; private, 101; public, 33;

shared, 22, 27; social, 101; urban, 102Spain, 4, 17, 110n15, 187– 93; Franco

regime, 22, 26, 187, 190, 192; Spanish Civil War, 17, 187, 190

Speakers, The, 46, 48Specialization, 9n4, 153; anti-

specialization, 24Spectacle, 16, 51, 62, 189, Spectator, 73– 74, 80– 81, 85, 90, 93n44,

96– 97, 101, 105, Spiderwoman Theatre, 17Spielberg, Steven, 25, 51Spiritual, 115, 199– 200, 202, 205Spontaneity: spontaneous collective

creation, 101Sports, 7Sri Lankan Tamils, 196St. Petersburg (Russia), 11, 166– 69, 181n2,

183n33, 196St. Petersburg State Theatre Arts Academy,

166Stafford- Clark, Max, 46– 48Stage manager, 141Stagecraft, 106Staniewski, Wlodzimierz, 29Stanislavsky, Konstantin, 7, 9, 21, 108, 165;

Method of Psychophysical Actions, 96; Stanislavsky System, 76, 96, 196

Stars (performers), 18, 86, 101, 134, 176State Theatre Arts Academy, 182n17State University of Arts and Culture,

184n37Station House Opera, 10n10Status, 7, 37n35, 46, 52, 56, 59, 156, 158,

160, 169, 189n2Stelarc, 18Stewart, Ellen, 18Stockholm (Sweden), 3, 205Stockholm, 39Storyboard, 69n75, 79Storytelling, 31, 127Street of Crocodiles, The, 52– 53, 59, 61Street theatre, 92, 184n46Strike Support Oratorium, 16Strikes, 30Strindberg, August, 137Structure: of auto- cours, 111– 13, 116– 19;

body structure, 155, 159– 60; core- and- pool, 26– 27, 57– 59; egalitarian, 3, 5, 7, 16– 17, 24, 26, 40, 53– 54, 57, 112, 118, 152, 192; hierarchical, 9, 27, 40, 43, 53, 55, 108, 112, 167, 171, 179, 182; “idea structure,” 69n75; improvisatory, 113;



INDEX 237

linear dramatic, 62, 120, 155; Mike Leigh’s “structuring,” 44– 45; of national arts funding, 15; oppressive institutional, 6, 117; of performance, 31, 80– 81, 83, 96, 117, 130, 140– 41, 170, 207; postmodern narrative, 56, 68n38; of Russian works of art, 172; of School of Dramatic Art, 184; social, 7

Students, 14– 17, 26– 31, 75, 83, 111– 22, 125, 127, 129– 34, 139, 157, 161, 167, 170– 72, 175, 178– 79, 183– 84, 188, 196, 199, 208

Studio City (Los Angeles), 143Studio theatre, 17, 21, 28, 52, 60– 61, 63, 77– 78,

88, 115, 117, 125, 166, 168, 175, 181n1, n2, and n4, 182n20, 183n25, n28, and n33, 184n37– 38, 191. See Ensemble theatre; Laboratory theatre; Research theatre

Stuff Happens, 64Style, the (Actor’s Gang training), 142– 43Subjectivity, 165, 170– 72, 176– 77Subsidy. See FinancesSummer, Donna, 159Supraindividualist mind, 4, 166Sustainability, 57, 134, 147. See LongevitySutherland, Michelle, 109Suzuki, Tadashi, 28, 148n9; Suzuki

training, 137, 139– 42, 148n9Swarthmore College, 15Sweden, 196Switzerland, 15Synthesis, 5, 10n18, 122Synthetic theatre, 183n28Szajna, Jósef, 91n29

Table work, 139Taganka Theatre, 184n37Tairov, Alexander, 193n2Talabot, 92n30– 31Talent, 4, 49, 80, 86, 143, 167Tamils, 196Tanzania, 5, 195– 96, 203, 209n7Tararabumbia172Tate Modern, 32Távora, Salvador, 24, 189, 191– 93Teaching: acting, 8; in Alaska, 198;

