The creation of the performance work UKULELE MEKULELE is used as a site to uncover the interactions between the work of the sole author and group-devised processes. The increasing acceptance of the 'openness' in contemporary theatre practice has strong implications for the role of the sole author, who traditionally has been the provider of the 'closed' - known quantities that are subsequently 'realised' by a production. How can the sole author best write for the seemingly contradictory environment of the group-devised production? Critical incidents from the performance are selected for study. These 'moments that work' and their provenance are utilized as examples of the interaction of the various forces at play in the performance making process. The researcher's intimate contact with the artwork entails a unique vantage point from which to observe these forces at work. Their evocation and analysis will have relevance for the creators of live art in collaborative contexts.

This research explores the validity and value of ‘solo devising’ as a means for specifying a category of theatre-making that has been little discussed, compared to group devising, in existing literature on devising and postdramatic theatre. Primary source material was obtained through carrying out extended interviews with five experienced British theatre practitioners who have made work that could be described as solo devised performance: Tim Etchells, Bobby Baker, Mike Pearson, Nigel Charnock and Wendy Houstoun. In analysing these interviews, referred to in detail but not reproduced in full, the enquiry draws on a range of writings, including Oddey, Heddon, Harvie, Alexander and George, on devising and making performance and in particular on Melrose’s concept of practitioner-centred expert knowledge, Lehmann’s notion of the postdramatic and Sennett’s specification of expertise in craftsmanship. Chapter One considers solo practice in relation to the idea of a solo devising economy, the interviewees’ professional work and other experimental solo practices within theatre, performance, dance and art. Chapter Two explores how the interviewees create multiple performance personae, doing and undoing notions of individuality and autobiography through strategies of working ‘about’, ‘from’ and ‘beyond’ the self. Chapter Three explores solo devising processes, involving research, generation of material, composition, performance and ‘orchestration’. Chapter Four scrutinises different kinds of collaboration, including ‘audiencing’, as both enabling and productively confounding activities occurring within solo devising. Chapter five specifies some findings about solo devising: that it both involves expert, crafted, individual working, requiring orchestration of a high number of activities and skills, and, simultaneously, practices of negotiated authorship with other artists and audiences, enabling a potentially political reading of its distinctly ambiguous working. An additional finding is that close attention to what expert practitioners say about their work can yield rich information about a specific practice.

This thesis documents the construction of a performance project, At Last Sight, which was made with a group of undergraduates at University College Chester. The leader of that project is the same person as the writer of this thesis; this locates the act of writing as something embedded within the process of performance making. The writing forms an address to the unreliability of objective observational analysis. It does so through a resistance to those attempts at impartiality and detachment that might usually be expected in an academic investigation. In this case partiality and involvement are more than central to the investigative process, they form the very structure of enquiry. The body of this work was written at the same time as At Last Sight was being constructed, and the ideas encountered herein possess many of the rhythms of performance making. Space is both somewhere performance is made and an integral aspect of the made work. In a similar way the following chapters amount to more than the site where work has been recorded. In tracing the footprints that led to At Last Sight the thesis reveals itself as an element of that which is being traced. Where At Last Sight revealed the performers as the to-be-watched and also as the watchers, the study functions as the to-be-read and also as the reading. In this way the documentation becomes the documented. This notion of integration between the subject and its study runs through the thesis. Approaching performance analysis as something `other' creates a gap between it and its subject that can deny the best attempts to bring the two together. Approached in a less compartmentalised way the analysis is allowed to form an indivisible correspondence with the analysed. When the division between the act and the analysis is dissolved the documentation is able to exist as both fixed object and time-based event. Something of the fluidity of process is acknowledged and articulated in each of the sections presented.

In this research I have explored the performance making process of world renowned director Robert Lepage. This exploration informed my own process, creating an original performance called GAIJIN, where my roles included producer / director / designer and co-writer. The practice-led research strategy employed in this research has allowed me to navigate the sometimes slippery slope of connecting various performance discourses with the pragmatics of the performance making process. The reason for this research is my strong interest in the director’s role and my affinity with the practice of Robert Lepage. My observation of the performance making process of Robert Lepage prompted the creation of a conceptual framework informed by Hans-Thies Lehmann’s work Postdramatic Theatre. These theoretical concerns were then further investigated in the creation of my own show. This research process has uncovered a performance making process that foregrounds the working principles of simultaneity and synaesthesia, which together offer a changed conception of the performance text in live performance. Simultaneity is a space of chaotic interaction where many resources are used to build a perpetually evolving performance text. Synaesthesia is the type of navigation required – an engagement consisting of interrelated sense-impressions that uniquely connect the performance makers with the abundance of content and stimulus; they search for poetic connections and harmonious movement between the resources. This engagement relies on intuitive playmaking where the artists must exhibit restraint and reserve to privilege the interaction of resources and observe the emerging performance. This process has the potential to create a performance that is built by referential layers of theatrical signifiers and impressions. This research offers an insight into the practices of Robert Lepage as well as a lens through which to view other unique devising processes. It also offers a performance making language that is worthy of consideration by all performance makers, from directors to performers. The significance of this process is its inherent qualities of innovation produced by all manner of art forms and resources interacting in a unique performance making space.