SCHOOL OF PERFORMING ARTS 
 
 
 
THE DEVISING PROCESS: DIRECTING AND COLLABORATION IN 
THE TWELFTH HEART 
 
 
 
EBENEZER KWAME ASIME 
(10276663) 
 
 
 
 
THIS THESIS IS SUBMITTED TO THE DEPARTMENT OF THEATRE ARTS, 
UNIVERSITY OF GHANA, LEGON, IN PARTIAL FULFILLMENT OF THE 
REQUIREMENT FOR THE AWARD OF MASTER OF FINE ARTS (MFA) THEATRE 
ARTS DEGREE (DIRECTING) 
 
 
JULY 2015
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DECLARATION 
 
I hereby declare that this thesis project is the result of my own original research, and that no part 
of it has been represented elsewhere, with all references appropriately acknowledged.  
 
 
............................................ 
Student: Ebenezer Kwame Asime  
Index Number: 10276663 
Date: ............................................ 
 
 
............................................     ............................................ 
Supervisor: Dr. Samuel Benagr    Supervisor: Mr. Africanus Aveh  
Date: ............................................    Date: ............................................ 
 
 
 
 
 
 
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DEDICATION 
 
I dedicate this work to God Almighty − my Lord most high, Ms. Theresa Eshun − my mother, 
and Henry Warlson Annan− a brother.   
 
 
 
 
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ACKNOWLEDGEMENT 
I am indebted to my Supervisors, Dr. Samuel Benagr and Mr. Africanus Aveh, for your immense 
guidance and supervision towards the making of this thesis project. Your soft and result-oriented 
approach to supervising me was what I needed to complete this project. God bless you and keep 
you.  
Words are light to express my gratitude to Ms. Roberta Gardiner, Mr. Alfred Elikem Kunutsor, 
and Mr. Solomon Y. Dartey for the immeasurable support you offered me. I could not have been 
‘orphaned’ because you would not turn your backs at me. You gave me no reason to fail or slack. 
I am very grateful to you all; God bless you and keep you.  
To Ms. Rejoice Ntumy, you are God sent.   
To Mr. Eduado Obeng Kenzo, Veit Arlt, and Elder Mark Asamoah, you are a personification of 
love and care. God bless you and keep you.  
Vielen Dank Herr Andreas Poelmann und Lilith Schön für Ihre immense Beitrag zum Erfolg von 
meinem Projekt.  
Thank you Mr. Andreas Poelmann and Lilith Schön for your immense contribution to the 
success of my project. 
My gratitude also goes to Bert van Dijk, Dr. Damsacus Kafumbe, Mr. Sandy Arkhurst, Ms. 
Ekuah Ekumah, Mr. Henry Obi, and Mr. Maxwell Odoi-Yeboah for your intellectual input 
towards the completion of this thesis project. God bless you and keep you.  
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I show appreciation to Ms. Elizabeth-Irene Baitie and Kwadwoan Publications for granting me 
the permit to use The Twelfth Heart for this project. The novel came in handy to add to the 
needed resources for the project. Thank you and God bless you and keep you.  
To the cast and crew of this project who committed body and soul to the creation of the 
performance, I say God bless you. Special mentions will include: Delphine Nani, Barbara Gyasi, 
Valerie Asare, and Napoleon Mensah. 
Finally, to family and friends, especially Memory Asime and all colleague graduate students, 
especially Stephen Sika Koomson, Iddrisu Seidu Kananzoe, and Vivian Agbovi, I say God bless 
you and keep you.  
 