Eugenio Barba as teacher; Joseph Chaikin as teacher, 15; at the Dell’Arte International School of Physical Theatre, 129– 34; Lev Dodin

as teacher, 82; Jerzy Grotowski as teacher, 21, 30, 108; Dmitry Krymov as teacher, 169, 175– 76; Estrada- based, 176; at GITIS, 182; at the Laboratory of Dmitry Krymov, 179; Jacques Lecoq as teacher, 116; Lecoq- based, 117– 18, 121– 22, 127; in the masterskaya system, 167; at the Odin Teatret, 86, 92n40; Mary Overlie as teacher, 28– 29, 148n9; within performance development workshops, 203; self- teaching, 116; senior company members teaching new company members, 78; at the SITI Company, 137– 38; to support companies, 27; at the Workcenter of Jerzy Gorotwski and Thomas Richards, 100, 108. See Education

TEAM (Theatre of the Emerging American Moment), 152

Team, 112, 118; administrative, 26, 57; consultative, 52; creative, 39, 131, 145; pedagogical, 167; of student actors, 131; of the Workcenter of Jerzy Grotowski and Thomas Richards, 96– 98, 100– 104, 106, 110n15 and n17

Teatro Campesino, 2Teatro Stabile, 114, 123n9Teatro- Estudio Lebrihano, 191TEC (Catalan Experimental Theatre), 188Technical director, 153Technician, 81, 86, 167Technique, 91n24, 92n38, 119, 121, 126, 129,

139, 155, 167, 193n2, 203; Alexander, 126, 129; Barba’s, 82, 84; Copeau’s, 113; devising, 51, 63, 141– 42, 154, 189; exchange of, 29– 30, 141; formal dance, 160; Grotowski’s, 84; pedagogical, 129; of popular theatre, 128

Technology, 25, 30, 197Tectonic Theatre Project, 28TEI, 189Telba, 17Terminology: changes in, 3, 23;

Grotowski’s, 96Text: ancient, 100, 146; - based, 61, 72, 81, 116,

126, 131; classical, 78, 191; fragments of, 72, 75, 79– 80; nontext- based performance, 55; performance text, 11n22, 40, 44, 73, 77, 141, 202; as pretext, 79



238 INDEX

Theatre Art Studio, 184n37Théâtre de la Complicité (a.k.a.

Complicite), 23, 51– 53, 55– 56, 59, 61, 64, 67n6, 70n87, 112

Théâtre de l’Odéon, 116Théâtre du Soleil, 2, 9, 23, 29, 88, 142Théâtre du Vieux Colombier, 126Theatre Genesis, 19Theatre O, 10n10Theatre of 13 Rows, 76, 79, 90n20Theatre of Blood, 63– 64Theatre of Nations Festival (Paris), 90n15Theatre of NOTE, 145Theatre of Sources, 30, 105Théâtre Passe- Muraille, 2Théâtre Repére, 23, 53Theatre: alternative theatre, 7, 15, 18–

19, 21, 25, 28, 51, 54– 56, 71, 105; anti- theatricality, 55, 157; municipal theatre, 190; street theatre, 92, 184n, 46; theatre anthropology, 7, 11, 29, 73; theatre festivals (see Festivals); theatre- making, 1– 3, 6, 8– 9, 13, 23– 24, 29, 52, 56, 67n8, 141– 42, 192; theatre of equals, 77; theatre of place, 128; theatricalism, 25, 32; theatricality, 48; total theatre, 9, 25

Theme, 43, 72, 83, 99, 101, 112, 117, 126, 128, 130, 141, 168, 171, 191

Third Angel, 10n10Third Street Theatre, 16Third Theatre, the, 30, 77Three Sisters, 67n82, 172Time: awareness of self in time, 126, 140–

41, 155; change over time, 2, 16, 17, 43, 147, 183n29, 189; time required for collective creation, 21, 43, 47, 63, 86, 97, 112, 118, 140, 174

Tolokonnikova, Nadezhda, 34Tolstoy, Leo, 172Tont, Anton, 189Total artwork, 9, 191Touchstone Theatre, 17, 22, 112Touring: circuit, 27, 56; exhibition, 19;

production, 16, 27– 29, 32– 33, 41, 69n54, 86, 91n30, 93n44, 114, 141, 161; training, 9

