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6 MAKING A
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5222 Making a Performance: Devising Histories and Contemporary Practices
6 traces innovations in devised performance from early theatrical
7 experiments in the twentieth century to the radical performances of
8222 the twenty-first century.
9 This introduction to the theory, history and practice of devised
20111 performance explores how performance-makers have built on the
1 experimental aesthetic traditions of the past. It looks to companies as
2 diverse as Australia’s Legs on the Wall, Britain’s Forced Entertain-
3 ment and the USA-based Goat Island to show how contemporary
4 practitioners challenge orthodoxies to develop new theatrical languages.
5 Designed to be accessible to both scholars and practitioners, this
6 study offers clear, practical examples of concepts and ideas that have
7 shaped some of the most vibrant and experimental practices in
8 contemporary performance.
9
30111 Emma Govan, Helen Nicholson and Katie Normington are practi-
1 tioners in different forms of devised theatre and lecture in drama at
2 Royal Holloway, University of London.
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1 Devising Histories and
2
3111 Contemporary Practices
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5222
6 EMMA GOVAN,
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8222 HELEN NICHOLSON,
9 KATIE NORMINGTON
20111
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 First published 2007
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Simultaneously published in the USA and Canada
by Routledge
270 Madison Ave, New York, NY 10016
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2007 Emma Govan, Helen Nicholson and Katie Normington

This edition published in the Taylor & Francis e-Library, 2007.

“To purchase your own copy of this or any of Taylor & Francis or Routledge’s
collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.”

All rights reserved. No part of this book

may be reprinted or reproduced or utilised in any
form or by any electronic, mechanical, or other means,
now known or hereafter invented, including photocopying
and recording, or in any information storage or retrieval
system, without permission in writing from
the publishers.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging in Publication Data
Govan, Emma.
Making a performance: devising histories and contemporary practices/
Emma Govan, Helen Nicholson, Katie Normington.
p. cm.
Includes bibliographical references and index.
1. Experimental theater – History – 20th century. 2. Experimental
theater – History – 21st century. I. Nicholson, Helen, 1958–
II. Normington, Katie, 1964– III. Title.
PN2193.E86G68 2007
792.02′2 – dc22
ISBN 0–203–94695–2 Master e-book ISBN

ISBN10: 0–415–28652–2 (hbk)

ISBN10: 0–415–28653–0 (pbk)
ISBN10: 0–203–94695–2 (ebk)
ISBN13: 978–0–415–28652–7 (hbk)
ISBN13: 978–0–415–28653–4 (pbk)
ISBN13: 978–0–203–94695–4 (ebk)
1222
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5222
6
7
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1222 List of illustrations vii
2 Acknowledgements viii
3111
4 Introduction 1
5222 ONE THE ART OF DEVISING 3
6
7 PART ONE Genealogies and Histories 13
8222
INTRODUCTION
9
20111 TWO BUT IS IT ART? ART AND NON-ART 18
1
2 THREE THE CREATIVE PERFORMER 29
3 FOUR ART, POLITICS AND ACTIVISM 41
4
5 PART TWO Shaping Narratives 55
6
INTRODUCTION
7
8 FIVE AUTOBIOGRAPHICAL PERFORMANCE 59
9
30111 SIX NARRATIVES OF COMMUNITY 73
1 SEVEN ADAPTING FICTIONAL STORIES 88
2
3 PART THREE Places and Spaces 103
4
INTRODUCTION
5
6 EIGHT MAKING PERFORMANCE SPACE/CREATING
7222 ENVIRONMENTS 106
NINE THE PLACE OF THE ARTIST 120
TEN BETWEEN ROUTES AND ROOTS:
PERFORMANCE, PLACE AND DIASPORA 136
vi CONTENTS