 
 
 
 
 
 
 
 
 
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TABLE OF CONTENTS 
CONTENT        PAGE NUMBER 
Declaration         ii 
Dedication         iii 
Acknowledgements        iv 
Table of Contents        vi 
List of Figures         x    
List of Images         xi 
List of Acronyms         xii 
Abstract         xiii 
 
CHAPTER ONE   
INTRODUCTION    
1.1 Background to Study       1    
1.2 Problem Statement       4  
1.3 Research Questions       5 
1.4 Research Objectives       6 
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1.5 Significance of the Study      6 
1.6 Methodology        7 
1.6.1 Production Process       8  
1.7 Research Overview       9 
 
CHAPTER TWO 
LITERATURE AND PRACTICE REVIEW 
2.1 Devised Theatre: Definition(s) and Concepts   11 
2.2 Devising Processes       21 
2.2.1  Devised Theatre and Improvisation     22 
2.2.2 Devised Theatre and Collaboration     23 
2.2.3 Devised Theatre and Directing     34 
2.3 Devising Model       39 
2.4 Devising with a Novel      43 
2.5 Review of The Twelfth Heart      45 
 
 
 
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CHAPTER THREE 
WORKING PROCESS 
3.1 Conceptual Framework      52 
3.2 Thesis-Project Approach      54 
3.2.1 Pre – Production       55 
3.2.1.1 Obtaining Permit for the Novel     55 
3.2.1.2 Audition        56 
3.2.1.3 Casting        60 
3.2.2 Devising Process       61 
3.2.2.1 Devising the (Bare) Story      62 
3.2.2.2 Devising Research and Workshops     63 
3.2.2.3 Devising Scenes       66 
3.2.2.4 Devising the Performance Score     67 
3.2.2.5 Technical Dress Rehearsals      69 
3.3 Devised Project Presentation (Performance)    70 
3.4 Post Devise Evaluation      72 
 
 
 
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CHAPTER FOUR 
THESIS-PROJECT ANALYSIS AND INTERPRETATON 
4.1 Performance Review       74   
4.2 The Role of Directing       78 
4.3 Working Together       82 
4.4 Character Representation      84 
4.5 Cross-Art Integration       85 
 
CHAPTER FIVE 
CONCLUSION AND RECOMMENDATIONS 
5.1 Summary        87 
5.2 Conclusion        87 
5.2 Recommendations       89 
 
Works Cited         92 
Appendix         98 
 
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LIST OF FIGURES 
Figure 1 Definition(s) and Concepts of Devised Theatre  19 
Figure 2 Bert van Dijk’s Devising Model    42 
Figure 3 Conceptual Framework for the Project   53 
Figure 4 Sample of Audition Sheet for Casting   59 
Figure 5 Character Chart      67 
Figure 6 Floor Plan       69 
 
 
 
 
 
 
 
 
 
 
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LIST OF IMAGES 
Image 1 Audition Pictures      58 
Image 2 Character Sketches      61 
Image 3 Activities during the Voice and Improvisation Workshop 66 
Image 4 Field Day Trip to Aburi Girls S.H.S    65 
Image 5 Performance Pictures      71 
Image 6 The Set; Rendered and Actual Picture   76 
Image 7 Costumes       77 
 
 
 
 
 
 
 
 
 
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LIST OF ACCRONYMS  
SPA: School of Performing Arts 
UG: University of Ghana 
UCC: University of Cape Coast, Ghana 
UEW: University of Education, Winneba  
 
 
 
 
 
 
 
 
 
 
 
