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like "investigative theatre" that allow for more leeway in the artistic interpretation of reality and moves away from the original concept of the artist as moral arbiter of the truth. Just as
Piscator utilized the new media of film and projection to enhance his productions, so contemporary documentary theatre continues to rely on new media to explore the increasingly fuzzy line between reality and representation of reality. Similarly, documentary theatre continues to rely on a democratic process of interview gathering and multiple artistic perspectives to create new narratives. This has led to a proliferation of plays, both verbatim and fictionalized, that focus on the stories of refugees and migrants that use interviews and workshops as the starting point for narrative plays. A very recent iteration of documentary theatre has been undertaken by Anuja Ghosalkar and Kai Tuchmann`s Festival "Connecting Realities", which has attempted "to contribute to an examination of Indian and Asian performance practices, both traditional and contemporary, that relate to performing reality."
210:
33:
474:, said it is “not written in a traditional sense… but is... conceived, collected and collated”. It is a creative type of drama to help tell the story of what happened in events. Verbatim theatre exists as conceived in the United Kingdom. But in the United States, verbatim theatre is not always distinguished from the broader genre of documentary theatre. Therefore, the plays, movies and TV listed below – as verbatim theatre, written by playwrights living and writing in the United States, should be considered as documentary theatre.
382:
656:, in which the verbatim spoken text is coupled with music composed and sung to resemble the source interviews as closely as possible. In 2017, the Russian production "In Touch" (director - Ruslan Malikov) premiered its international version at London's National Theater (the Russian premiere was held in Moscow in 2015). It is the first documentary theater production in the world that features an ensemble cast of deafblind actors and seeing/hearing ones performing together - and performing verbatim about their own lives.
267:. Often, they included characters such as Little Man and Loudspeaker to stand in and speak for and to the audience during the action, fusing fact with dramatic symbol and clarifying the narrative arc. These plays, like later iterations of documentary theatre, were frequently communally created, often by groups of newspaper writers and theatre artists. The end of the Federal Theatre Project in 1939 brought documentary theatre in the United States to a halt until the early 1960s.
279:'s distancing of the audience, through aesthetic practices, in order to question dominant ideologies. The work of this era focused more intensely on new or alternative perspectives of historical events by restructuring the documents to raise questions about perceived reality. In Germany, these documentary plays focused mainly on the aftermath of Nazism and the genocide of the Holocaust. Many works drew from transcripts from tribunals, such as
373:(1971), Cheeseman focused on the exact transcription of recorded interviews, and is one of the earliest pioneers of the sub-genre "verbatim theatre." The theories of Cheeseman and other British practitioners of verbatim theatre informed the development much of American documentary theatre of the late 20th-century.
438:
Contemporary documentary theatre is defined by its privileging of subjectivity over universality and questioning of the definition of truth in an age where digital and physical realities collide. Many contemporary practitioners reject the term "documentary theatre" in favor of more equivocal labels
305:
minutes of proceeding, files, letters, statistical tables, stock-exchange communiques, presentations of balance-sheets of banks and industrial undertakings, official commentaries, speeches, interviews, statements by well-known personalities, press, radio, photo, or film reporting of events and all
458:
The playwright interviews people who are connected to the topic that is the play's focus and then uses their testimony to construct the play. In this way, the playwright seeks to present a multi-voiced approach to events. Such plays may be focused on politics, disasters, sporting and other social
709:(2011) by Christine Bacon and Noah Birksted-Breen, produced by iceandfire theatre company at the Arcola Theatre, directed by Michael Longhurst, followed the lives of six real journalists around the globe, showing the professional and personal risks taken in the name of investigative journalism.
391:
The focus on individuals within the context of historical events that permeated the documentary theatre of the 1960s and 1970s paved the way for artist- and individual-centric documentary theatre in the 1980s and 1990s. During this period of time, the focus shifted even further away from broad
300:
In his essay "Notes on the
Contemporary Theatre", Weiss details 14 elements of documentary theatre, stating that "the strength of the documentary theatre resides in its ability to arrange fragments of reality into a usable model," and that the artistic power of the genre comes from a partisan
228:, which presented both documentary and historical dramas in order to expose the truths of the common man, frequently combining fiction and reality to achieve truth. Unity Theatre's documentary shows focused on the "living newspaper" aesthetic of Eastern Europe. Their first piece,
197:, a piece derived entirely from contemporary political documents and often cited as the beginning of the first period of modern documentary drama. In this and other early works, Piscator sought to depict the "absolute truth". He focused on the presentation of factual material in
392:
historical presentations to focus more specifically on how identity shaped personal relationships with major events. The seminal works of this period, which highlight the work of the artist as interpreter of the factual material, include one-person shows such as
122:
material (such as newspapers, government reports, interviews, journals, and correspondences) as source material for stories about real events and people, frequently without altering the text in performance. The genre typically includes or is referred to as
322:, whose theatre of testimony focused on marginalized groups in the area and later influenced the work of American practitioners. During this period of time, however, the American genre became more overtly political with plays such as
430:(2002). In Eastern Europe, new German documentary theatre also focused on the importance of the artist as interpreter through the development of media-driven non-narrative creations of auteur directors like Hans-Werner Kroesinger.
