1. An Idiot’s Practical Guide to Devising 1
Devising Theatre
A 10 Step Approach to Devising
( A Practical Guide to Devising)
Step 1 - THE STIMULUS:
Basically the stimulus comes through one or more of our senses.
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record your reaction to the stimulus or stimuli to suggest basic plot ideas, e.g
what subject could this theatre piece explore and communicate?
Step 2 - SETTING THE STRUCTURE
Some Common Approaches:
1. The Story-Line Approach: hypothetical, real or both e.g. based on a case study
2. The Vignette Approach: short 'skits' on the subject linked up by transitions
3. The Documentary Approach: like a TV studio with facts give from the studio' and
filled in with outside broadcasts
4. The Historical Approach: the focus topic is followed through history and how it
has changed is shown by short linked 'skits’
5. Etc

2. An Idiot’s Practical Guide to Devising 2
Step 3 - CREATING THE CANOVACCIO (Scenarios):*
To decide: dramatic centre of the piece: e.g.
I. climax point of attack (if narrative):
II. use of time, sequential (?)
III. number of scenes:
IV. use of settings
V. characters: how, who, relationships
VI. what are you trying to say/ask/comment upon
VII. etc.
Write a Canovaccio - a set of scenario - loaded with blind offers for actor
development.
Step 4 - DECIDING THE MEDIA
Brainstorm different theatre modes of communication e.g.:
a) speech/dialogue/choral
b) music/song b) mime/movement
c) dance (creative/cultural)
d) mask
e) puppets
f) video/computer/technical interaction
g) props
h) etc.
which you could use to dramatise your canovaccio. Remember not too many
different modes - less is more.
Step 5 - DEEPENING THE PLOT (improvise!?):
Practice improvs on different aspects of the plot -could be used in the main piece - or
not:
 before/after improvs (background info)
 offstage improvs
 change point of attack improvs
 explore blind offer improvs
 etc.

3. An Idiot’s Practical Guide to Devising 3
Step 6 - DEEPENING THE CHARACTER (improvise again !?) :
Practice improvs/activities on different aspects of the characters - could be used in
the plot - or not:
 written thumbnails sketches
 visualizations
 interview improvs
 different situation improvs (physical/vocal/relationship exploration)
 prop generated improvs
 costume generated improvs
 etc.
Step 7 - KEEPING THE PIECE FRESH DURING THE PROCESS:
A series of exercises to prevent the final scripted performance becoming
stale during development:
 reacting differently to blind offers each time
 spontaneous adding of complications to the Canovaccio
 controlled improv of the Canovaccio e.g. can only be in rhyming
couplets; alphabet improv;
 changing the set or performing space within the improve
 etc.
Step8-SCRIPTINGTHESCRIPT
Eitherappointascriptwriterorsharethe'skits'betweentheperformersforwriting.
Step9–PERFORM!
Step10–REFLECT…