 
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ABSTRACT 
The enthusiasm to expand the frontiers of Theatre Studies and practice in Ghana informed the 
need to conduct this research. Whereas much has been done with the practice and development 
of text-based theatre, not much can be said about the development and popularity of devised 
theatre in Ghana. Theatre productions in Ghana are often text-based and fashioned on the 
conventional hierarchical structure of a director asserting command over the other players in the 
theatre. The seeming low popularity of devised theatre in Ghana, especially within the tertiary 
institutions that teach theatre studies, can be attributed to the seeming complexities of the 
practice, as well as the absence of an academic research on devised theatre in Ghana. Thus this 
research set out to examine the role of directing and collaboration in devised theatre, as practised 
in an academic environment. The aim of the research was to dilate the seeming complexities with 
the role of the director, as well as explore the nature of collaboration in devised theatre. The 
research used a practice-led methodology, directing for the stage, as the main research apparatus. 
In addition, the research was framed in a postmodern style to theatre practice, with key 
components bordering on auteurism, collaborative theatre and cross-art integration. Bert van 
Dijk’s devising model was applied to devising a performance, using a novel as the source 
material. Subsequently, the research findings have been analysed, with a recommendation for the 
praxis of dirvising as a new directorial approach in devised theatre, especially for the practice of 
devised theatre in academic settings. Also, it is recommended for the Department of Theatre 
Arts, UG, to institute a devised theatre curriculum to expand its scope of theatre studies and 
practice. Consequently, devised theatre can serve as an alternative approach to text-based theatre 
practice, thereby expanding the frontiers of theatre studies and practice in Ghana.
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CHAPTER ONE 
INTRODUCTION 
1.1 Background to Study 
Theatre studies and practice, until recently, has focused its attention on the dramatic 
(play) text (Balme, 2008). This is true for theatre performances produced in the Departments of 
Theatre Arts in the University of Ghana (UG), University of Education, Winneba (UEW) and the 
Department of Theatre and Film Studies in the University of Cape Coast (UCC). These 
institutions of higher learning that dominate the study and practice of drama and theatre depend 
mainly on the play-text or script for theatre productions. The research however is situated within 
the University of Ghana, which has the first Performing Arts School in Ghana, the School of 
Performing Arts (SPA). According to Mr. Sandy Arkhurst1, as part of the reasons for the over-
reliance on the play-text for theatre productions in the aforementioned School are familiarity 
with text-based theatre productions, inadequate financial resources, time constraints, and creative 
fright among students (personal communication, June 4, 2015).   
Apart from Theatre Workshop class projects, Acting classes and other applied theatre 
programmes (Theatre-for-Development and Drama in Education), which teach aspects of 
devised theatre in these universities, there are not many examples of devised performances. The 
concept of devised theatre in many fronts defies elements of text-based theatre; the practice 
where the performance is centred on a play-text. Student directors, actors, and designers in the 
departments of Theatre Arts in these universities, are usually text-bound as far as theatre 
                                                          
11
 Mr. Sandy Arkhurst is a Senior Lecturer with the Department of Theatre Arts, University of Ghana. His area of 
specialty is Creative and Applied Theatre.  
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performances are concerned. As a result, there are but few examples of devised performances in 
the Department of Theatre Arts, University of Ghana. Hence, the need for an alternative 
approach to theatre productions, from the conventional text-based approach to devised theatre 
practice.  
However, in recent times, dating from the year 20002, there have been some attempts by 
the Department of Theatre Arts, University of Ghana, to practise devised theatre. In 2011, Dr. 
Stephanie Sandberg3 organised a ‘Viewpoint4’ workshop, as a visiting scholar of the department.  
The workshop, attended by directing, acting and some graduate students, introduced participants 
to devising techniques. Also, the Level 400 Acting classes of the 2011/2012, 2012/2013 and 
2013/2014 academic years of the Department of Theatre Arts, SPA, UG created devised 
performances of  Obstacles, Silence and Screams & Whispers respectively. I participated in 
devising for the first time, as a performer in Obstacles. The performances required the students 
to create stories from their personal experiences. The lecturer, who assumed the role of a 
facilitator, merged these stories, mostly monologues, into single performances.  
Another example of a devised performance in the Department of Theatre Arts, SPA, UG 
is Mr. Solomon Dartey’s5 work with the levels 300 and 400 Theatre Arts students of the Accra 
City Campus of the university. The class project, titled Facta Non-Verba Reload (2013), and 
produced in the first semester of the 2013/2014 academic year, employed image theatre and 
shadow theatre to create devised performances. In addition, Body Words (2014), a devised 
                                                          
