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The Role of Ensemble Theatre in Redefining 'Playwriting' and 'Writing for Performance' in the 21st Century

合奏剧在重新定义 21 世纪“剧本创作”和“表演写作”中的作用

基本信息

批准号：
AH/J003522/1
负责人：
Duska Radosavljevic
金额：
$ 2.61万
依托单位：
University of Kent
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2012
资助国家：
英国
起止时间：
2012 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FJ003522%2F1
关键词：
Role Ensemble Theatre Redefining Playwriting

项目摘要

British plays and playwrights have had a profound influence on other cultures and their understanding of drama and theatre. Although Shakespeare, Wilde and Shaw continue to grace the repertoires of theatres around the world, Edward Bond and Sarah Kane's more controversial works have also caused a significant impact internationally in the second half of the 20th century. Interestingly, Kane's imagery-rich texts were more readily received and given a more adventurous treatment by Central European directors than they were in the English-speaking world.In the second half of the 20th century a practice known as 'devising' emerged in the Anglo-American context. The term refers to theatre-making practices which do not have an allocated playwright or a playtext at the centre of the process, but which use text as one of many ingredients in making a performance. Ensembles mixing theatre and dance such as DV8 or theatre and multimedia such as the Wooster Group are known for this method, as are Lecoq-trained Theatre de Complicite and the British performance company Forced Entertainment.A significant contribution to the development of playwriting as a studio-based rather than study-based activity could be seen to have been made by the director Max Stafford-Clark and his rehearsal-based work with writers which began as part of his ensemble Joint Stock in the 1970s. This is complemented by examples of playwrights who work with ensembles not just as writers but as actors, directors and designers (Steven Berkoff, Howard Barker, Chris Thorpe, Adriano Shaplin). This research project therefore aims to investigate the role of the ensemble way of working in changing the nature - and potentially changing our understanding - of playwriting in the 20th and 21st century. Part of the investigation is also the nature of authorship in theatre and the increasing cross-over between the previously segregated practices of 'playwriting' and 'writing for performance'.Although some British playwrights have worked with ensembles (David Hare, Caryl Churchill, Howard Barker), and many performers have written plays (Harold Pinter, Carl Grose, Tim Crouch); a perceived dichotomy between playwriting and performance-making as distinct areas of theatre-making activity has persisted in many cultures including the UK.This research project wishes to recognise the internationally emerging practice of writing which is entirely theatre and performance-oriented (such as the work of Kneehigh Theatre or Tim Crouch in the UK, Adriano Shaplin in the US and the collective of performance poets from Belgium, Ontroerend Goed). This writing is not motivated by meeting any literary standards and does not follow in the footsteps of classical poets. This writing is also not necessarily part of a devising process; it is a kind of dramaturgy which emerges from a kinaesthetic sensibility of a writer/performer (a quality which could also be re-ascribed to the actor/playwright Shakespeare himself). By collecting and analysing testimonies from contemporary ensemble theatre-makers in Europe and the US, this project ultimately seeks to redress the understanding of playwriting as literature which emerged at the end of the 19th century, and to facilitate a wider understanding of the newly evolving functions of text and performance within contemporary theatre. On an empirical level, the project seeks to investigate the potential place of the playwright and text within an ensemble of theatre makers required to stage it. On an analytical and discursive level, the project will be concerned with various modes of the interplay between written text and live performance in contemporary theatre, with a view to a number of different genealogies which emerged in the 20th century in the Anglo-American context. This will lead to three types of output: a monograph about Theatre-Making (Palgrave), a collection of interviews (Routledge) and a workshop package for practitioners.

英国戏剧和剧作家对其他文化以及他们对戏剧和戏剧的理解产生了深远的影响。尽管莎士比亚、王尔德和萧伯纳继续为世界各地剧院的剧目增光添彩，但爱德华·邦德和莎拉·凯恩更具争议性的作品也在20世纪后半叶在国际上产生了重大影响。有趣的是，凯恩的富有想象力的文本更容易被中欧导演接受，并给予他们比英语世界更冒险的处理。在20世纪世纪后半叶，一种被称为“设计”的做法出现在英美语境中。这个术语指的是戏剧制作实践，在这个过程中没有指定的剧作家或剧本，而是将剧本作为制作表演的许多成分之一。混合戏剧和舞蹈的合奏团如DV 8或戏剧和多媒体如伍斯特集团以这种方法而闻名，在莱科克接受过培训的戏剧院和英国表演公司强迫娱乐也是如此。导演马克斯·斯塔福德-克拉克和他的排练对剧本创作的发展做出了重大贡献，他把剧本创作作为一种以工作室为基础的活动，而不是以学习为基础的活动。基于与作家的工作，开始作为他的合奏股份的一部分，在20世纪70年代。这是补充的例子，剧作家谁的工作与合奏不仅作为作家，但作为演员，导演和设计师（史蒂芬Berkoff，霍华德巴克，克里斯索普，阿德里亚诺沙普林）。因此，本研究项目旨在调查合奏的工作方式在改变性质-并可能改变我们的理解-在20和21世纪的剧本创作的作用。调查的一部分也是戏剧创作的性质，以及以前分离的“剧本创作”和“为表演而创作”之间日益交叉的现象。（大卫黑尔、卡里尔丘吉尔、霍华德巴克），还有许多演员都写过剧本（哈罗德·品特，卡尔·格罗斯，蒂姆·克劳奇）;剧本创作和表演制作被视为戏剧的不同领域，创作活动在包括英国在内的许多文化中一直存在。本研究项目希望认识到国际上新兴的完全以戏剧和表演为导向的写作实践（如英国的膝盖剧院或蒂姆·克劳奇的作品，美国的阿德里亚诺·沙普林和比利时的表演诗人集体Ontroerend Goed）。这种写作的动机不是为了满足任何文学标准，也不是追随古典诗人的脚步。这种写作也不一定是设计过程的一部分;它是一种从作家/表演者的动觉敏感性中产生的戏剧技巧（这种品质也可以重新归因于演员/剧作家莎士比亚本人）。通过收集和分析欧洲和美国当代合奏戏剧制作人的证词，该项目最终旨在纠正19世纪末出现的对剧本创作的理解，并促进对当代戏剧中文本和表演的新功能的更广泛理解。在经验层面上，该项目旨在研究剧作家和文本在戏剧制作者中的潜在地位。在分析和话语层面上，该项目将关注当代戏剧中书面文本和现场表演之间相互作用的各种模式，着眼于世纪在英美背景下出现的一些不同的谱系。这将导致三种类型的产出：关于戏剧制作的专著（Palgrave），访谈集（期刊）和从业人员讲习班包。