Performing Ensemble

Practices, Theatre, and Social Change

Series: 

The book presents a novel analysis supporting the idea that a theatre ensemble is not just an entity but an emergent process. Through the lens of a theatre company's performative, creative, organizational, and activist practices, the ensemble is conceptualized in its collective becoming. This socio-historical and new materialist analysis of a European theatre company (ATIR) over thirty years highlights how a group's performative capacity to make-ensemble stimulates its organizational and social processes. With a commitment to participation, listening, and horizontality, the ensemble is shown to challenge the structures of capitalism, and fosters a vision of hope for societies.
Copyright Year:
2025
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Published
ISBN:
978-90-04-72056-5
Publication:
07 Jan 2025
Hardback
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Published
ISBN:
978-90-04-72055-8
Publication:
09 Jan 2025
Paperback
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Published
ISBN:
978-90-04-72054-1
Publication:
09 Jan 2025
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Carmen Pellegrinelli is a post-doc at the University of Trieste (Italy) and a playwright and theatre director. She holds Master’s degrees in Theatre and Clinical Psychology from the universities of Bologna and Bergamo and a PhD (2023) from the University of Lapland, Faculty of Social Science. In addition to being an award-winning playwright and theatre director, she has published several articles and chapters on creative practices, social activism, and post-qualitative research methods. She is currently engaged in research concerning the intersection between arts, aesthetics of care, and posthumanist theory.
List of Figures
Acknowledgement

Introduction: The Ensemble
 1 Performing the Ensemble
 2 Background and Proposal: Ensemble-Making as a Practice
 3 Case: ATIR Theatre Company
 4 Theoretical Framework: The Posthumanist Practice Theory
 5 Methodology: Gathering Traces
 6 The Book’s Organization

1 The School: The Community of Practice in the Theatre Environment
 1 The Emerging Assemblage
 2 The Characteristics of the “Bottega”
 3 Acquiring the Performative Practices of Making Theatre
  3.1 Undressing Personal Attitudes and Playing
  3.2 Making Choir
  3.3 Being Real on Stage
  3.4 Searching for Intensity
 4 Becoming a Group
  4.1 Romeo and Juliet
  4.2 The Creation of ATIR

2 The Rehearsals Room: The Performative and Creative Practices
 1 Assemblage in the Making
 2 Performative Practices
  2.1 The Choir: Ensemble-Making in the Performance
  2.2 The Scenography: Ensemble-Making with Vibrant Matter
  2.3 The Plays: Ensemble-Making with Stories and Texts
   2.3.1 The First Dramaturgical Stream: The Classics
   2.3.2 The Second Dramaturgical Stream: Social Activism Plays
   2.3.3 The Third Dramaturgical Stream: Contemporary Dramaturgy
 3 Collective Creative Practices

3 The Theatre: Socio-Educational and Organizational Practices
 1 Assemblage Becoming Territory
 2 Educational and Community-Building Practices
  2.1 Gli Spazi del Teatro. Ensemble-Making with Non-Conforming Subjectivities
  2.2 Theatre Workshops: Ensemble-Making for Communities
  2.3 Theatre Education, Ensemble-Making in Educational Theatre
  2.4 The Piana: Ensemble-Making Larger than Life
 3 Collective Organisational Practices

4 The Community: Resistance Practices
 1 Assemblage as Resistance
 2 Community-Oriented Practices towards the City: Ensemble-Making Being Nomadic
  2.1 Odissea – Storia di un ritorno
  2.2 El Nost Milan
 3 Resistance Practices: Ensemble-Making in the ATIR’s Way

5 Conclusion
 1 Ensemble Multiplicity
 2 ATIR’s Performing Ensemble
 3 About the Posthumanist Ensemble

References
Index
Scholars, graduates, and postgraduates in: creative studies; performance studies; cultural studies; critical and exploratory theatre studies; Institutes of drama and performance; history of theatre; organizational studies; posthumanist theory; social science.
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Publisher:
Brill
Language:
English
Pages:
viii, 131 pp.
DOI:
https://doi.org/10.1163/9789004720565

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