This project investigates the previously unrecognised significance of the ways in which the Embodied Theatre practices of Suzanne Bing (1885-1967) and Michael Chekhov (1891-1955) utilised forms of what I term Embodied Play as a constituent part of their actor training processes. A methodology is developed in the introduction which draws on Foucault's notion of genealogy and Feminist approaches to historiography in order to trace and review accounts of these often marginalised play practices in order to re-configure the contributions of Bing and Chekhov in historical terms. It also challenges notions of authenticity and singular 'ownership' of technique by considering the importance of collaborative cross-fertilisation with other practitioners. This research includes a broader exploration of the literature, histories and discourses about the variety of practices that are often problematically classified as Physical Theatre in relation to the identification of the key components of Bing and Chekhov's pedagogy. The first chapter presents this mapping in tandem with the argument that McDermott's term of Embodied Theatre is more appropriate for Bing and Chekhov's practice. The second chapter further refines the frame of analysis to Embodied Play. Chapters three and four consider how Chekhov and Bing respectively used forms of Embodied Play. Chapter five considers how Bing and Chekhov extended their methods of Embodied Play in training which led to radical approaches to working collaboratively with text and writers. It concludes that this movement from the use of play solely for the acquisition of discrete skill or character creation to extended forms of Embodied Play enabled them to train actors to work as empowered creators of small-scale performance in their Schools/Studios, and ultimately to engage in devising processes for professional productions. Consequently, this helps to fill the gap in scholarship on the early experiments in devised Embodied Theatre. In conclusion the focus on Bing addresses the either inadequate, or absent, analyses of her practice in many of the existing historical studies which are dominated by the patrilineal narratives of Jacques Copeau and Michel Saint-Denis. The consideration of Chekhov's practice also challenges the current discourse on play centring on Le Jeu and presents the argument for an expanded term able to consider different artists not just those from the French male lineage. Concurrently, this focus on Chekhov's use of Embodied Play has added to the scholarship on his pedagogic and theatre-making practices.

This thesis is a written documentation of the original, devised performance piece, ANTI-BELLUM: A RECLAMATION OF THE SOUTHERN BELLE, written in the fall of 2006 by Chandra O. Hopkins. The document tracks the creative process through the stages of: initial inspiration, written development and script formation, creative collaboration in the rehearsal hall, and finally the staging presentation of the piece through production. In addition to this written document, the original, devised script of the production is also included.

During this course, upper-level VCUArts students are invited to join forces to become a part of a cross-disciplinary, ensemble-based exploration. Powered by Tectonic Theatre Project’s Moment Work, students will create new works and gain insight into the philosophies, purposes, and processes of Moment Work and other devised theatre techniques. The class will culminate in short, devised pieces, created and performed by the students. The focus of the class is on the creation of a harmonious ensemble amongst a varied group of young artists. I believe that in order to create a generation of innovative and forward-thinking artists, the segregation of the arts disciplines within academia must halt. Cross-disciplinary collaboration will invite varying perspectives to exist in a single setting, and hopefully lead to new forms of art.

This paper considers two purposes for actor training—textual interpretation and devising original works—through the teaching of a class based on contemporary theatrical clown and physical theatre exercises which are then applied to Samuel Beckett’s Waiting for Godot. Devised work can be used to interpret a script, and a script can be used as a jumping-off point to devise new works. Beginning with an explanation of the teaching methods for the class, the paper then gives a background of clowns who performed in Beckett’s plays, and analyzes various productions' use of games to enliven text. Exercises from the class are used as examples of exploring the uncovering of clown personas and the application of games to both Beckett scene-work and invented theatre pieces. The students’ final performances are examined to demonstrate the effectiveness of the classwork, confirming that textual interpretation and devising are complementary instead of opposing practices.

Abstract DEVISING, REFINING, AND REHEARSAL IN A 30 YEAR WAR By Bradley Harris Willcuts, M.F.A. A thesis submitted in partial fulfillment of the requirements for the degree of Masters of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2015 Thesis Chair: David Leong Devising, Refining and Rehearsing in a 30 Year War is an account of the process of developing movement and choreography for the production of Mother Courage and her Children at Arena Stage in Washington D.C. It was my largest project during the two years I spent at Virginia Commonwealth University studying an MFA. The title reflects the chronological process that my mentor, director, and colleague David Leong and I went through to produce the work that earned a Helen Hayes Nomination for Outstanding Choreography in a Play. The show starred Kathleen Turner and was directed by acclaimed artistic director of the Arena Stage, Molly Smith. The demands of the work not only had serious responsibilities, but they also asked for a higher caliber of iv work than I had ever been a part of before. It proved to be the single most influential theatrical experience of my career. The movement work needed to be approached with great research and merit due to the highly stylized nature of the project and the national acclaim for it’s opening. This thesis documents that process and the successful outcome of the work which David Leong and I spent over 8 months on.

