Devised Theatre

“Artificial Things”: An Introduction

Posted by Katalin Trencsényi | 4th Nov 2018 | Devised Theatre, Essay, Theatre and Dance, Theatre and Disability, United Kingdom |

Artificial Things [i] (directed by Sophie Fiennes) is a re-imagination of a contemporary dance...

Who Is Theater Maker Ellenor Riley-Condit?

Posted by Emma Kantor | 31st Oct 2018 | Chicago, Devised Theatre, Directing, Interview, New York, United States of America |

Ellenor Riley-Condit is an actor, producer, creator, and artistic director of The Syndicate. She...

Perspectives In Prison Theatre: Interview With Bruce Levitt And Lorraine Moller

Posted by Taylor Leigh Ciambra | 19th Oct 2018 | Acting, Devised Theatre, Interview, United States of America |

“…Hamlet gives them cultural capital. It gives them ownership of something unique, not just...

“Free EU Roaming”: Adapting Catalan Referendum Into A Play

Posted by Armando Rotondi | 30th Sep 2018 | Adaptation, Devised Theatre, Festivals, Review, Theatre and Politics, United Kingdom |

Presented at the Smock Alley Theatre for the last edition of the Dublin Fringe Festival, Free EU...

Baig’s “Acha Bacha” Shows That Sometimes Real Stories Don’t Have Happy Endings

Posted by Christopher Taylor | 30th Jun 2018 | Canada, Devised Theatre, LGBTQ Theatre, Review |

I attended a live performance of Acha Bacha, written by Bilal Baig and directed by Brendan Healy,...

“Sea Of Common Catastrophe” At Irondale Center

Posted by Jack Wernick | 29th Jun 2018 | Devised Theatre, New York, Review, United States of America |

Irondale Ensemble Project, a self-defined “think tank” in Brooklyn’s bustling Fort Greene nabe is...

“25” 1919 France: Pure Performance Cycle That Continues Through Eternity!

Posted by Alvina Ruprecht | 29th Jun 2018 | Canada, Devised Theatre, Festivals, France, Review |

25–1919 Paris France is billed as a “performance event”–even a play if you wish, by Elliot...

Performance As An Act Of Civil Disobedience. Forbidden To Forbid

Posted by Milos Sofrenovic and Vinicius Jatobá | 17th Jun 2018 | Devised Theatre, Essay, France |

The latest performance of the series The Politics of Movement: On Reinterpretation of Power by...

Hook And Eye Theater Presents: “SHE-SHE-SHE”

Posted by Brandon Webster | 31st May 2018 | Devised Theatre, New York, Review |

In the world of New York theatre, it’s not uncommon to witness thematic ties across mediums and...

“Assembled Identity”: World Premiere

Posted by Brandon Webster | 15th May 2018 | Devised Theatre, New York, Review, Transmedia, United States of America |

There is a rather iconic scene in The Devil Wears Prada where Miranda (played by Meryl Streep)...

The Wooster Group’s “A Pink Chair” – Can You Ever Return?

Posted by Magda Romanska | 29th Apr 2018 | Devised Theatre, New York, Polish Theatre Abroad, Review, United States of America |

The Wooster Group’s newest production, A Pink Chair (In Place of a Fake Antique), was...

Jacob Storms And “Tennessee Rising”

Posted by David Vernon | 24th Apr 2018 | Devised Theatre, Festivals, Interview, New York, United States of America |

Jacob Storms is the recipient of the 2017 United Solo Award for Best One-Man Show after he...

Dance As A Language, Exhaustion As A Therapy

Posted by Jean-Baptiste Joly | 12th Mar 2018 | Chad, Devised Theatre, Interview, Theatre and Dance |

… when no one is willing to listen, no one you could tell, no one you could talk it over with to...

“To The Depths,” Together: A Show In Folk Songs With A Story

Posted by Lauren Dubowski | 11th Feb 2018 | Devised Theatre, Divine Comedy Festival 2017, Festivals, Poland, Review |

The Polish production To The Depths or To The Bottom (Do Dna), which appeared at the 2017 Divine...

The House That Geoff Sobelle Built: Questioning The Fundamentals Of Everyday Life In “Home”

Posted by Yan Chen | 7th Feb 2018 | Devised Theatre, Review, United States of America |

In Home, Geoff Sobelle and company, under the skillful direction of Lee Sunday Evans, create a...

“Brodsky/Baryshnikov” – Poetry in Motion

Posted by Katrina Holden-Buckley | 7th Feb 2018 | Boston, Devised Theatre, Review, Theatre and Dance |

The choreography itself spun through a range of subtle to more bombastic, creating a dramatic arc for the 90-minute piece. Baryshnikov’s commitment to using the whole body is unflinching. Whether it was part of the opening movement, when a chair balanced against his back served as the hint to the centaur referenced in a poem, or the use of his fluttering arms as a butterfly metaphor, his conviction in thought and body is mesmerizing. The illustrative nature of the metaphors manages not to be redundant or heavy-handed.