This chapter arises out of the creation of performances of Marguerite Duras's Eden Cinema (L'Éden Cinéma), a play very rarely performed in English, and Savannah Bay, a text that is perhaps a little more familiar to English speaking audiences. Lib Taylor directed both as part of a research project at the University of Reading on performing Duras (Eden Cinema, 2005 and Savannah Bay, 2007). In Duras's theatre texts, space functions simultaneously as both abstract and concrete. Its meanings are continuously renegotiated as at any point it conflates several physical locations and temporal frames while also embodying the insubstantial, and provisional figures who inhabit the space no more than partially. Stage space fluidly expands and shrinks to encompass room, house, veranda, gardens, fields, and roads and cities beyond as well as seemingly having an agency of its own in summoning up characters, stories, memories and sentiment. This chapter considers the questions raised by the later plays when their theatrical realization destabilises readings by means of material performance in physical space.

This article analyses how listening is used to develop performances in Alecky Blythe's verbatim theatre. Listening includes Blythe's use of recorded oral interviews for devising performances, and also the actors' creation of performance by precisely imitating an interviewee's voice. The article focuses on listening, speaking and embodiment in London Road, Blythe's recent musical play at London's National Theatre, which adopted and modified theatre strategies used in her other plays, especially The Girlfriend Experience and Do We look Like Refugees. The article draws on interviews with performers and with Blythe herself, in its critical analysis of how voice legitimates claims to authenticity in performance. The work on Blythe is contextualised by brief comparative analyses. One is Clio Barnard's film The Arbor, a quasi-documentary' on the playwright, Andrea Dunbar which makes use of an oral script to which the actors lip-sync. The other comparator is the Wooster Group's Poor Theater, which attempts to recreate Grotowski's Akropolis via vocal impersonation. The article argues that voice in London Road both claims and defers authenticity and authority, inasmuch as voice signifies presence and embodied identity but the reworking of speech into song signals the absence of the real. The translation of voice into written surtitles works similarly in Do We Look Like Refugees. Blythe's theatre, Barnard's film and The Wooster Group's performances are a useful framework for addressing questions of voice and identity, and authenticity and replication in documentary theatre. The article concludes by placing Blythe's oral texts amid current debates around theatre's textual practices.

Devising in Process edited by Alex Mermikides and Jackie Smart Basingstoke and New York: Palgrave Macmillan, 2010, x + 194 pp, ISBN 9780230573673 (paperback) Lib Taylor University of Reading Devisi...

This article presents findings and seeks to establish the theoretical markers that indicate the growing importance of fact-based drama in screen and theatre performance to the wider Anglophone culture. During the final decade of the twentieth century and the opening one of the twenty-first, television docudrama and documentary theatre have grown in visibility and importance in the UK, providing key responses to social, cultural and political change over the millennial period. Actors were the prime focus for the enquiry principally because so little research has been done into the special demands that fact-based performance makes on them. The main emphasis in actor training (in the UK at any rate) is, as it always has been, on preparation for fictional drama. Preparation in acting schools is also heavily geared towards stage performance. Our thesis was that performers called upon to play the roles of real people, in whatever medium, have added responsibilities both towards history and towards real individuals and their families. Actors must engage with ethical questions whether they like it or not, and we found them keenly aware of this. In the course of the research, we conducted 30 interviews with a selection of actors ranging from the experienced to the recently-trained. We also interviewed a few industry professionals and actor trainers. Once the interviews started it was clear that actors themselves made little or no distinction between how they set about their work for television and film. The essential disciplines for work in front of the camera, they told us, are the same whether the camera is electronic or photographic. Some adjustments become necessary, of course in the multi-camera TV studio. But much serious drama for the screen is made on film anyway. We found it was also the case that young actors now tend to get their first paid employment before a camera rather than on a stage. The screen-before-stage tendency, along with the fundamental re-shaping that has gone on in the British theatre since at least the early 1980s, had implications for actor training. We have also found that theatre work still tends to be most valued by actors. For all the actors we interviewed, theatre was what they liked doing best because it was there they could practice and develop their skills, there they could work most collectively towards performance, and there they could more directly experience audience feedback in the real time of the stage play. The current world of television has been especially constrained in regard to rehearsal time in comparison to theatre (and, to a lesser extent, film). This has also affected actors’ valuation of their work. Theatre is, and is not, the most important medium in which they find work. Theatre is most important spiritually and intellectually, because in theatre is collaborative, intensive, and involving; theatre is not as important in financial and career terms, because it is not as lucrative and not as visible to a large public as acting for the screen. Many actors took the view that, for all the industrial differences that do affect them and inevitably interest the academic, acting for the visible media of theatre, film and television involved fundamentally the same process with slightly different emphases.

