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34-472: Double Edge may refer to: Double Edge Theatre , an artist-run organization founded in 1982 by Stacy Klein Double Edge (1992 film) , an Israeli-American thriller drama film American Dragons , also known as Double Edge, a 1998 action crime thriller film Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with

68-512: A devised work process. The Double Edge Theatre Farm Centre is situated on a 105-acre former dairy farm in Ashfield, MA . Double Edge Theatre facilities include three indoor performance and training spaces, production facilities (wood and metal shops), offices, a public archive, gallery, music room, kitchen, and eight outdoor performance areas, as well as an animal barn, vegetable gardens, and hoop house. Double Edge has four additional properties:

102-447: A 105-acre former dairy farm in rural Ashfield, MA , to create a sustainable artistic home. Today, the farm is a base for the ensemble's international touring, with year-round theatre training, conversations and convenings, greening and farming initiatives, and the production of an indoor/outdoor traveling "spectacle" which takes place alongside the hills, pastures, river, and gardens of the facility. Double Edge's name in part comes from

136-507: A cycle exploring distinctive visions of magic realism in Jewish and Hispanic culture, was created by Klein with Carlos Uriona and Matthew Glassman. The Chagall Cycle (2010-2015) was imagined entirely from the visual art Russian - Jewish artist Marc Chagall . Although the Song Trilogy took inspiration from Chagall’s work, it was not until this Cycle that performances were created wholly from

170-505: A house in the center of town which includes a guest artist studio and private housing for retreat and development; a design house; a building lot which houses a solar farm and apiary; and a new 15-acre lot which currently houses a newly built storage facility and has a 5-acre clearing on top of Ashfield Mountain. A space was gifted to Ohketeau (meaning ‘toplant, to grow’ in the Nipmuc language), an autonomous Center for Indigenous Culture. The theatre

204-430: A lengthy development process; a period of accrual and excess as a basis for a subsequent period of selection, editing and refining. The creative process may or may not involve a director (often functioning as a facilitator of group creativity at the outset, and an "outside eye" and editor later into the process), as well as a writer or writers working either alongside the creative ensemble in the rehearsal room, or collecting

238-450: A necessity to come to artistic terms with Cultural Strategist Carlos Uriona’s socio-cultural and personal background. Cada Luna Azul (Once a Blue Moon) incorporated the songs and dances of South America in a fictional town called Agua Santa during a military dictatorship. Performance fostered artistic collaboration, residencies, and mentorships with Latino artists and students from Argentina, Chile, Colombia, Guatemala, Uruguay, Venezuela, and

272-492: A number of theatre programs in the US and England have added devising courses, and in some cases, devising programs to their theatre curricula, leading to a widening circulation of devising techniques, and arguably a growing number (and prominence) of devising companies. Nonetheless, some frequently employed approaches and principles can be identified, especially: use of improvisation; reliance on physically expressive performance styles;

306-487: A plot, a theme, a character, historical documents, an entire novel or a single line as a point of departure; a devised work may be text based or entirely physical; it maybe politically engaged, purely aesthetic, a docudrama, a melodrama, a performative ritual, a fairytale; it may follow a linear narrative structure, or emerge from the aesthetics of montage or collage; it may be, indeed, entirely devoid of live performers (see Designers' Theatre). In short, devised theatre exists on

340-450: A post-performance respondency. RITES: A celebration of Double Edge Theatre’s 40 Years (2022 – 2023) was dedicated to the Art, Living Culture, and Art Justice which DE has embodied over the past forty years. It included collaborations with DE participants from throughout the theatre’s life, an indoor festival in partnership with The Magdalena Project, The Constellations Outdoor Festival featuring

374-630: A proliferation of collective creation methods, influenced in part by the rise of the labor movement, and with it, workers' theatre in the US and Europe; World War II and the politics of the Cold War in capitalist states brought a temporary halt to that flowering. Nonetheless, by the post-war period, a number of theatre practitioners and ensembles, including Bertolt Brecht and the Berliner Ensemble , Judith Malina and The Living Theatre , Joan Littlewood and Theatre Workshop , Jerzy Grotowski and

