IU Indianapolis Applied Theatre Devised Productions

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“You are an explorer. You understand that every time you go into a studio, you are after something that does not yet exist.”

Anna Deveare-Smith, Letters to A Young Artist

What is “devised theatre” and how does it inform the productions at IU-Indianapolis?

In devised theatre, no one knows what the final product will look like—not the performers, nor the creative team. They start with an idea, a question, a theme, a piece of music, an image — or any number of interdisciplinary inspirations — and build innovative performances. Although there are varied definitions and connotations to the terms devised and devising, there are several key elements that characterize it.

First, devising includes a process of theatre-making where there is collaborative choice-making to create something completely new. Second, the creators of the work, are (most often) also the performers of it. Third, devising is experimental and exploratory in nature, which invites a “What If?” type laboratory space of theatrical trial and error. Finally, because of the third element, devised work often transgresses conventional structures and stylistic rules. This makes it open to integrating a variety of artforms, such as poetry, dance and video, in addition to traditional acting and scene work.

Devised theatre is the basis for the productions at IU-Indianapolis. Because of the intense process involved, the shows coincide with curricular coursework. Students selected as part of each production’s ensemble of collaborators enroll in a three-credit course T100: Devising Issue-Based Theatre (formerly called Rehearsal and Performance). This course equally serves Gen Ed Electives, the Theatre Minor, the Theatre Certificate, and students enrolled in the Applied Theatre Concentration. Therefore it benefits from interdisciplinary perspectives, and varying levels of theatre savvy to authentically inform the process, in service to he work of art that is generated by each ensemble.

Despite their different backgrounds all participants are united by common goals and purposes:

• To Challenge Themselves to Create and Collaborate in a New Way.
• To Exercise Their Artistic Voices To Shape a Final Product.
• To Embrace Ambiguity and Curiosity to Explore and Seek Solutions to Challenging Topics
• To Dialogue with the Audience About the Work They Have Created.

What strategic benefits and skills are gained from working on devised pieces as part of this specialized program?

As a future practitioner, being part of a devising process in the Applied Theatre Concentration prepares you to be a performance writer that is versed in numerous “languages” of the theatre (architecture of the space, audience/performer relationship, gesture, movement, sound, text etc.) that are adaptable to the diverse settings where applied theatre is practiced. Receiving exposure and training in devised theatre also empowers students to be “art-renpreneurs” that are capable of always working. The ability to constantly generate one’s own material (whether individually or with other collaborators), means that performing “conventional” play scripts is a choice (not a necessity) to be seen or have one’s artistic voice heard.

Though there are numerous methodologies and techniques implemented to generate raw material for devising, of equal importance is the Applied Theatre Concentration’s exposure to students of ways to co-create theatre with different communities. The uplifting examination of untold stories, the increased personal connectivity, and the dialogues facilitated (with both participants and audience members) by devising lead to individual and societal changes. Not only do these outcomes align with Applied Theatre teaching artistry, they also pay homage to core roots of the Greek theatre and other global ritualistic traditions, where theatre is seen as a “medicinal seeing place”.

 

 

 

What are recent examples of productions that IU-Indianapolis students have devised and performed? How have these connected to Applied Theatre processes and outcomes with their chosen artistic inquiries, missions or topics?

• Though originally inspired by the idea of living in a “post-pandemic” world, Unmasked (Spring 2022) soon became a way for ensemble members to explore the dichotomies of self-presentation. This piece followed vignettes connected to the conflicted lives of three subsets of main characters, inspired by the mission statement Unmasking is the vital process in which one lets go of the mask they wore (or that was wearing them) to unleash their true potential. It also infused aspects of poetry, spoken word and “monologue” to bring in contrasting external viewpoints. (*See video link to archival recording): https://iu.mediaspace.kaltura.com/media/t/1_nazvbumn
  
• Exploring both the personal and the psychological, the ensemble of Trigger (2023) used aspects of image theatre, physical theatre, and personal storytelling to create its anchor content. The play’s central idea (Understanding our triggers is the first step in creating co-existence with them.) facilitated choice-making with the script. It also left room to invite ambiguity for the audience members that perhaps not all “triggers” have negative connotations to them.
• The Butterfly Effect (Spring 2024) was a bold and innovative creation by that year’s ensemble to tackle the subject of ‘wellness”. After exploring many means to address the topic, the group choice to focus on how “wellness” informs our relationships and communications using the artistic inquiry question: How does our wellness (or lack thereof) affect the way we interact with the world? The production resulted in a metaphorical interweaving of personal narratives and a traditional storyline following the personal journeys of two main characters seeking their own paths to “heal” the unspoken. (*See video below to view archival recording.)

Questions? Contact:

Emilio G. Robles
Assistant Professor in Applied Theatre and Teaching Artist
CA 307B
317-274-2060
egrobles@iu.edu