PART FOUR Performing Bodies 155

INTRODUCTION

ELEVEN THE SPEAKING BODY: PHYSICAL

THEATRES 158
TWELVE VIRTUAL BODIES 173

Conclusion 189
THIRTEEN SHIFTING BOUNDARIES: CONCLUDING
THOUGHTS 191

Bibliography 198
Index 209
1222
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3
422 ILLUSTRATIONS
5222
6
7
8
9 FIGURES
1011
1222 5.1 Third Angel: Class of ’76 64
2 6.1 Age Exchange Reminiscence Centre, Blackheath,
3111 London 84
4 7.1 The Wooster Group: To You, The Birdie! (Phèdre) 97
5222 8.1 Reckless Sleepers: The Last Supper 116
6 9.1 Lone Twin: SledgeHammer Songs 124
7 9.2 The Surveillance Camera Players: 1984 129
8222 10.1 Paul Bonomini: The WEEE Man at the Eden Project 147
9 10.2 Rona Lee: The Encircling of a Shadow, Newlyn
20111 Art Gallery 150
1 10.3 RIFCO: The Deranged Marriage 152
2 11.1 DV8: Just for Show 169
3 11.2 CandoCo: I Hastened Through my Death Scene to
4 Catch your Last Act 171
5 12.1 Gob Squad: Video stills Room Service (Help Me
6 Make It Through The Night) 184
7 13.1 Marc Quinn: Alison Lapper Pregnant 196
8
9
30111
1 TABLES
2
3 8.1 Qualities afforded to site and non-site spaces,
4 according to Smithson 110
5
6
7222
 ACKNOWLEDGEMENTS

We should like to thank all those who have contributed to the process
of writing this book. We are especially grateful to Blast Theory, Mark
Brodzinski, Gob Squad, Ben Harrison, IOU Theatre, Rona Lee, Lone
Twin, Clive Mendus, Simon Purins, Reckless Sleepers, RIFCO, Talia
Rodgers, Third Angel, Tim Spicer, David Thurlby, Mole Wetherell and
Libby Worth for their generous support and advice. We are indebted
to the insights of colleagues in the Department of Drama and Theatre
at Royal Holloway, University of London and to the creativity of
students we have taught on courses in devised performance.
1222
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Introduction
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422 ONE
5222
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7
8
THE ART OF DEVISING
9
1011
1
2
3111
4
5222 The theatre reproduces life. The art of theatre invents life.
6 Howard Barker (Barker 2005: 6)
7
8222
9 Often associated with the innovative and experimental, devised per-
20111 formances have frequently marked both the restrictions and possibili-
1 ties of theatre as a mode of cultural production. The practice of devising
2 has been instrumental in enabling theatre-makers to develop artistically
3 satisfying ways of working by stretching the limits of established
4 practices and reshaping their creative processes. By questioning
5 orthodoxies, devised performance has set new challenges for both
6 audiences and performers and has thereby made a significant and
7 enduring contribution to the contemporary theatrical landscape. This
8 book offers an investigation into the practices, processes and principles
9 of devising performance that have shaped and continue to inform this
30111 energetic aspect of theatre.
1 Devised performance occupies a distinct place in contemporary arts
2 practice and has a history of exceeding traditional theatrical boundaries.
3 The success of companies as diverse and innovative as Australia’s Legs
4 on the Wall, Britain’s Forced Entertainment and the US-based Goat
5 Island, to name but three of the best known, has ensured a loyal
6 following among audiences eager to witness challenging new practice.
7 Supported by the imaginative programming of international arts
8 festivals and a burgeoning university and college sector that is keen to
9 encourage drama students to recognise the aesthetic, political and
40 artistic potential of theatre-making, devised performance has achieved
41222 popularity on an unprecedented scale. In Britain, the 2005 productions
4 THE ART OF DEVISING

of DV8’s Just for Show at the National Theatre in London and Frantic
Assembly’s site-specific piece Dirty Wonderland shown at the Brighton
Festival sold out within days or even minutes. Devised performance,
always associated with the counter-cultural fringe, is becoming increas-
ingly commercially successful and entering the mainstream.
The appeal of devising performance for practitioners lies in its
pliability and porousness. The invented tradition of devised perform-
ance has, of course, no single aesthetic or ideological objective; its
strategies and methods are indebted to a wide range of cultural fields
including political and community theatres, physical theatre, per-
formance and live art. Theoretically, innovative practitioners have
gained insights from cognate research in various disciplines including
psychology, sociology and anthropology as well as theatre and perform-
ance studies. Practice has been informed by this inter-disciplinarity,
and enriched by dialogue and cross-fertilisation between practices and
practitioners. Devised performance is closely connected to the context
and moment of production, and new practices have been invented to
extend contemporary notions of what performance might be. Devising
has, therefore, the flexibility to enable theatre-makers to address matters
of personal concern, to interrogate topical issues, and to extend the
aesthetics and reception of performance.