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408-572: A series of adapted plays including Rites by Maureen Duffy and My Sister in this House by Wendy Kesselman. The Ensemble was itinerant and performed in six-week rentals of various Boston theatres. Founder, Artistic Director Emerita, and Vision Strategist Klein and DE have created seven performance cycles that have toured around the world. The period of 22 years from 2002-2024 has included performance cycles, touring, conversations, collaborations, place building, residency, and mentorship. Highlights include: The Garden of Intimacy and Desire (2002-2008) ,

442-788: A shift occurred, away from the more political drivers fueling much collective creation during the civil rights era, and toward more decidedly aesthetic and economic drivers; this is the period in which such practices come to be more expressly associated with the term "Devising." The many prominent companies currently devising in the US, Canada and England include: SITI Company , Mabou Mines , Wooster Group , Pig Iron , The TEAM , Elevator Repair Service , Ghost Road , Double Edge Theatre , The Rude Mechs , The Neo-Futurists , Nature Theatre of Oklahoma , Tectonic Theatre Project , Complicité , Told by an Idiot , Improbable , Frantic Assembly , Shunt , Kneehigh , InHEIRitance Project , SOCIETY , Ghost River Theatre , / Voices of Now (VON) at Arena Stage at

476-466: A stylistic spectrum as broad as that of theatre generally, and devising methods must vary not only in relation to the group, but in relation to the nature (style, form, content, purpose) of the project. For this reason, devising methods are often associated with the companies in which they evolved, and devising training for theatre makers is often associated with particular directors and companies: for instance, Viewpoints and Suzuki (the core methods of

510-433: Is a method of theatre -making in which the script or (if it is a predominantly physical work) performance score originates from collaborative, often improvisatory work by a performing ensemble. The ensemble is typically made up of actors, but other categories of theatre practitioners may also be central to this process of generative collaboration, such as visual artists, composers, and choreographers; indeed, in many instances,

544-446: Is also strongly aligned with physical theatre, due at least in part to the fact that training in such physical performance forms as commedia, mime, and clown tends to produce an actor-creator with much to contribute to the creation of original work. Devising methods vary: collaborating groups tend to develop distinct methodologies based upon the backgrounds and talents of their members. Work creation may, for instance, begin with an image,

578-501: Is currently envisioning a Village for Art Justice and Living Culture, created with their partner organizations and built on some of DE's additional properties, that will focus on providing artistic sanctuary for restoration, justice and creativity for people of the global majority. DE's future sustainability and environmental justice vision also includes expanding renewable energy and capacity for farming. Devised theatre Devised theatre – frequently called collective creation –

612-615: The SITI company); techniques developed by Jerzy Grotowski ; the physical and vocal training of the Gardzienice Center for Theatre Practices in Poland; Lecoq technique. A growing body of writing on devising process has emerged from the practical research of collectives (see for example, The Frantic Assembly Book of Devising Theatre, Anne Bogart 's The Viewpoints Book , and Jacques Lecoq 's The Moving Body: Teaching Creative Theatre ), and

646-869: The Teatro Campesino , Ruth Maleczech , Joanne Akalaitis , Lee Breuer and the Mabou Mines ; Richard Schechner and the Performance Group ; and Elizabeth LeCompte and the Wooster Group in the US; the Gardzienice Center for Theatre Practices in Poland; the Work Center of Jerzy Grotowski and Thomas Richards in Italy; the Odin Teatret in Denmark. The rise of collective creation in theatrical performance between 1900 and

680-557: The Theatre of 13 Rows , and Peter Brook , had begun actively experimenting with collaborative methods that engaged and/or trained performers as actor-creators. The period from '68 and on into the 1970s witnessed an explosion of collective creation practices in the Americas and Europe (East and West); as in the 1930s, this wave of interest in collectivism and collaboration in art was deeply influenced by contemporaneous political developments, such as

714-511: The 70s at times paralleled, at times intersected with related developments in modern dance, French mime (beginning with the pioneering work of Suzanne Bing and the Copiaus ), performance art and documentary theatre. Beginning from the mid-1980s, with the emergence of a new generation of ensembles and collectives, and increased dissemination of devising models and training methods through theatre festivals, training workshops, and college courses,

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748-466: The British-born Mexican artist and writer Leonora Carrington. The conversation Women and Magic (2018) was inspired by these works. The third performance, SUGA , a solo, was created by Co-Artistic Director Travis Coe, directed by Klein, and drawn from Coe’s research into his Queer, Black, Latinx and American/Caribbean identity. Each performance of SUGA is accompanied by a pre-performance exhibit and