176:, the USSR's Department of Agitation and Propaganda employed theatre troupes known as the Blue Blouses (so called because they wore factory workers' overalls) to stage current events for the largely illiterate population. The
535:, known for its "investigative theater" method, also contributes to the genre with its creative approach that blends in-depth research with theatrical performance. Their work includes landmark productions such as
334:, a company that sought to make theatre for black audiences in the south. Plays also became more experimental, leading to documentary-style performances, as artists such as
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528:. For both plays, she conducted interviews with numerous people connected to the events, then fashioned the plays by selecting from her interview transcripts.
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is a form of documented theatre in which plays are constructed from the precise words spoken by people interviewed about a particular event or topic.
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While the documentary theatre of the 1930s stressed the involvement of the audience, much of the work of the 1960s into the 1970s was influenced by
62:
463:
361:
In
England, meanwhile, the use of tape-recorded testimony to generate script became a hallmark of the Stoke Local Documentary Method, developed by
255:
administration. Initially conceived as an "animated newsreel," the form evolved into a distinct theatrical genre; practitioners used spectacle and
462:
A verbatim (word-for-word) style of theatre uses documented words from interviewees or records, such as court transcripts, to construct the play.
209:
615:
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dramatized news items and current events through song, dance, and staging. By 1924 these performances were standardized into the form of the
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191:
was experimenting with incorporating documentary film footage and other primary source material into his "mass spectacles" In 1925 he wrote
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232:(1938), combined naturalistic dialogue with abstract and stylized design aesthetics culled from expressionist and constructivist genres.
630:
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743:, is an example that uses interviews and courtroom transcripts in order to reenact the legal argument and witness testimony of the
301:
interpretation and presentation of factual material. He also identified many potential sources for documentary theatre, including
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1337:
http://link.galegroup.com.ez-proxy.brooklyn.cuny.edu:2048/apps/doc/A431081527/AONE?u=cuny_broo39667&sid=AONE&xid=89597130
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679:) the words were taken solely from witness statements, court transcripts, media headlines, and interviews with those involved.
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combined verbatim text from newspapers, transcripts, and correspondence with a fictionalized story and characters in
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54:
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Documentary
Theatre in the United States: An Historical Survey and Analysis of Its Content, Form, and Stagecraft.
543:
488:
Are You Now Or Have You Ever Been: The
Investigations of Show-Business by the Un-American Activities Committee
1605:
726:
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has been described as a pioneer of verbatim theatre due to two of her one-woman plays in the early 1990s:
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Collins-Hughes, Laura. "The play's the thing: the dramatic and narrative appeal of documentary theater."
520:
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Paget, Derek. "The 'Broken
Tradition' of Documentary Theatre and Its Continued Powers of Endurance,"
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Nadler, Paul (1995). "Liberty
Censored: Black Living Newspapers of the Federal Theatre Project".
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248:
58:
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https://www.americantheatre.org/2017/08/22/a-history-of-u-s-documentary-theatre-in-three-stages/
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and
Piscatorian conventions to tackle issues such as labor, housing, and agriculture during the
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https://www.americantheatre.org/2017/08/22/how-do-you-solve-a-problem-like-documentary-theatre/
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Ben-Zvi, Linda (2006). "Staging the Other Israel: The
Documentary Theatre of Nola Chilton".
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700:
198:
1256:
edited by James M. Harding and Cindy
Rosenthal, University of Michigan, 2006, pp. 269-285.
1252:
Bean, Annemarie. "The Free Southern Theater: Mythology and the Moving Between Movements."
8:
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with dramatized versions of their stories and dance pieces. The piece originated in the
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492 BC, contemporary documentary theatre is rooted in theatrical practices developed in
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and collage form rather than trying to express the internal lives of the characters.