What is devising?
It is useful to begin with definitions, even when they are unreliable and
constantly in flux. Devising is widely regarded as a process of generating
a performative or theatrical event, often but not always in collaboration
with others. It is interesting that, in the USA, this aspect of theatre-
making is often described as ‘collaborative creation’ or, in the European
tradition, as the product of ‘creative collectives’, both terms that
emphasise group interactivity in the process of making a performance.
‘Devised theatre’ or ‘devised performance’ is sometimes used as a
collective noun to indicate that it is an original piece of work developed
by a company or sometimes by solo performers, but it would be
misleading to suggest that this umbrella term signifies any particular
dramatic genre or a specific style of performance.
Recent definitions of devising performance indicate both its
historical roots and the shifting applications of the term. In the first
book published with an explicit focus on the subject, Alison Oddey’s
Devising Theatre: A Practical and Theoretical Handbook (1994), devising
is described in terms that emphasise the oppositional intentions of
 THE ART OF DEVISING 5

1222 artists and how their aspirations were translated into creative processes
2 and affected collaborations:
3
422 Devised work is a response and a reaction to the playwright–director
5222 relations, to text-based theatre, and to naturalism, and challenges the
6 prevailing ideology of one person’s text under another person’s direc-
7 tion. Devised theatre is concerned with the collective creation of art (not
8 the single vision of the playwright), and it is here that the emphasis has
9 shifted from the writer to the creative artist.
1011 (Oddey 1994: 4)
1
2 In this description Oddey maintains the view that devising rejects more
3111 ‘writerly’ forms of theatre such as naturalism in favour of dramatic
4 styles that are more visual and physical. In the process Oddey accepts
5222 that text-led theatre inevitably represents the sole vision of the
6 playwright, a way of thinking about mainstream theatre that implies
7 that it is still hierarchical in structure and dominated by naturalism.
8222 This vision of devising as alternative, oppositional and democratic
9 recalls its avant-garde and radical histories, but by the early 1990s, as
20111 Oddey acknowledges, this particular form of idealism was already
1 beginning to wane:
2
3 In the 1970s devising companies chose artistic democracy in favour of
4 the hierarchical structures of power linked to text-based theatre, and
5 yet within the last twenty years or so there has been a move from this
6 standpoint in response to an ever-changing economic and artistic
7 climate. In the cultural climate of the 1990s, the term ‘devising’ has less
8 radical implications, placing greater emphasis on skill sharing, specific
9 roles, increasing division of responsibilities . . . and more hierarchical
30111 groups structures.
1 (Oddey 1994: 9)
2
3 It is interesting to note that economic need, as well as artistic vision,
4 is held accountable for changing working practices. This recognises
5 that bringing together diverse creativities and different specialist skills
6 presents rich artistic opportunities. This may involve actors, directors,
7 choreographers and writers working together. This form of collab-
8 oration also supports the commercial viability of companies where
9 they employ specialised freelance practitioners on a project-by-project
40 basis to support their core teams rather than offering expensive perma-
41222 nent contracts. In educational contexts, by contrast, where devising is
6 THE ART OF DEVISING

a regular requirement of examinations in school and college drama,

undifferentiated patterns of work in which all participants share similar
responsibilities for the production are still often encouraged (Neelands
and Dobson 2000; Lamden 2000).
In their 2006 study of devising performance, Deirdre Heddon and
Jane Milling question whether devising was ever non-hierarchical and
democratic. Despite rhetoric to the contrary, they point to directors
such as Judith Malina and Julian Beck, Richard Schechner, Elizabeth
LeCompte, Tim Etchells and Hilary Westlake, all of whom have led
ensembles in the process of devising performance (Heddon and Milling
2006: 5). Although sceptical of the rhetoric of equality and equity that
has sometimes accompanied accounts of devising, Heddon and Milling
maintain that one of the distinguishing features of devising is collab-
oratively produced performance text. As they point out, the generic
term ‘devising’ describes ‘a mode of work in which no script – neither
play-text nor performance score – exists prior to the work’s creation
by the company’ (Heddon and Milling 2006: 3).
Although breaking the authority of the written text is not generally
held to be a political ideal by contemporary theatre-makers, and many
no longer prefer to work outside the mainstream, the practice of
generating, shaping and editing new material into an original perform-
ance remains a central dynamic of devised performance. Contemporary
devisers are also likely to have an expectation that the work will be
performed by those involved in the devising process, at least in the first
production. The British company Forced Entertainment provides a
good example of how the balance between authorship and performance
is negotiated. Tim Etchells, the artistic director, consistently rejects
the concept of an authentic authorial voice in his work, arguing that
writing for performance is often ‘about collecting, sifting and using
bits of other people’s stuff’ rather than an expression of a coherent
voice or ‘self’ (Etchells 1999: 101). When the company was approached
by someone wanting to stage its show Speak Bitterness (1996), how-
ever, it was, in the words of John Deeney, ‘unconvinced that it could
be performed by other people’ (Deeney 1998: 28). This suggests an
approach that, while questioning the authority and authenticity of
textual construction, values the creative collaboration of theatre-makers
in the devising process. This builds a language of performance that
uniquely suits the actors’ particular identities, strengths and abilities.
Since its inception in the early twentieth century, devising per-
formance has thrown a spotlight on the creative process. Although
this has been variously theorised and articulated at different times,
 THE ART OF DEVISING 7