782-535: The US. Once A Blue Moon continued the type of touring initiated in the Republic of Dreams project: site-specific events in buildings and outdoor places which held important contextual meaning. The Surrealist Cycle (2017- present) loosely weaves together three performances relating to the Latin American Cycle and research into Surrealism. Leonora, la maga y la maestra and Leonora’s World drew inspiration from

816-559: The artist’s full potential – emotional, imaginative, physical, vocal – to drive ensemble collaboration, individual exploration, and performance creation. Training Programs are led by the Ensemble, and take place on the Farm and around the world. They include one-day Open Trainings, seasonal Training Intensives, and workshops and residencies off site at universities, collaborating theatres, and other organizations. Training programs and workshops contain

850-448: The contributions of collaborating artists may transcend professional specialization. This process is similar to that of commedia dell'arte and street theatre . It also shares some common principles with improvisational theatre ; however, in devising, improvisation is typically confined to the creation process: by the time a devised piece is presented to the public, it usually has a fixed, or partly fixed form. Historically, devised theatre

884-583: The double-edged axe known as the labrys, which was used in Bacchic sacrifices in ancient Greek cult-worship. Double Edge's first production, Rites, was based on Euripides's The Bacchae . DE was founded as a feminist ensemble collective by Stacy Klein, with co-founder and emerita ensemble member Carroll Durand and several other women, in Boston, MA. Subsequently named the Women’s Cycle , the first 6 performances comprised

918-421: The following elements: The physical training includes running, partner work, and work with large objects. The improvisation training combines individual and group work, and includes work with large objects, music, art, video, and other elements. Participants create "etudes and presentations"; scenes using music, art, video, dance, and character, that seek to translate the physical and improvisational training into

952-472: The material generated and turning it into a script subsequently. The history of collaboratively devised performance is as old as the theatre: we see prototypes of contemporary devising practice in ancient and modern mime, in circus arts and clowning, in commedia dell'arte; some cultural traditions, indeed, have always created performance through predominantly collectivist methods (theatre scholar and performance maker Nia Witherspoon, for instance, has argued that

986-517: The present. Elements of collective devising appear in the work of European directors at least as early as 1905, beginning with early experiments facilitated by such directors and groups as Vsevolod Meyerhold and Evgeny Vakhtangov (Russia), Jacques Copeau and the Copiaus , and Michel Saint-Denis and the Compagnie des Quinze (France), Reduta (Poland), and Erwin Piscator (Germany). The 1930s saw

1020-705: The rise of the New Left. Among the many companies and theatre artists who contributed to the development of collective devising in the second half of the twentieth century, major European and North American figures include Ariane Mnouchkine and Theatre du Soleil , and Jacques Lecoq in France; Robert Lepage in Quebec; R.G. Davis and the San Francisco Mime Troupe , Joseph Chaikin and the Open Theater , Luiz Valdez and

1054-504: The title Double Edge . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Double_Edge&oldid=1115934701 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Double Edge Theatre In 1994, Double Edge moved from Boston to

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1088-457: The very term "collective creation," with its implicit dichotomy of self vs. other, is inherently eurocentric). Theatre historians Kathryn Syssoyeva and Scott Proudfit have argued that the modern, European tradition of collective creation follows rapidly upon the emergence of directing as a profession, and unfolds in three overlapping waves (marked by distinctive processual, aesthetic, and political characteristics): 1900-1945, 1945-1985, and 1985 to

1122-584: The visual narrative of an artist. This led to expansive design and further development of the Summer Spectacles -- The Odyssey , Shahrazad , and The Grand Parade -- and a new approach to the inner work of the Ensemble’s training and creation process for The Grand Parade, including long-term collaborations with composers, musicians, and dramaturgs.   The Latin American Cycle (2015-2018) began as

1156-669: The work of our partner organizations, and the world premiere of The Hidden Territories of the Bacchae. Indoor Performances Summer Spectacles 2012 - A documentary on Double Edge Theatre entitled Theatre on the Edge was awarded a regional Emmy. 2010 - Double Edge Theatre was included in the United Nations General Assembly's "2010 Year for the Rapprochement of Cultures." Double Edge's unique, holistic methodology employs

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