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1521:"The Civilians Will Honor Quincy Tyler Bernstine and Anne Washburn at 2024 Gala"
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Odendahl-James, Jules. "A History of U.S. Documentary Theatre in Three Stages."
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Irmer, Thomas. "A Search for New Realities: Documentary Theatre in Germany."
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Mason, Gregory (1977). "Documentary Drama from the Revue to the Tribunal".
601:
483:
319:
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Parenteau, Amelia. "How Do You Solve a Problem Like Documentary Theatre?"
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Erwin Piscator's Political Theatre: The Development of Modern German Drama
224:, the form was employed by left-leaning political theatre groups like the
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Bentley, E. (1974). Are You Or Have You Ever Been. NY: Harper & Row
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Bacon, Christine; Birksted-Breen, Noah (2014). Forsyth, Alison (ed.).
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https://www.americantheatre.org/2017/08/22/our-reflection-talks-back/
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While fact-based drama has been traced back to ancient Greece and
1548:"How a 'Climate Change Musical' Became a Right-Wing Punching Bag"
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used historical documents as source material for improvisations (
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311:
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Chambers, Colin. "Unity Theatre and the Embrace of the Real."
1678:
1254:
Restaging the Sixties: Radical Theatres and Their Legacies,
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Refugees, Theatre and Crisis: Performing Global Identities
1623:"Sam Hallam campaigners make drama of Hoxton murder case"
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and tools are available to assist in formatting, such as
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717:(2006) integrates interviews taken with members of the
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More recent examples of political verbatim theatre are
1204:
Weiss, Peter. "Notizen zum dokumentarischen Theater,"
675:(about the miscarriage of justice related to teenager
412:(2000), and playwright-driven work like Anne Nelson's
1284:
Interrogating America through Theatre and Performance
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Free, Adult, Uncensored: The Federal Theatre Project.
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Documentary theatre spread west during the 1930s. In
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The Continuum Companion to Twentieth Century Theatre
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470:playwright and author of the verbatim theatre play
172:during the 1920s and 1930s. In the years after the
490:was built on testimonies delivered before the US
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1654:The Methuen Drama Anthology of Testimonial Plays
1124:The Oxford Companion to Theatre and Performance.
978:The Oxford Companion to Theatre and Performance.
953:Voicings: Ten Plays from the Documentary Theatre
556:High-profile pieces of verbatim theatre include
1278:O'Connor, Jacqueline. "Documentary Theatre and
310:This type of documentary drama was exported to
306:the other media bearing witness to the present.
1297:Get Real: Documentary Theatre Past and Present
1111:Get Real: Documentary Theatre Past and Present
155:
270:
1348:Martin, Carol. "Our Reflection Talks Back."
993:. Yale University Press, 2014. 3 April 2018
46:, which are uninformative and vulnerable to
1208:, Frankfurt am Main: Suhrkamp Verlag, 1971.
989:Senelick, Laurence, and Ostrovsky, Sergei.
61:and maintains a consistent citation style.
1636:"Gay Russia Finds a Voice in London Play"
991:The Soviet Theater: A Documentary History
683:was created from interviews with various
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103:Learn how and when to remove this message
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402:(1992), collectively created shows like
380:
377:Late 20th-century and early 21st-century
208:
1606:"Sam Hallam Released after Seven Years"
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482:British-American playwright and critic
243:and Morris Watson into the large-scale
14:
1705:
1143:
1031:, JSTOR, www.jstor.org/stable/4492692.
788:In the Matter of J. Robert Oppenheimer
492:House Un-American Activities Committee
285:In the Matter of J. Robert Oppenheimer
1409:. Sydney Stage Online. Archived from
1307:
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1178:O'Connor, John, and Brown, Lorraine.
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1047:Greenwood Press, 1999, p. 14, 16, 21.
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753:Major examples of documentary theatre
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1405:Whitton, Rebecca (August 10, 2006).
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573:The Laramie Project: Ten Years Later
26:
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1027:, vol. 50, no. 3, 2006, pp. 16–28.
995:http://www.myilibrary.com?ID=614054
772:
442:
371:Hands Up, For You the War Is Ended!
53:Please consider converting them to
24:
1384:. Palgrave MacMillan, 2012, p. 56.
1302:
695:'s anti-gay laws were passed (see
118:is theatre that uses pre-existing
25:
1734:
1593:"National Theatre hosts in Touch"
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1034:
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976:"Documentary drama and theatre."
940:. Palgrave Macmillan, 2013, p. 5.