In this thesis, I explore applied theatre and site-specific performance workshops as methods for public participation in city planning. “The Ghosts of Waller Creek” program worked to foster interest in and facilitate dialogue around the redevelopment of an abandoned urban creek area in Austin, TX. I explore three guiding questions: How does an applied theatre practitioner foster collaboration with non-theatre artists on a creative project that achieves common goals? How can applied theatre and site-specific performance workshops and events foster place attachment and engage citizens in city planning? How does an applied theatre practitioner translate participatory, applied theatre workshops into an artifact that is useful to city planners? Using reflective practitioner research processes and qualitative coding methods, I examine these questions through an analysis of surveys, interviews, performances, discussions, field notes, and observations. I first explore the role that goals, communication, and reflection played in my partnership with an urban designer. I then use place attachment theory to examine how the workshops and events shifted participants’ interest in, and engagement with, Waller Creek and city planning. Next, I investigate how performative artifacts such as audio maps and interactive performances can communicate participants’ opinions about Waller Creek to city planners and to the general public. Finally I discuss how the project situates in the field of arts-based civic dialogue and address guidelines for future projects. This thesis invites applied theatre practitioners to consider how their work can contribute to arts-based civic dialogue in their own communities. / text

Thirty-two students worked together for eight weeks to write nearly fifty short plays from which thirty were selected, produced and performed in a production titled Warning May Cause Irritation, inspired by the Neo-Futurists' signature show: Too Much Light Makes the Baby Go Blind. Nineteen students were also involved in the concurrent case study of the project and kept journals, participated in focus group sessions, developed scripts and filled out worksheets. Data generated was analyzed for evidence of student empowerment, relevancy of the work to student's lives, and their ability to work democratically.In the end, it seems the students enjoyed and felt empowered by the democratic process used to generate the final production and the result was an educative, relevant and fulfilling experience that may inspire some to continue working in the theatre and the students seemed open to continuing to explore nontraditional theatre projects in the future.

How can a playwright share authorial control with a group of actors when creating a new play script? How does the individual playwright address matters of genre, form, style and structure to create a unifying theme, while remaining true to the dramatic intention and aesthetics of the group? What impact will the collaborators have on a playwright's work? Will they help or hinder the writing process? This exegesis closely follows the creation of a new play, The Woods, in a process where the playwright intended to facilitate a collaborative process with the actors rather than act as sole author. Issues arising in this mode of working include the real meaning of sole authorship, aesthetic integrity and creative power balance. The analysis of these issues will have relevance for theatre practitioners working in collaborative contexts.

This explication seeks to frame a practice-led research project that explores the scenographic elements of place and object as an intermediary device between body and narrative in devising theatre. A focus of this work is scenographics as a mediating moment between traumatised body and painful narrative; using objects and place as a means of safely exploring and un/recovering memory to make theatre. The research also explores wider applications of scenographics in their formative and generative potential in devising theatre. The practical research is underpinned and located in various conceptual frameworks. Place is guided by Rachel Hann's work Beyond Scenography (2019) with a focus on place orientation, as well as terminologies of space and place introduced by Gay McAuley in various texts. Object is primarily considered through assemblage, semiotics and phenomenology with a focus on a disruption of the subject/object hierarchy as a means of facilitating a scenographic mediatory stand-in during the devising process and in the final theatre piece. The final practical output is process-orientated and focuses on devising a piece of theatre, Hallways, with other participants using place and object. This will be achieved through sets of exercises, activities and games developed throughout the research process; these will be expounded on in the paper.

The thesis examines the impact of perceived brightness and contrast balance in relation to the spatial volume; physical volume transforming into a perceived volume in light. Two static viewpoints of 20th century’s museum architecture have been tested to observe qualitative features in daylight entering through architecturally devised openings. Anders Liljefors’s “7 parameters of light” based on visual-physical theory and James Gibson’s perception factors relating to our visual field help evaluate the perceived qualities. The thesis directs towards understanding relationship of brightness and contrast perception with the perceived color of space and spaciousness of the architectural volumes. Individual experiment with physical mock-up replicating the spatial volumes in contextual sun altitudes as well as visual representation of analyzing perceptual parameters have been documented and discussed. Also, methodology includes a collective evaluation surveying observers’ perception of “lighting features” and “spatial features” seeing the fish-eye images of the viewpoints as if looking into the physical mock-up. The comparative analysis in this research is an attempt to contemplate qualitative observation tool as an objective reference in relation to the subjective experience for architectural lighting design process. The investigation follows case studies of two exhibition spaces designed by architects - Carlo Scarpa and Louis Kahn addressing both diffuse skylight and direct sunlight entering through architecturally devised openings.