1. A Devised Theater Presentation by Drew Calof
Complicite
A Devised Theater Presentation by Drew Calof

2. A Brief History of Complicite
Founded in 1983
Principles of
Collective Enquiry
Exploratory Collaboration
London-based
Founders
Annabel Arden
Fiona Gordon
Marcello Magni
Simon McBurney
Current Artistic Director

3. Basis for Complicite: Jacques Lecoq
French Actor, Mime, Theatrical Teacher, Director
Revolutionized creative process for devising theatre
Emphasized Physical Improvisation
Built trust and understanding between actors
Sought to teach actors how they could best explore their own abilities, not give them a defined skill set

4. Lecoq (cont.) Had a background in Sports, specifically gymnastics
Led to an emphasis on the theory of geometry in movement
Taught in the style of “via negative”
Only criticized the poorest qualities of a performance
Not tell the actor what was done “right”
Let experience be the best teacher
Mask Work and Comfortability on stage
Neutral Mask-introductory, symmetrical, expressionless
Once actors got comfortable physically emoting with neutral mask, they would move on to smaller masks until they had the smallest possible: a clown nose
Meant to expand actors’ comfort levels and trust in themselves

5. Lecoq And Complicite Theatre of Gesture
Based in Lecoq’s experience with gymnastics and Mime
“the theatre and creation are matters of real experience, of oral transmission and of length. It’s not easy to express with some words what the experience makes us get in touch with in a living way”
Summary: Physicality and Gesture are just as important to conveying theatre as words, text, and stage directions
Complicite emphasizes Lecoq’s Theatre of Gesture in their devising process
First workshop is always about building trust and comfort in actors to fully express emotion through physicality and gesture
Following with the Via Negativa, actors must find what is best for them through experience and not through direct teaching

6. What Makes Complicite Productions Unique?
“[Complicite’s] inimitable style of visual and devised theatre [has] an emphasis on strong, corporeal, poetic, and surrealist image supporting text”—Stephen Knapper
Extreme Movements
Classical Works
Lyrical/Musical Productions
Technology
Projectors
Radio
Lights

7. Extreme Movements Highly Exaggerated Movements
Surrealism
Stark Imagery
Acrobatics and Aerial stunts
Examples
Lionboy
Anything for a Quiet Life

8. Classical Works Used as basis for devising Shakespeare
Winter’s Tale
Opera storylines
Magic Flute
Cultural tales
Shun-Kin
Highly dramatic pieces become backdrop for Theme

9. Lyrical/Musical Productions
Create more memorable tone
Often used in relation to incredible deep or heavy
Examples
A Pacifist’s Guide to the War on Cancer
A Dog’s Heart
Out of a House Walked a Man…

10. Technology Projectors Lights Radio Camera
Show images on top of the physical performance, creating another layer of the performance
The Elephant Vanishes
Lights
Creates stark and eery imagery with silhouettes and shadow
The Noise of Time
Radio
Creates an intensely social and immersive experience
The Vertical Line
Camera
Creates an artificial focal point for a production that the audience can observe
The Encounter

11. Workshops Based in the teachings of Jacques Lecoq Open Workshops
Specific Facets of Theatre
1-2 weeks
Long-term Workshops
1st session—trust-building, language development
Next few sessions are centered in actually devising and revising work
Those who want to focus on the physically surreal must do so from the first workshop on
Tenets of Devising Theatre
Look at a lot of devised theatre
Talk to devised theatre directors
Sit in on rehearsals

12. Prominent Productions
Lionboy
The Magic Flute
Boy who can talk to cats must save his kidnapped parents with the help of a circus and its lions
Uses
Extreme Movements
Projections
Lighting
Musicality
Mozart’s operatic tale of heroism, Die Zauberflote, translated into English with a bit of projection-based magic
Uses
Extreme Movements
Aerial Stuntwork
Projections
Lighting
Musicality
Classical Work

13. Works Cited http://www.complicite.org
complicite-theatre-exercises
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