2
 This year marks the end of the 20
th
 Century, the opening of the 21
st
 century, and fairly situated within the 
postmodern era.   
3
 DR. Stephanie Lynn Sandberg is a Professor of Theatre Communication Arts and Sciences with Calvin College, 
USA. 
4
 Viewpoint is a performance making technique based on movement and gesture. It was originally introduced by 
the choreographer Mary Overlie and further developed for stage actors by Anne Bogart and Tina Landau.  
5
 Solomon Y. Dartey, a Staff Member of the Department of Theatre Arts, SPA, UG since 2012 to 2014. He has a 
Master of Fine Arts Degree in Directing. 
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performance, was presented by level 300 and 400 students. The students, as guided by Mr. 
Solomon Y. Dartey, used their bodies to create non-verbal scenarios based on a chosen topic. 
Furthermore, as part of its contribution to the Fair Culture – The World of Tomorrow 
International Youth Theatre Festival and Symposium 6 , the School of Performing Arts UG 
engaged five students, myself included, to devise a performance on environmental degradation. 
The performance, titled Wise-up (2013), engaged drama, dance, music and imagery as part of its 
presentation.  
Another devised work in the School of Performing Arts, UG is Lab dc’s7 production of 
Snake and/or Ladders (2012). The performance was created and presented by selected students 
from all three departments in the School. Ms. Petra Kron 8  directed the performance, with 
assistance from other instructors. In addition, I have also presented a devised performance for my 
first MFA directing minor project. The thirty-minute performance titled The Applicant (2013) 
was based on Sylvia Plath’s poem, The Applicant. Samantasi Village (2014), a devised 
performance by Abibigromma, the resident theatre company of the SPA, UG was presented at 
the Efua Sutherland Drama Studio, as part of activities that marked the 8th International Theatre 
Association Conference, held in the School of Performing Arts, UG. One common and 
significant characteristic of all the performances mentioned above is creation without exclusive 
reliance on an existing text.  
Apart from these attempts at teaching and practising devising in these universities, there 
is hardly an attempt to employ devising for departmental play productions by Directing major 
                                                          
6
International Youth Theatre Festival and Symposium, 14
th
to 15
th
June, 2013 in Hannover, Germany 
7
Lab dc is a non-profit, intercultural and cross-cultural program of the School of Performing arts, UG. It was 
initiated in 2012 by Petra Kron and developed with artists from Ghana, Nigeria, Burkina Faso, Turkey and Germany. 
It is made up of students from the departments of Music, Dance Studies and Theatre Arts of the University. 
8
German Artist and cultural anthropologist; she initiated Lab dc in the School of Performing Arts.  
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students, both at the graduate and undergraduate level. This assertion was corroborated in an 
interview with some graduates from UCC and UEW. Perhaps, Godwin Kotey’s Etuo Ato Bare 
(2000) from the Department of Theatre Art, University of Ghana, was an attempt by a Directing 
major student, to employ devising for a performance. This near absence of devising in the 
departments of theatre arts in Ghanaian universities accounts for the paucity of knowledge on the 
subject. Even with some academic institutions that attempt to teach and practise devised theatre,  
Schmor (2004: 260) questions the “extent to which a project could be fairly designated as 
‘devised’ by students if there were to be faculty involved in design and directing”. By this, 
Schmor conjectures that, the presence of a faculty member or anyone with an overriding 
authority directing a devised project, could mar the purity of devised theatre. Consequently, an 
attempt to find answers to Schmor’s concerns and the need to extend the current body of 
knowledge on theatre practice in Ghana motivated this research.  
 
