Contemporary Ensemble

PART I: Redefinitions of Ensemble 1.1. MICHAEL BOYD (Royal Shakespeare Company): A 'Contingent Community' in a Free Market Economy 1.2. GABOR TOMPA (Hungarian Theatre of Cluj): Between the East and the West Today 1.3. HERMANN WUNDRICH (The Berliner Ensemble): How the Berliner Ensemble Changes With Time 1.4. YURI BUTUSOV (guest director Satirikon Theatre): Directing as an Art of Composition 1.5. MAX STAFFORD-CLARK (Out of Joint): A Tried and Tested Ensemble Methodology 1.6. ELIZABETH LECOMPTE (The Wooster Group): 'A Group of People Around a Place' 1.7. LYN GARDNER (The Guardian Newspaper): On Regional Theatre-Making PART 2: Working Processes 2.1. ANTON ADASSINSKY and ELENA YAROVAYA (Derevo): Beyond Words 2.2. EMMA RICE (Kneehigh Theatre): From a Community to the West End 2.3. JOANNA HOLDEN (freelance actor, Northern Stage, Kneehigh, Cirque du Soleil): On Being an Ensemble Actor in the UK 2.4. IAN MORGAN (Song of the Goat): An Actor's Journey Between Wales and Wroclaw 2.5. DAN ROTHENBERG (Pig Iron): 'Comic Figures Repurposed' 2.6. ADRIANO SHAPLIN (The Riot Group): Ensemble as a Musical 'Intersubjective Unit' 2.7. HANNA SLATTNE (Tinderbox Theatre): Working together in Northern Ireland 2.8. ALEXANDER KELLY (Third Angel) and CHRIS THORPE (Unlimited Theatre): On Writing and Performance in an Ensemble PART III: Ensemble and the Audience 3.1. MIKE ALFREDS (ex-Shared Experience, Method and Madness): Sharing the Experience of Imagination 3.2. GREG ALLEN (The Neo-Futurists): An Interactive Ensemble 3.3. PHELIM MCDERMOTT (Improbable): 'Safe Emergencies' 3.4. PETER ECKERSALL (Not Yet It's Difficult): The Dramaturgy of Long-Term Cross-Cultural Collaboration 3.5. KATARINA PEJOVIC and BORIS BAKAL (Shadow Casters): Ensemble as a Tool of Civic Engagement 3.6. DAVID BAUWENS, ALEXANDER DEVRIENDT, JOERI SMET (Ontroerend Goed): On Courting the Audience 3.7. RICHARD JORDAN (Richard Jordan Productions): Towards a Global Ensemble