796:Late 20th- and early 21st-century
1693:"Arcola Theatre production page"
1657:. Bloomsbury. pp. 215–264.
1575:"The rise of democratic theatre"
1394:https://connectingrealities.org/
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544:Mr. Burns, a Post-Electric Play
531:New York-based theater company
365:. In his many plays, including
1573:Jupp, Emily (April 13, 2010).
1442:"Latest News on The Civilians"
1269:Grove Press Inc., 1982, p. 38.
1182:Eyre Methuen, 1980, pp. 10-11.
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57:to ensure the article remains
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1267:American Alternative Theater.
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727:National Theatre of Scotland
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1554:. American Theater Magazine
1286:, Palgrave MacMillan, 2007.
1009:. CUP Archive, 1972, pp. 24
906:
576:, both about the murder of
521:Twilight: Los Angeles, 1992
156:Zhivaya Gazeta and Piscator
10:
1739:
1546:Tran, Diep (5 June 2017).
1366:American Theatre Magazine,
950:Favorini, Attilio (1995).
271:Post-war era and the 1970s
259:techniques in addition to
239:, the form was adapted by
150:
1350:American Theatre Magazine
1313:American Theatre Magazine
1232:10.1162/dram.2006.50.3.42
723:Edinburgh Festival Fringe
216:, Federal Theater Project
166:The Capture of Miletus in
1494:"Gone Missing Licensing"
1339:. Accessed 30 Apr. 2018.
859:My Name is Rachel Corrie
597:My Name Is Rachel Corrie
568:Tectonic Theater Project
404:Tectonic Theatre Project
141:autobiographical theatre
1191:"Documentary Theatre,"
1146:African American Review
746:Perry v. Schwarzenegger
725:and was created by the
699:) in the run-up to the
510:(1992), about the 1991
249:Federal Theatre Project
187:Meanwhile, in Germany,
184:, or living newspaper.
1058:The Political Theatre.
526:1992 Los Angeles riots
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205:Depression-era America
194:In Spite of Everything
1498:Broadwaylicensing.com
1468:"About The Civilians"
1331:, Summer 2015, p. 8.
1043:Dawson, Gary Fisher.
765:One-Third of a Nation
697:LGBT rights in Russia
618:and Katharine Viner,
587:Talking to Terrorists
434:Contemporary practice
384:
367:Fight for Shelton Bar
332:Free Southern Theatre
303:
253:Franklin D. Roosevelt
241:Hallie Flanagan Davis
212:
129:investigative theatre
1679:"iceandfire website"
1500:. Broadway Licensing
1122:"Living newspaper",
1060:Berlin, 1929, p. 65.
1025:TDR The Drama Review
918:Teatro di narrazione
701:2014 Winter Olympics
1552:Americantheater.org
1352:, August 22, 2017,
1315:, August 22, 2017.
1089:10.3138/md.20.3.263
938:Theatre of the Real
867:The Judy Monologues
811:The Laramie Project
803:Fires in the Mirror
566:and members of the
559:The Laramie Project
550:The Great Immensity
507:Fires in the Mirror
500:actress/playwright
409:The Laramie Project
399:Fires in the Mirror
386:The Laramie Project
116:Documentary theatre
18:Documentary theater
1413:on August 19, 2006
758:Early 20th-century
741:Dustin Lance Black
524:(1994), about the
516:Brooklyn, New York
512:Crown Heights riot
502:Anna Deavere Smith
394:Anna Deavere Smith
389:
218:
174:Russian Revolution
137:theatre of witness
1713:Theatrical genres
1446:Broadwayworld.com
1380:Jeffers, Alison.
1368:August 22, 2017,
1265:Shank, Theodore.
1056:Piscator, Erwin.
851:The Permanent Way
780:The Investigation
636:LookLeftLookRight
621:The Permanent Way
294:The Investigation
251:of the President
245:Living Newspapers
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63:Several templates
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773:Mid 20th-century
673:Someone To Blame
665:Someone To Blame
652:, is a verbatim
582:Laramie, Wyoming
570:and its sequel,
448:Verbatim theatre
443:Verbatim theatre
340:The Open theatre
328:In White America
281:Heinar Kipphardt
265:Great Depression
214:AAA Plowed Under
164:' production of
125:verbatim theatre
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350:Luis Valdez
316:Middle East
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120:documentary
1707:Categories
1527:. Playbill
1206:Rapporte 2
924:References
899:The Jungle
681:Sochi 2014
677:Sam Hallam
669:Sochi 2014
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634:(2010) by
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