1.2 Problem Statement  
Acquiring the skills and tools needed for devising is a challenge to many students in the 
Department of Theatre Arts, UG. For example, students, mainly in acting and theatre workshop 
classes, struggle with creating performances without referring to a written text. This can be 
attributed to the convention of habitually relying on a play-text for departmental play 
productions. Hence, this has caused, in part, the absence of devising for departmental play 
productions by Directing major students both at the graduate and undergraduate levels. In 
addition, the practice of collaboration among directors, actors and designers in play productions 
in these departments is questionable. Whereas there is some form of ‘co-operation’ between 
directors and designers, actors are most often left out in the collaborative process. In effect, they 
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become more of recipients than collaborators in the creative process of theatre productions. 
Consequently, the problem statement for this research is the indispensable yet challenging role of 
directing in devised performances and the practice of collaboration in (devised) theatre 
productions. Through my active participation, as a student and then as a national service man in 
Directing, Acting and Theatre Workshop classes in the Department of Theatre Arts, University 
of Ghana, the gravity of the problem statement  has dawned on me. 
 
1.3  Research Questions  
The research attempted finding answers to the following:  
1. What is the role of directing in devised theatre?  
2.  How much collaboration is needed in devised theatre among directors, actors and crew?  
3. How relevant will devised theatre serve as an alternative approach to play-text theatre 
productions.   
4. What are the prospects of devised theatre in the Department of Theatre Arts, University 
of Ghana and other departments of theatre arts in Ghana? 
 
 
 
 
 
 
 
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1.4 Research Objectives  
The research sought to achieve the following:  
1. Appropriate the role of directing in devised theatre. 
2. Study the degree of collaboration among the director, actors, and the crew in theatrical 
productions.  
3. Explore the option of employing devised theatre as an alternative approach to play-text 
theatre productions in the Department of Theatre Arts, University of Ghana. 
4. Extend the current body of knowledge on stage directing in Ghana.  
 
1.5  Significance of Study  
The concept of devising advances the frontiers of creativity in theatre production. It also 
advances inquisitiveness as the process delves into the unknown. In addition, devising aids in 
updating already existing materials (plays), and thus, making them reflect contemporary realities. 
Finally and importantly, devising helps to curb the challenge with selecting an ideal play for 
performance; hence, the research findings should enhance theatre (performance) studies in the 
Department of Theatre Arts, University of Ghana and other departments of theatre arts in Ghana. 
In addition, it can push the frontiers of creativity among students, and provide an alternative 
approach to theatre productions in Ghana. Other directing major students, both at the graduate 
and undergraduate levels, can employ this alternative for their projects.  
 
 
 
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1.6 Methodology  
 The research employed practice-led research methodology, which is “concerned with the 
nature of practice and leads to new knowledge that has operational significance for that practice” 
(Candy, 2006: 3). Similarly, Carole Gray (1996: 3) defines practice-led research as: 
Research, which is initiated in practice, where questions, problems, and 
challenges are identified and formed by the needs of practice and practitioners; 
and the research strategy is carried out through practice, using predominantly 
methodologies and specific methods familiar to the practitioner. 
 
The Arts and Humanities Research Board of the United Kingdom (2003: 10) also defines 
practice-led research as:  
Involving the identification of research questions and problems, but the research 
methods, contexts, and outputs then involve a significant focus on creative 
practice… and it results in outputs that may not be text-based, but rather a 
performance (music, dance, drama), design, film, or exhibition.  
 
By way of practice through directing and in reference to the above definitions, I presented a 
devised performance based on Elizabeth-Irene Baitie’s The Twelfth Heart. Accordingly, the 
devising process and performance, with emphasis on directing, was documented and reviewed. 
The documentation took the form of (but not limited to) a journal, using still photography, and 
audio recording. In addition, and as suggested by Brad Haseman (2006: 8), “artistic audits of 
earlier and contemporaneous” devised performances were conducted, to inform the general 
context of the thesis-project. Some of these performances include, 
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 1. Snake and/or Ladders (2013), directed by Petra Kron 
2. Wise-up (2013), directed by Alfred Elikem Kunutsor 
3. Samantasi Village (2014), directed by Sarah Dorgbadzi and Ekua Ekumah 
 
Furthermore, identified scholarly literature – books, journals, articles – that are relevant to the 
research were reviewed.  
 
