I. Understanding the practice: key elements and early examples. Introduction -- 1. A brief history of writing, writers and text in twentieth-century collaborative theatre : Erwin Piscator and the dramaturgical collective ; Early experiments with multi-authored work ; The Adventures of the good soldier Schwejk and stage design as an element of composition ; Piscator's legacy ; Theatre Workshop and Joan Littlewood and partially devised scripting ; Oh! What a lovely war ; The writer/director-performer collaboration ; Littlewood's legacy ; The Open Theater: working towards writer-director co-creation ; Working with writers ; Viet rock and the writer-driven devising process ; Joint Stock: serving the writer ; A commitment to writing ; Cloud nine and the writer's workshop ; Conclusion -- II. Collaboration, text and ... 2. Writer as co-creator : Part I. The in-house writer: Helen Edmundson for Shared Experience ; Part II. The commissioned writer: Bryony Lavery for Frantic Assembly ; Part III. Practical strategies -- 3. The writer as company scribe : Part I. Stephen Brown, Dawn King and Ollie Wildinson for Filter ; Part II. Practical strategies -- 4. The writer/director : Part I. The writer/artistic director: Polly Teale ; Part II. The commissioned writer/director: David Farr for Filter ; Part III. Practical strategies -- 5. The writer as poet : Part I. Anna Maria Murphy and Carl Grose for Kneehigh ; Part II. Practical strategies -- 6. The multiple writer : Part I. Vic Bryson, Michael Wagg and Sarah Sigal for Teatro Vivo ; Part II. Practical strategies -- Conclusion.
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