Tracing Roads Across (Workcenter of Jerzy Grotowski and Thomas Richards), 98, 100– 101

Trade Union movement, Poland, 35n2Tradition, 78, 101; of Asian theatre forms,

72, 82, 92n38; of auto- cours, 112– 13; of collective creation, 2, 5, 7, 10n5, 13, 142; of commedia character types, 127; of craft guild, 179; of indigenous performance, 33, 99, 195– 99, 201– 2, 204– 7; of physical theatre, 126, 189; of popular theatre, 8, 26, 31, 126, 128; of the Roma of Transcarpathia, 32, 37n39; traditional commercial theatre practices, 40, 43, 47, 52, 54– 55, 67n13, 72, 82, 85– 86, 96– 97, 104– 5, 114– 17, 119, 129, 132, 134, 136n8, 146, 149n21, 165, 169– 70, 198; traditional educational settings, 133; traditional forms, 196, 207

Training: at Actors’ Gang (the Style), 143; classical, 63, 156– 57, 159– 61; commercial theatre, 126, 134, 136n31, 198; common training within a company, 28, 53, 56– 57, 63, 145, 147; at Dell’Arte International School of Physical Theatre, 126– 29, 132– 34, 136n9; global diffusion of collective creation training, 27– 28, 30; Grotowski at Opole, 78; Lecoq- based, 111– 12, 117– 20, 127; of non- members, 37; at Odin Teatret, 71– 72, 76, 77– 78, 80, 82– 83, 88, 91n23, 93n52; Russian theatre professionalization, 16– 17, 169, 176– 77, 179, 182n17 and n21, 183n25 and n27, 185n74; at SITI Company (Suzuki/Viewpoints), 69n62, 137– 42, 145– 46, 148n9; in Stanislavsky- derived style, 196; untrained performers, 151– 52, 155– 61

Trance, 199Transcarpathia, 32Transculturalism, 30, 33. See InterculturalTransmission, 7, 27– 28, 82, 92n40, 96, 202Transnationalism, 9Trauma, 33, 197, 206Traveling Jewish Theatre, 17Treguboca, Maria, 179Trestle Theatre, 56, 64Tribal/ethnic differences, 204Trieste (Italy), 114Tristan and Yseult, 64



INDEX 239

Trust, 19, 61, 63, 78, 139, 196, 203– 4, 209Tufts University, 22Tuma Theatre, 198, 200Turin (Italy), 114Turner, Victor, 7Turning the Earth, 16Tuscany (Italy), 95Twelve Moons, 197“Twenty Movements, The,” 119Twin: An Action in Creation, The, 93n44,

100– 101Two Thousand Years, 64

Ubú President, 190Ubu Roi, 190UCLA Live, 27Ukraine, 32Ulehla, Julia, 110Undertold Tales, 172Unemployment, 40UNESCO’s Year of Grotowski, 101Uniformity, 176United States, 32; collective creation

practices in, 1, 3– 4, 9– 10n10, 13– 18, 20– 23, 25, 127, 153; college theatre programs in, 7, 28; current economic situation, 26; major metropolitan theatre companies in, 19, 24; migration- based culture of, 206; nonprofits in, 37n35; performer training in, 126, 134, 136n31; theatre festivals in, 27; theatre professionals in, 96, 115

Universities, 22, 27– 30, 76, 88, 95, 109n9, 111– 13, 115– 16, 130, 132, 182n16, 184n37, 188, 192, 195– 98, 208

University of Alaska, 195, 198University of Bologna, 29University of California at Irvine, 21, 30,

99, 109n4, 156University of Cyprus, 109n9University of Eurasian Theatre, 29University of Nanterre, 115University of Padua, 112University of Rome La Sapienza, 30University Theatre of Murcia, 188Urban regions, 16, 19, 21, 31, 33, 127,

134, 152; Urbanization, 197; Urban movement, 152. See Metropolitan regions

US Olympic Arts Festival, 142Utemum, 200Utopia, 2, 8, 152

Valéry, Paul, 110n19Value, 7, 48, 52, 55, 59, 62, 108, 133– 34,

138, 153, 160, 166, 171– 72, 196– 97, 203; production value, 15, 25

Variety theatre, 184n, 46Varley, Julia, 85, 87Vasiliev, Boris, 172Vassiliev, Anatoli, 165, 170, 172, 184n38Vaudeville, 8Vawter, Ron, 19Venue: alternative, 16, 19, 25, 53; bars,