This article discusses emotion as a strategy of political agency in post-Thatcherite documentary theatre. The 1990s saw a renaissance in theatre writing based in 'directness' and 'immediacy' but based in two quite different forms of drama, 'In-Yer-Face' theatre and fact-based drama. There are clear distinctions between these forms: the new brutalist writing was aggressively provocative; documentary theatre engaged the audience by revealing an urgent 'truth'. Both claimed a kind of realism that confronted actuality, be that of situation or experience, through forms of theatre that cultivated emotional engagement. 'In-Yer-Face' theatre used emotional shock to penetrate the numb cynicism that its creators perceived. Documentary theatre used observation and the cultivation of sympathy to enlist its audience in a shared understanding of what was hidden, not understood or not noticed. The article analyses the functioning of emotional enlistment to engage the audience politically in two examples of documentary theatre, Black Watch and Guantanamo.

Counting Her Dresses and other plays, devised by Lib Taylor, is a short, mixed-media, promenade performance based on theatre writings by Gertrude Stein. Gertrude Stein was an American writer who lived in Paris for most of her adult life and was a significant figure in the development of early twentieth century modernism. She was an artists’ patron and one of the first collectors of paintings by Picasso, Matisse, Cezanne and others. She wrote novels, short stories, poetry and criticism, as well as a number of very short ‘plays’ and opera libretti. Even though her plays are very rarely performed they have been very influential in the development of avant-garde theatre. The performance juxtaposes a soundcape of voices, live performance, an ‘exhibition’ of paintings and mediated images projected onto and across the space to evoke Stein’s sense of theatre as a place of experience and emotion, not as a place of story and action. The performance comprises five theatre fragments which have been combined in a collage that alludes to the experimental art that Stein promoted.

This article discusses approaches to the interpretation and analysis an event that is poised between reality and performance. It focuses upon a real event witnessed by the author while driving out of Los Angeles, USA. A body hanging on a rope from a bridge some 25/30 feet above the freeway held up the traffic. The status of the body was unclear. Was it the corpse of a dead human being or a stuffed dummy, a simulation of a death? Was it is tragic accident or suicide or was it a stunt, a protest or a performance? Whether a real body or not, it was an event: it drew an audience, it took place in a defined public space bound by time and it disrupted everyday normality and the familiar. The article debates how approaches to performance can engage with a shocking event, such as the Hanging Man, and the frameworks of interpretation that can be brought to bear on it. The analysis takes account of the function of memory in reconstructing the event, and the paradigms of cultural knowledge that offered themselves as parallels, comparators or distinctions against which the experience could be measured, such as the incidents of self-immolation related to demonstrations against the Vietnam War, the protest by the Irish Hunger Strikers and the visual impact of Anthony Gormley’s 2007 work, 'Event Horizon'. Theoretical frameworks deriving from analytical approaches to performance, media representation and ethical dilemmas are evaluated as means to assimilate an indeterminate and challenging event, and the notion of what an ‘event’ may be is itself addressed.

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Drawing on Freud's concept of the unheimlich, this article proposes the notion of ‘The Unhomely Stage’ as a category of postmodern theatre which responds to contemporary lived experience of fragmentation and insecurity. The idea of The Unhomely Stage emerged during the process of devising and documenting a research production at the University of Reading of Backtracks, a performance which re-evaluated what it means to feel ‘at home’ in the modern world. Focused around explorations of migration, journey, loss and memory, Backtracks looked to Homi Bhabha's postcolonial reworkings of heimlich/unheimlich to find a theoretical framework for responding to the experience of alienation and displacement that marks modern existence. But it alo connected Freud's concept of the unhomely to Brecht's Defamiliarization, with its emphasis on reflexive analysis, and to Artaud's Cruelty, with its focus on personal experience and the internal dynamics of the psyche.