1222 twentieth- and twenty-first-century practitioners have focussed on

2 discovering experimental creative processes and provoking the devel-
3 opment of new theories and modes of practice. While rejecting the
422 idea that there is an overarching theory of devising that might be
5222 applied to all contexts, Heddon and Milling suggest that it might
6 be ‘best understood as a set of strategies’ (Heddon and Milling 2006:
7 2). Although the material for devised performances may be generated
8 through spontaneous improvisation, the processes of working are also
9 likely to include an eclectic and experimental mix of playing, editing,
1011 rehearsing, researching, designing, writing, scoring, choreographing,
1 discussion and debate.
2 If devising is most accurately described in the plural – as processes
3111 of experimentation and sets of creative strategies – rather than a single
4 methodology, it defies neat definition or categorisation. New practices
5222 have arisen from a combination of creative conversations and
6 dissatisfaction with how current modes of practice address contem-
7 porary climates. This book examines the plurality of strategies and
8222 approaches used by devisers past and present, not with an intention
9 of establishing an overarching vision of what devising is, nor to
20111 recommend specific ways of working, but to explore how and why
1 changes have taken place, why experimentations with practice have
2 occurred, and what this means for contemporary performance-makers.
3
4
From theatre to performance?
5
6 Informed practitioners have consistently extended their creative
7 processes by drawing on the influences and legacies of their antece-
8 dents, enabling them to break with tradition and generate new and
9 innovative performances. This interest in reconceptualising creative
30111 practices is particularly evident in devising, which has experimented
1 with the limits and potential of theatre and performance. The different
2 inflections associated with the terms ‘theatre’ and ‘performance’ might
3 be observed across a wide range of artistic practices, marking an uneasy
4 and incomplete paradigm shift in both theory and practice.
5 One way to explore innovations in devising is to consider how
6 distinctions between theatre and performance have impacted on both
7 critics and practitioners. On the one hand, some cultural critics have
8 argued that theatre is limited by its association with commercialism
9 and consumerism, and that its highly codified theatre practices and
40 intimidating buildings restrict its potential to question contemporary
41222 social values. Baz Kershaw, for example, argues that theatre is a
8 THE ART OF DEVISING

‘disciplinary system’ and ‘system of cultural production’ that encour-

ages audiences’ passive acceptance of the status quo (Kershaw 1999:
31–32). In this configuration, theatre is associated with artificiality and
showiness, and consequently remote from the more pressing concerns
of daily existence. On the other hand, performance is generally seen to
be wider and more eclectic in scope, extending not only to theatrical
performances that take place in and outside theatre buildings, but also
to the performative aspects of everyday life. Building on insights from
anthropology, in the emergent field of performance studies scholars
have turned their attention to celebrations, ritual, sport and other
forms of paratheatrical activities.
Debates about theatre and performance turn on how far each is
regarded as potentially radical – in aesthetic form, in content and in
the means and methods of production – and it is partly for this reason
that they are significant to this book about devising. Practitioners
as well as cultural commentators have shown an interest in stretching
the boundaries of representation. In terms of artistic practice, Janelle
Reinelt has argued that the term ‘performance’ became associated with
the avant-garde and anti-theatre, particularly in the 1960s and 1970s,
when it was used to denote a rejection of mimetic representation
and the authority of the written script (Reinelt 2002: 02). In this
conceptualisation, devised performance shows practitioners’ interest in
exploring physicality before textuality, and in experimental ways of
working that emphasise the creative freedom and spontaneity of both
performers and spectators. This approach draws attention to the actual
experiences of performers and audiences in the moment of perform-
ance where conventional boundaries between them are broken down.
Theatre, by contrast, is concerned with representational space rather
than everyday places, in creating imaginary characters and fictional
worlds. The Canadian theorist Josette Féral has, however, argued that
theatricality, as well as performance, has radical potential. By framing
the tensions between reality and fiction, she argues that theatre em-
phasises the aesthetic distance between performers and audiences, and
in so doing invites them to see and imagine the world differently. Féral
recognises the creative and socially constructive qualities of theatricality,
suggesting that it is in the gaps between the artistic symbolism of
theatre and lived experience that new insights are glimpsed: ‘the duality
of a gaze, a perception or a word that recognises this gap between reality
and fiction where theatre takes place’ (Féral 2002: 11).
Although theatre and performance have been characterised as
separate sites of struggle, there has been, of course, much productive
 THE ART OF DEVISING 9

