Once you have formed your ensemble,the group needs to choose a starting point that can provids the inspiration for your collaborative creation of a piece of theatre. This starting point will give a focus to your ensemble's initial stages of practical exploration. For this assessment task, the starting point must be from the list in the IB Theatre Guide. See: Key Terminology: Starting Point.
Next, your ensemble will need to create a range of responses to your starting point. You can use the IB handouts for the Collaborative Project for ideas on how to approach this part of the task.
Gecko Theatre takes three years to create a production using the 'Gecko Method' for devising. You don't have three years for your Collaborative Project, but you can look to pages 45-48 of the Gecko Resource Pack for '10 Steps to Gecko: Devising Your Own Work' for help with this task.
John Walton, a director, dramaturg, and Artistic Director and Producer for Foolish Hope, a touring theatre company in the UK, came up with his own list: 'Devised Theatre: Ten Tips for a Truly Creative Collaboration':
“Devising” is a process in which the whole creative team develops a show collaboratively. From actors to technicians, everyone is involved in the creative process.
It’s both an exhilarating and terrifying way to work. I love the challenge of creating a show from scratch, but with this freedom comes a significant catch: there’s no script; no safety net. From shows that have ended up touring nationally to flops I’d rather forget, here are some of the things I’ve learned along the way.
Be passionate about your source material - If you don’t care, why should an audience?
Do your research - Research nourishes rehearsals, provides a huge wealth of material from which to devise, and gives authenticity to your final production.
Get your material out there as soon as possible - If premature exposure sounds too terrifying, you can always invite supportive friends into your rehearsals.
Unite the whole company around a common purpose Set aside some time early on to explore everyone’s personal objectives for making the piece. Then, as an ensemble, write a unified mission statement for the show.
Keep an open mind - Admit that you know nothing, keep an open mind and listen attentively to the people with whom you’re working. The smallest comments can spark Eureka moments, and there really is no such thing as a bad idea.
The importance of story is relative - An early obsession with plot will close you off from many discoveries.
Always look for counterpoints. - If your subject matter is serious, look for the moments of humor. If you’re doing comedy, remember that it’s probably not funny for the characters involved.
Everyone works differently Devising doesn’t have to mean endless improvisations. Let people create material in whichever way works best for them.
Don’t be precious - Throw away your rehearsal plans if they’re not helping, give your best jokes to another actor, consider moving your final scene to the start, simplify the plot-line, and mercilessly edit your show to the shortest length possible.
Stay optimistic and enjoy yourselves - Things will inevitably go wrong, but remember to keep looking for the joy and inspiration to create.
Starting point
The starting point provides the inspiration for the collaborative creation of the piece of theatre. It gives a focus to the initial stages of practical exploration. For this assessment task, the starting point must be one of the following:
As theatrical material is drawn out of the starting point and practically explored and developed, the focus and subject matter of the piece will become clearer to the ensemble and they will discover the areas of interest that yield the most possibilities. As a result of this development, the subject matter of the final piece may move away from the initial point considerably. It may be useful for students to record the process of evolution of the theatre piece from starting point to final production as a reminder to help them at a later stage with their reflection on collaboration.
Do your research, don’t obsess over plot and set aside time early on to explore everyone’s personal objectives for making the piece
Gecko Theatre takes three years to create a production! Year 1 is 'The Thinking Year' when the 'seed' of an idea for a new show is developed. Year 2 is 'The Writing Year' with reactions to "early explorations with further ideas and images, new starting points for investigation and research, and sometimes even a new seed." Year 3 is the 'The Making Year' with several months of preparation and technical rehearsals before the launch of the 'Creation Tour.'
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