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Informationen zum Autor Dr Jane Milling is Senior Lecturer in the department of Drama at the University of Exeter, UK. She has taught at the University of Sheffield and joined the Drama Department at Exeter in 1995. Research interests include popular and political performance in 17th, 18th and 20th century theatre history. Milling is particularly interested in questions of participation, community, and creativity in contemporary performance and culture, and is co-author of Devising Performance: A Critical History (2005). Her Modern British Playwriting: The 1980s will publish late 2012. Klappentext What is the history of devised theatre? Why have theatre-makers, since the 1950s, chosen to devise performances? What different sorts of devising practices are there? What are the myths attached to devising, and what are the realities? First published in 2005, Devising Performance remains the only book to offer the reader a history of devising practice. Charting the development of collaboratively created performances from the 1950s to the early twenty-first century, it presents a range of case studies drawn from Britain, America and Australia. Companies discussed include The Living Theatre, Open Theatre, Australian Performing Group, People Show, Teatro Campesino, Théâtre de Complicité, Legs on the Wall, Forced Entertainment, Goat Island and Graeae. Providing a history of devising practice, Deirdre Heddon and Jane Milling encourage us to look more carefully at the different modes of devising and to consider the implications of our use of these practices in the twenty-first century. Zusammenfassung What are the myths attached to devising, and what are the realities?First published in 2005, Devising Performance remains the only book to offer the reader a history of devising practice. Inhaltsverzeichnis General Editors' PrefaceAcknowledgementsForeword1. Introduction2. Devising and Acting3. Devising and Visual Performance4. Devising and Political Theatre5. Devising and Communities6. Contemporary Devising and Physical Performance7. Contemporary Devising and Postmodern Performance8. ConclusionsNotesFurther ReadingBibliographyIndex....