1222 dialogue between these two related modes of cultural practice. Not only
2 do practitioners move between making performances in theatres as
3 well as in everyday spaces, but both terms have also been used meta-
422 phorically in the social sciences, linguistics and philosophy to analyse
5222 human existence and the social structures of everyday life. The concept
6 of performativity, drawing on phenomenology, has been particularly
7 widely applied to theories of identity, human action and behav-
8 iour. Used to explain how human subjectivity is constructed, theories
9 of performativity suggest that social identities are sustained and re-
1011 imagined through the self-conscious patterning of behaviour and
1 unconscious repetition of performative gestures and acts. Although
2 these metaphors are differently theorised and often complex in their
3111 application, the cross-fertilisation between theatre and performance,
4 theatricality and performativity that has been generated by engagement
5222 with the social sciences has raised awareness of the cultural significance
6 and complexity of live performance and performative events beyond
7 the confines of conventional theatre.
8222 One of the recurring themes, evident in the various and disparate
9 histories that have impacted on contemporary devised performance,
20111 is practitioners’ commitment to developing conceptual, embodied and
1 often political understandings of performance-making. For the pur-
2 poses of this book, we have recognised that theatre and performance
3 are often interwoven, and that contemporary devisers have interrogated
4 both modes of culture practice, not as fixed and stable categories, but
5 as sites of experimentation that are continually in play.
6
7
Paradigms, practices and processes: the scope
8
of the book
9
30111 This study represents an attempt to capture some of the ephemeral
1 moments of devised performance in order to reflect on its effects,
2 effectiveness and efficacy. Jill Dolan has written evocatively of public
3 performance as ‘poised . . . between appearance and disappearance’ in
4 which memories are distorted, accounts partisan and for which
5 surviving documentation may be scant (Dolan 2005: 8). In this book
6 we have drawn on written accounts of practice, our experiences as
7 audience members, recorded documentation of performance and
8 interviews with practitioners. This process is, of course, highly selective
9 and consequently it has not been our intention to present a thorough
40 survey of contemporary practices, nor is this study a systematic history
41222 of all the twists and turns of devised performance. Rather, we hope to
10 THE ART OF DEVISING

shed light on some of the movements and concepts that have informed
devising, marking some of the major paradigm shifts and changing
practices evident in the varied and highly complex strategies that
constitute devised performance.
Theatre is always responsive to the artistic, cultural and intellectual
climates in which it takes place, but devised performance has par-
ticularly asserted its inventiveness through the interplay between
the conceptual and the formal. The twentieth-century antecedents
of contemporary practitioners – such as the avant-garde Dadaist
performers of the 1920s; those who staged the counter-cultural
‘Happenings’ of the 1960s; members of the politically radical Workers’
Theatre Movements in the 1920s and 1930s; those engaged in the civil
rights movements of the 1960s and 1970s – transformed the cultural
landscape by demonstrating how artists’ beliefs and values and forms
of performance are interdependent and mutually sustaining. Part One
of this book, Genealogies and Histories, historicises devised perform-
ance and maps the contours of these radical and alternative traditions.
It is not our intention to imply that there is an artistic canon of devised
performances, nor to suggest that there is an established canon of
artistic practices. These three chapters offer an example of the interplay
between the conceptual, the ideological and the formal by exploring
how distinctions between art and life were blurred and challenged by
early devisers. In turn, the opening section addresses the visual and
conceptual experiments of the avant-garde, the rise of interest in the
psychology, physiology and creativity of the actor, and the ideological
motives of politically radical theatre-makers in the twentieth century.
Part One of the book is structured around some of the concepts,
interests and practices that emerge from early innovations in devised
performance. In its three chapters it charts the counter-cultural
movements that set the scene for future experiments in devising. Taken
together, Part One frames subsequent discussions of practices and
performances that have occurred more recently.
Parts Two, Three and Four offer an analysis of different conceptual
models of devising, illustrated by the practice of recent and con-
temporary performance-makers. Part Two examines how experiments
in narrative have become a central element of devising. The frag-
mentation of narrative, and an implied rejection of the coherent linear
narratives often associated with more conventionally scripted plays,
is a source of inspiration for practitioners seeking to provoke new
ways of seeing. By experimenting with how narrative might be shaped
performatively, practitioners have altered perceptions by representing
 THE ART OF DEVISING 11

