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THTR1002 Devising Fundamentals Report Sample

Assignment Details

1. Investigation

Referencing style is APA 7th Ed.

This unit encourages you to be a reflexive practitioner (i.e., a practitioner who reflects on their creative process). This assessment aims to capture that process by asking you to document the material presented to you in class for application to your own creative practice.

Document an exercise introduced in class and used by one of the following practitioners: Anne Bogart, Robert Lepage, Jacques Lecoq or Frantic Assembly. Using research to support your documentation and discoveries, reflect on this exercise using the following format:

1. Title / Origin (i.e., name / where/who is it from?)

2. Aim (Why do you do it?)

3. Process (What did you do? How was it facilitated?)

4. Reflection (What was your experience? How could you apply this exercise to your own process?)

Other resources

The following essential texts can be accessed via the Reading List in Blackboard:

Week 2 / Reading 1: Climenhaga, R. (2010). Anne Bogart and SITI Company: Creating the Moment. In A. Hodge (Ed.), Actor Training. (2nd ed., pp. 288-304). Taylor &
Francis Group.

Week 3 / Reading 2: Dundjerovic, A. S. (2010). Robert Lepage and Ex Machina - Lipsynch (2007) – Performance Transformations and Cycles. In J. Harvie & A. Lavender (Eds.), Making Contemporary Theatre: International Rehearsal Processes. (pp. 160-179). Manchester University Press.

Week 4 / Reading 3: Lecoq, J. (2007). Movement Technique. In J. Keefe & S. Murray (Eds.), Physical Theatres: A Critical Reader. (pp. 187-192). Routledge.

Week 5 / Reading 4: Graham, S., & Hoggett, S. (2009). Choreography. In The Frantic Assembly Book of Devising Theatre. (pp. 125-168). Routledge.

Solution

1. Overview of Selected Class Documents

The selected class document on Anne Bogart and SITI company helps to develop a reflexive practitioner for creative practice. As the focus is specified with theatre activities and the process Bogart used in her practices to transmute the journey, relevance for including this in a piece of reflection makes sense. In later part of this reflection changes, aim for her thinking and the scope all are justified to form a vision Bogart built. The nature Bogart used in her practice of theatre journey is accumulated by audience engagement and a vision for reclaiming theatre as an arena of action (Climenhaga, 2010).

2. Aim

The creative process adopted by Anne Bogart is setting up a new route of theatre by her company SITI. Looking at the causes why the SITI company makes value for this reflection is working terms and future offerings. This company worked based on the creation of New York, training for theatre artists and cross boundary commitment. The creativity Bogart holds in her company for a new working approach draws the supremacy of influences. Regarding this SITI company, achievable work at best like the already delivered 50 shows, performer strength and ability of theoretical vision. At this point when discussion is centred with creativity then Anne Bogart leads the vision through revolutionary change.

3. Process

Since SITI development Anne Bogart built the plan for transforming contemporary theatre. The new vision Anne set through her SITI is rethinking contemporary theatre by implementing collaboration, educational program, and performance. Additionally, the approach adopted by Anna for theatre innovation includes actor training, collaboration, and cultural exchange. As per Perucci (2020), inclusion of six viewpoints of Mary Overlie helps to influence Anne for philosophical investments. The including six dimensions are space, shape, time, emotions, movement, and story by which an evolving scope Anne received.

Figure 1: Mary Overlie Six Viewpoint
(Source: Perucci, 2020)

On the other hand, collaboration with Tadashi Suzuki influences SITI operations in terms of teaching and training. Before including the approach SITI adopted from Suzuki approach a brief about his thinking is needed to consider. As he believed questions existed tradition and interacted with present socio-economic complexity. Linking with Anne she also believes to draw transformation over the contemporary theatre that comes with values she practises in work. The activity Suzuki always reflected through his work is always associated with social action so that a clarity about connection can be made (Kozma, 2022). This innovation is adopted by Anne to influence her working approach for a revolutionary artistic journey. Furthermore, worldwide travelling of SITI and being popular for reinvention of collaboration. This results in the production of work with Rachel, Bill T Jones, Ann Hamilton, and many others (SITI, 2024). On the other hand, view point of Tina Landau’s viewpoint also influences Anne Bogart’s approach to working. However, a time and space-based viewpoint helps to achieve the delivery of soft focus, ability of extraordinary listening, spread of awareness and feedforward. The approach Anne used in her company makes the benefits for engaging people with her shows in terms of sensing the theatre values for the assignment helpline.

As per Cullen (2022), the view point training needed for theatre has made the transformation for reshape audience awareness and involved actors’ ability. Exploring different approaches and techniques Anne used to change the tradition of contemporary theatre she also built core values of uniqueness. She always prefers to train actors so that education and knowledge can be reflected through performance. The confidence she holds to take participate in any challenging artwork always reflects her interest to discover new potential of theatre. Additionally, the inclusive training program adopted by Anne helps to regain the values for artistic scholarship and active recruitment. One way Anee builds a new approach of working and another way she focuses on building a team with education so that outcome reaches to active presentation. By analysing the SITI values and new values then a knowledge of their anti-racism practices is recognised. This reflects on the strength and reason for collaboration through achievable they meet in theatre. Some of the practices include anti-racist approach in marketing, harm acknowledgement, active listening, and others (SITI, 2024).

4. Reflection

I learned the passing century and practitioner involvement reshape the world of theatre which makes the new form of showcasing. Just like the concept changes techniques are also changing with the view of thinking. As per Gatt (2020), theatre, drama all mode is the way of discovering space and mode for sharing & connection. Based on that the changes Anne made for theatre brings the discovering for theatre possibility. The inclusion of physical action and working with collaboration she prioritised enable the strength to hold the uniqueness for her creativity. However, the changes are made for the theatre world and the aim of connecting with humans remains constant. I learned that at the phase of planning theatre is not about developing with a new approach, only more about training people with that.

In the presence of an expert and teaching environment an organisation can be able to produce multiple talents with bigger vision. The term collaboration is highlighted in many parts of the discussion which repeatedly reflects on Anne's vision and her thinking for the need of it. Considering theatre as communicative art and its powerful conscientization creates the demand for accuracy (Chukwu-Okoronkwo, 2020). In the case of Anne, she always believes in the approach of inclusive training from which expert artists can be produced who can make the communication clear. She always prioritises connection so that people can view her vision through her artwork. On the other hand, as we know marketing is another business communication form where Anne keeps its anti-racist aspect. This results in value sharing with each other artist and audience by which an engaged show can be hosted. In the future I also used this approach to make the connection with my audience so that the purpose of theatre can never be neglected. The power we can put for theatre and the reflective influences for human connection get wider.

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