1.6.1 Production Process 
 The production process was divided into four parts; pre-production, devising process, 
performance and evaluation. The pre-production stage of the project consisted of securing rights 
for the novel, organising audition and casting, preparing budget and rehearsal schedule. The 
devising process was divided into stages, comprising: establishing the bare story from the novel, 
researching for materials, selecting the most helpful materials, turning selected materials into 
theatrical possibilities through series of improvisations, creating the performance score, and 
rehearsing the performance score. Along with this process, the technical requirements needed for 
the performance were procured. The performance was presented for three days at the Efua 
Sutherland Drama Studio, University of Ghana, which was followed by an evaluation process. 
This process consisted of post-performance discussions on the devising process and 
performance, with emphasis on the directorial approach and collaboration.  
 
 
 
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1.7 Research Overview  
The opening chapter sums-up the details of each chapter and highlights the background to 
the research as an enthusiasm to advance the frontiers of theatre practice in Ghana. The research 
problem questions the paradox of the role of directing in devised theatre. In addition, the opening 
chapter delimits the research within theatre productions by the Department of Theatre Arts, 
University of Ghana. Finally, the chapter outlines the methodology used for the research; 
practice-led methodology, which emphasises directing for the stage, as the main medium for the 
research.  
Chapter Two reviews both literature and practices on the concept of devised theatre, and 
delineates the working definition of devised theatre for this research. The chapter also highlights 
the difference between devised theatre and conventional theatre, as contexualised for the 
purposes of this thesis-project. In addition, the chapter looks into the argument against the 
presence of a functional director in devised and argued in theory and practice that the presence of 
a director in devised theatre is well placed. The chapter also reviews Bert van Dijk’s devising 
model and proceeded with discussions on the use of a novel for a devising work. The chapter 
concludes with a review of The Twelfth Heart, the source material for this project.  
Chapter Three focuses on the working process for the project. The conceptual framework 
that underpinned the research is outlined in this chapter. In addition, the chapter details the 
various stages of van Dijk’s devising model as employed for this project. The chapter also 
presented an account on the performance and concluded with report on the post-performance 
evaluation activities.  
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Chapter Four follows on with a review of the performance by addressing how the 
performance approached the core components of its framework. With regard to this project, the 
role of directing, as well as the practice of collaboration in devised theatre is analysed in chapter 
four. The analysis highlights the dialectics of directing in devised performances within academic 
settings and called for the practice of dirvising as a new directorial approach in devised theatre.  
In the final chapter, the entire research is summarised. The chapter also highlights the 
findings from chapter four and proceeded with some recommendations. The proposal of 
dirvising as a possible emerging practice in devised theatre is reiterated. In addition, the chapter 
recommends for the introduction of a devised theatre curriculum in the Department of Theatre 
Arts, University of Ghana.  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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CHAPTER TWO 
LITERATURE AND PPRACTICE REVIEW 
 
In this chapter, relevant literature and creative practices on the definition(s) and concepts 
of devised theatre are reviewed. The chapter also reviews the devising process with emphasis on 
directing and collaboration.  
 
