A Practical Guide to Ensemble Devising by Davis Robinson (review)

The increased visibility of devised theatre has fostered a growing canon of works interrogating what it is, how it is done, and what critical inferences can be drawn from collaborative creation. Davis Robinson’s A Practical Guide to Ensemble Devising adds to this by delivering exactly what it promises: a praxis-based entry point for those interested in devising, regardless of experience level. This is not a heady theoretical piece that contemplates the utopian yearnings of devised theatre. Aimed at actors, directors, and teachers, the seven short chapters of this book offer practical tools alongside a frank assessment of the difficulties common to the process, culled from Robinson’s thirty years of devising experience.

In the brief introduction and opening chapter the author expresses the allure of devising from the position of a true believer. He passionately describes how collaborative creation allows artists to “join together in secular communion to explore the wonder, mystery, joy, and pain of meeting each other and the world” (5). Through such evocative phrasings, Robinson communicates the compelling magic that devising engenders: the generous, invigorating exchange that flows among participants committed to the collective exploration of the unknown. Robinson initially decouples inspired experimentation from production constraints, emphasizing the sheer joy of the creative jam; yet, he also foregrounds the inevitability of disagreement, dissent, and despair. Conflict, he states, provides “a necessary crucible for forging the best possible piece” (2). He reassures the new deviser that struggles over ideas and aesthetics are normal and worthwhile, but also cautions that frustrations resulting from poor organizational planning are counterproductive and avoidable. While there is nothing particularly revelatory in these opening chapters to more experienced practitioners, Robinson’s target audience—students and teachers still fairly new to devising—should appreciate the way he demystifies the process.

In the next three chapters the author moves from the why of devising to the how. His “Fundamentals” offers a wealth of foundational exercises that attune the individual actor physically and emotionally to the demands of ensemble work; he then adds complexity to these basic building blocks. For example, his inclusion of Jacques Lecoq’s elemental qualities of movement encourages actors to develop an expressive vocabulary, while his section on gesture and text provides a systematic approach to integrating text with physicality in nonnaturalistic ways. “Short Prompts” builds on this, offering composition exercises that allow free-form exploration to take dramaturgical shape. These come from different tacks: “Lists of Actions and Dance Prompts” favor the physical, while “Titles and Word Sculptures” suit actors more connected to language. As a whole, these exercises emphasize the abstract, the physical, and the communal. Robinson provides options that can lead to more developed pieces in “Large Prompts.” Here, he suggests bringing in an outside eye or dividing the ensemble into smaller groups that can serve as audiences for one another. Critical feedback and multiple rounds of revisions are key to developing longer pieces with teeth. If the exercises in these chapters—and throughout the book—seem familiar, that is by design. Robinson acknowledges that “[m]any of the skills and techniques mentioned … are discussed in depth in other books” (20); he provides the provenance when it is clear and encourages the reader to adapt the exercises as required.

Before delving into “Full-Length Pieces” and “Polishing”—chapters geared toward the creation of full productions—Robinson intercedes with the very useful “Organizational Structures.” Its placement is not haphazard. The exercises outlined in the preceding chapters can be undertaken by inexperienced or impermanent ensembles—workshop attendees perhaps or classroom working groups. The work of the remaining chapters, however, requires much greater commitment and therefore greater stability. Thus, the ensemble must determine a working model under which it can thrive. Robinson cautions that without a clear organizational model, “devising can be a long, turbulent process with conflicting artistic opinions and no agreement on how decisions get made” (97). To bypass such heartache, he proposes several models. Yet, even as he advocates for structure Robinson reminds the reader of the need...