1222 narratives as multiple, open and unstable. Rather than offering a

2 comprehensive account of how narrative is understood, in this section
3 we have focussed on three specific areas of practice – autobiographical
422 narratives, community narratives and adaptation of fictional narratives
5222 – each of which is illustrative of particular performance paradigms and
6 different ways of working.
7 Part Three examines the ways in which practitioners have made
8 inventive use of space and place. With a history of experimentation with
9 performance in environments and places outside theatre spaces, devised
1011 performance has often sought to challenge cultural expectations about
1 the relationships between audiences and performers. This section takes
2 discourses of place and space as a starting point, exploring how they
3111 have been configured and reconfigured in different contexts and
4 settings in order to challenge and unfix contemporary notions of what
5222 might constitute theatre and performance. The fourth section develops
6 earlier discussions about the expanded role and physicality of the
7 creative performer, and finally we examine how notions of role, cultural
8222 identities and physicality are challenged when practitioners enter into
9 dialogue with fast-changing multimedia technologies.
20111 Choosing examples to illustrate the ideas within this book is highly
1 contentious and has been problematic. Devising is traditionally
2 sensitive to context and audience and for this reason we have selected
3 practices from a range of settings, including, for example, an analysis
4 of performative walks, work that takes place in hotel rooms and on the
5 street, as well as performance that is designed for more conventional
6 theatre spaces. This selection of material is also intended to ques-
7 tion paradigm shifts from theatre to performance, and to show how
8 different practitioners have interpreted this development. Another
9 means by which we organised and selected material was to consider
30111 the political motivations, aesthetic concerns and artistic backgrounds
1 of different devisers and devising companies, and we have given
2 examples of work created by practitioners who might identify them-
3 selves with related movements in the visual arts, in dance and physical
4 theatre, multimedia performance and in community arts. Although
5 each mode of performance has its own history, theories and traditions
6 to which we cannot do justice in a study of this length, we have chosen
7 to include such diverse examples in order to illustrate the inspiring
8 proliferation of forms and styles that might be recognised as devised
9 performance. Inevitably, however, in our desire to recognise the
40 expansiveness and inclusivity of devised performance, the choices we
41222 have made have been constrained by our own geographical location
12 THE ART OF DEVISING

and ability to witness live performance, and by what is publicly available

as records of practice. Of course this process of researching devised
performance is very selective and often subjective; published accounts
of practice indicate the level of critical interest in the work; reviews
are dependent on the tastes of the press and recordings of practice tend
to be generated by companies that have effective publicity machines.
The examples of practice we have chosen reflect both the circulation
of ideas and the discontinuities inherent in disparate artistic movements
and we intend that the structure of the book supports an understanding
that the development of devised performance has not been linear or
compartmentalised but reflective of artists and practitioners in dialogue
with each other. It is our intention that readers will be able to recognise
the practices and paradigms we have chosen here in the work of a range
of companies. We hope that our observations about contemporary
performance and its antecedents might furnish readers with theoretical
lenses through which to view other examples of devised performance,
perhaps including their own creative practices.
Although this book is primarily concerned with artistic endeav-
our, the notion of the laboratory is at its heart. It seeks to examine
the reformulation of elements of performance practice by devised
performance-makers and to note the developments that have, con-
sequently, expanded the language of performance. Rather than closing
the work down to a synthesised narrative of history, we hope that this
exposition of contextualised practice will enable readers to trace agents
of change and artistic response and thus open up the discussion of
experimental practice. Devising performance has been concerned not
only with testing and redefining the conceptual limits of art, but also
with using the art of devising to question the artfulness of living.
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