Devised and Ensemble

US director and health and wellness educator Molly Schenck describes five useful rehearsal techniques for ensembles to adapt when creating work around difficult topics.

Robert Duffley reflects on four shows from the 2017 Divine Theatre Comedy Festival in Kraków, Poland.

Anthony Dvarskas discusses the process of researching and creating America is Hard to See, a documentary theatre piece detailing the lives of a small community of sex offenders, and the town that had to adjust to their new neighbors.

Director Amy Clare Tasker on how the organizing practice of Open Space has revolutionized her work.

Can friendships survive a separation in time, values, and life choices? Carey Purcell looks at the quiet questioning of the role of women in Sheila by The Associates.

This month Jonathan Mandell looks at A Room in India by French company Théâtre du Soleil, which considers the question ‘If all theatres were demolished tomorrow, would anybody miss them, and for how long?’

Randy Wyatt examines how Aquinas College in Grand Rapids, Michigan, explored the question of mounting contemporary work in a diverse world with limited resources and within a ‘closed’ academic context through a community-based/academic hybrid production of Caryl Churchill's Love and Information.

Multidisciplinary artist and cultural producer Ivan Talijancic interviews New York based duo Ximena Garnica and Shige Moriya about LEIMAY ensemble, their recent production Frantic Beauty, and the creation process for their five-part Becoming series.

Maine artist Jennie Hahn explores environmental stewardship in Maine’s Penobscot River Watershed with the performance project IN KINSHIP and shares her three guiding principles for making art in a time of climate change.

Carey Purcell engages the complications of sex in The Sex Myth, presented at HERE Arts Center in New York City. 

In the fourth installment of this series, Brendan McCall discusses the work of Czech-born, Norway-based artist Nela H. Kornetová , and her performance collective T.I.T.S. 

Ash Marinaccio shares her experience working with seniors through a four-month residency with the Queens Theatre in New York City.

Samantha Mueller, a theatre practitioner who works with the special needs community, talks about Seesaw Theatre which creates multi-sensory work for children with autism.

What can we learn about audience engagement and how and why audiences make meaning out of experimental theatre from a twenty-four-year performance experiment?

Yuko Kurahashi talks about the Collidescope 3.0 project, which uses movement, video projections, and soundscape to explore black and white relations in American history.

Director and playwright Tara Brooke Watkins discusses the process of creating The Bible Women’s Project, which fuses women’s stories from the Bible and the stories of women from conservative, Christian backgrounds.

Jack Paterson meets with Winfried Wrede to talk about the development program Flausen he runs in Oldenburg, Germany.

Cherry Lou Sy shares her experience seeing the Neo-Futurists’ The Great American Drama, which examines perceptions of the American dream and success in theatre.

Kyle Whalen explores the “moments of the unknowable” in the Steppenwolf production of Lucas Hnath’s The Christians in Chicago, Illinois.

Writer and performer Kelly Tsai shares the process of devising Ai Weiwei: The Seed, which is based on the art and writings of activist-artist Ai Weiwei.

Bryn Boice writes about how a rift with her father led her to begin work on a devised piece called I, Snowflake.

Mark Krawczyk writes about the experience his students at Boston Conservatory at Berklee had during a semester of working with artists from Double Edge Theatre.