An Idiot’s Practical Guide to Devising 1

Devising Theatre

A 10 Step Approach to Devising

( A Practical Guide to Devising)

Step 1 - THE STIMULUS:

Basically the stimulus comes through one or more of our senses.

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record your reaction to the stimulus or stimuli to suggest basic plot ideas, e.g

what subject could this theatre piece explore and communicate?

Step 2 - SETTING THE STRUCTURE

Some Common Approaches:

1. The Story-Line Approach: hypothetical, real or both e.g. based on a case study

2. The Vignette Approach: short 'skits' on the subject linked up by transitions

3. The Documentary Approach: like a TV studio with facts give from the studio' and

filled in with outside broadcasts

4. The Historical Approach: the focus topic is followed through history and how it

has changed is shown by short linked 'skits’

5. Etc

An Idiot’s Practical Guide to Devising 2

Step 3 - CREATING THE CANOVACCIO (Scenarios): *

To decide: dramatic centre of the piece: e.g.

I. climax point of attack (if narrative):

II. use of time, sequential (?)

III. number of scenes:

IV. use of settings

V. characters: how, who, relationships

VI. what are you trying to say/ask/comment upon

VII. etc.

Write a Canovaccio - a set of scenario - loaded with blind offers for actor development.

Step 4 - DECIDING THE MEDIA

Brainstorm different theatre modes of communication e.g.:

a) speech/dialogue/choral

b) music/song b) mime/movement

c) dance (creative/cultural)

d) mask

e) puppets

f) video/computer/technical interaction

g) props

h) etc.

which you could use to dramatise your canovaccio. Remember not too many different modes - less is more.

Step 5 - DEEPENING THE PLOT (improvise!?):

Practice improvs on different aspects of the plot -could be used in the main piece - or not:

before/after improvs (background info)

offstage improvs

change point of attack improvs

explore blind offer improvs

etc.

An Idiot’s Practical Guide to Devising 3

Step 6 - DEEPENING THE CHARACTER (improvise again !?) :

Practice improvs/activities on different aspects of the characters - could be used in the plot - or not:

written thumbnails sketches

visualizations

interview improvs

different situation improvs (physical/vocal/relationship exploration)

prop generated improvs

costume generated improvs

etc.

Step 7 - KEEPING THE PIECE FRESH DURING THE PROCESS:

A series of exercises to prevent the final scripted performance becoming stale during development: reacting differently to blind offers each time

spontaneous adding of complications to the Canovaccio

controlled improv of the Canovaccio e.g. can only be in rhyming

couplets; alphabet improv;

changing the set or performing space within the improve

etc.

Step 8 - SCRIPTING THE SCRIPT

Either appoint a scriptwriter or share the 'skits' between the performers for writing.

Step 9 – PERFORM!

Step 10 – REFLECT…