102; churches, 102; collectives as venues of tradition and place, 202; and democratization, 128; festival, 30, 56; found urban space, 102; galleries, 102; homes, 102; international, 97, 101; mainstream, 25; museums, 32, 102; performance art venues versus National Theatre (London), 68n38; regional theatre, 31; small, 25; tents, 128; University- affiliated, 27– 28; workshops as a venue of cultural dialogue in Africa, 203

Verbatim plays, 64Veto power, 47Vibratory song. See MusicViewpoints, 28– 29, 139– 43, 148n9Virtuosity, 15, 102, 115, 158, 160– 61Vishnevsky, Vsevolod, 172Visibility of collectives and collective

creation, 2, 14– 19, 21– 23, 29, 33, 154. See Insularity; Invisibility; Retreat

Vision, 4, 41, 48, 59– 63, 76, 85– 86, 88, 113, 115, 117, 122, 134, 142, 152– 53, 165, 167, 170– 71, 191

Vivien, L., 182n17

Walesa, Lech, 35n2Wanlass Szalla Megan, 141War Horse, 25, 27, 51, 53, 55– 56, 62– 64,

67n9, 70n98Warhol, Andy, 137, 139Warm- up, 161, 198– 99, 204Warner, Deborah, 57, 64Warrilow, David, 16, 19Warsaw (Poland), 76– 77



240 INDEX

Watermill Center (New York), 179Waves, 53, 55, 60, 62, 64, 67n18Weaver, Lois, 21Webber, Stephen, 142Weimar Republic, 8, 26Wells, Chris, 142, 144West Coast (United States), 26, 138West End (London), 25, 51, 56, 67n9Western: cultural, 196, 198, 201; drama,

197; Europe, 34, 161; nations, 2, 165; performance practice, 167, 198; theatre, 88, 111, 177, 195

Westwood (California), 27Wexner Center, 27Whitney Museum, 32Wide Open Ocean, The, 149n23Williams, Heathcote, 46Wilson, Robert, 137Winter Group, 15Witness, spectator as, 93, 97, 99, 100, 104–

5. See Audience; SpectatorWomen. See GenderWooster Group, 15– 16, 18– 19, 21, 24, 147Work in progress, 102– 3Workcenter of Jerzy Grotowski and

Thomas Richards, 21, 24, 26, 93n44, 95– 110

Workers, 158, 188; workers’ rights movement, 14; steel mill workers, 16; striking workers, 116; theatre workers, 40; working class, 43; working class audience, 128, 191. See Farmers; Peasants

Workshop: conflict- resolution, 37; developing production, 16, 46– 49,

118, 149n21, 167, 183n22, 195, 203– 7; devising, 7, 56, 60– 61, 63, 99; training, 9, 27– 28, 30, 33, 78, 85– 86, 90n15, 91n24, 92n40, 106, 125, 130, 133, 137– 38, 142, 188

World War I, 8World War II, 4, 13– 15World Wide Web, circulation of protest

on, 34Worrall, Kristy, 153WOW Café Theatre, 21Wright, Jacqueline, 149n26Writing, 31, 41; collective writing, 25, 40–

44, 57, 62, 68n22, 132, 137– 38, 141, 143, 146, 190; solo writing, 16, 18, 42, 47– 49, 51– 52, 54– 57, 137, 146, 189. See Author; Playwright

Wroclaw (Poland), 90n20, 101Wyspianski, Stanislaw, 71

!Xuu, 196

Yoga, 204Young, Tracy, 142Yup’ik performers, 199Yuyachkani, 17

Zambia, 5, 195, 196Zero Budget Festival, 101Zero Festival of the Independent Theatres

of San Sebastian, 189Zhenovach, Sergei, 184n37Zones, 149n23Zoo District, 25, 149n23Zulu, 5, 195– 96, 203, 205– 6, 209; Zululand, 205



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