2.1  Devised Theatre: Definition(s) and Concepts  
“The term devised theatre has proven slippery and hard to define” (Sobeck, 2010: 2). 
This is not only because devised theatre is experimental by its nature, but also because of the 
inherent artistic freedom associated with it. The definition of devised theatre is contextual, hence, 
many devised theatre companies, and practitioners have defined the term based on how they 
practice it. In view of this plurality, a number of definitions are reviewed, common denominators 
highlighted and a working definition of devised theatre constructed.  
In the lexical context, to devise is to come up with or work out a plan (Webster’s 
Universal Dictionary and Thesaurus, 2007). This definition, however limiting, sets the tone for 
the theatrical practice of devising. In the theatrical sense, devising is concerned with generating a 
performance. Deirdre Heddon and Jane Milling (2005) assert that the term devising as practised 
in the theatre is more concerned with the creation of performances from nothingness. On another 
level, devising has been associated with the rehearsal process of a play-text (Heddon and 
Milling, 2005). Thus, the process of memorizing lines and finding different ways of representing 
characters during rehearsals can equally be termed as devising. This attempt to define devising is 
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however elusive. In its whole, devising requires that the performers must collectively generate 
both the content and the form of a performance. Heddon and Milling (2005) justify the binary 
generative structure (content and form) of devising, where a playwright does not impose his/her 
ideas on the performers. Devising requires the performers to be equally actively involved in the 
‘writing’ of the script. In what might be regarded as an extreme position, Heddon and Milling 
(2005) are of the view that, the devised performance ought to be created from a void.  However, 
this stance of Heddon and Milling is contestable. The Latin phrase, nihil fit ex nihilo9 posits the 
impossibility of creating from a vacuum. Thus Kofi Agyekum (2015) asserts that “no 
performance is carried out in absolute vacuum, it must be cited within a context” (seminar 
presentation, June 4, 2015). I will further argue that there is always a need for a starting point for 
a performance, no matter how intangible or abstract it is, in order to create or bring something 
into being. Hence, a group of performers cannot possibly create from a void. Even though 
Wilson H. Robert (2012: 4) agrees with Heddon and Milling on the total absence of a play-text at 
the start of a devising process, he suggests that there is a need for a “concept or an idea as a 
starting point”. Wilson’s argument notwithstanding, I support the inclusion of a play-text as a 
source material for a devised performance, as far as the text does not dictate to the performance. 
More so, in support of this argument, Mary Zimmerman (2005: 26) defines devised theatre as “a 
process of generating a performance in which the script does not precede the production, but 
rather ‘grow up’ simultaneously with it”. Bruce Barton (2005) further supports the inclusion of a 
text, but as a secondary component to the production. In addition, Bert van Dijk (2012: 9) does 
not only support the inclusion of a text, but goes on to introduce more jump-off points, which he 
terms as “point[s] of departure, (POD)”. He argues that:  
                                                          
9
 Meaning: Nothing comes out of nothing.  
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In devised theatre, you can choose – and use – any POD you like… It can be a 
story, a location, an image, a poem, a piece of prose, a theme or issue, a piece of 
music, an object, a character or collection of characters, a proverb, an oxymoron, 
a song, a provocation, film or video images, a certain relationship, a play or 
section of a play (van Dijk, 2012: 13). 
 
 Also in support of, and in a way of summing up van Dijk’s argument on the possible use of 
multiple source materials, Mia Perry (2008: 7) defines devised theatre as, “performance created 
out of the banal and the profound ‘stuff’ of everyday life as lived by the creators/devisers”. Thus, 
the concept of devising requires the performers to generate a performance from the contents of 
their surroundings. They are however not tied or limited to any source material, but from the 
inexhaustible contents of life. The “point[s] of departure” (van Dijk, 2012: 9) thus become a 
springboard or a reference point that informs the creation process.  
Snakes and/or Ladders (2013) and Wise-up (2013), produced by Lab dc and the School 
of Performing Arts, University of Ghana (UG), respectively, used concepts as their POD. Snakes 
and/or Ladders was based on the concept of choice, and Wise-up on societal misconduct. Both 
concepts served as a kernel from which the two performances were generated. Abibigromma, the 
resident theatre company of the School of Performing Arts, UG also devised a performance, 
Samantaase Village (2014), from a Ghanaian folktale10. In addition, Fresco Theatre Company 
devised The Famished Road, from a novel written by Ben Okri. Although both performances – 
Samantaase Village and The Famished Road – used a literary text as a source material they did 
not faithfully reproduce them. When a literary text and for that matter any other source material 
is used for a devised performance, it is manipulated and reworked to suit the demands of the 
                                                          
10
Samantaase Village, as documented by Efua T. Sutherland.  
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performance. Hence, the idea of a staged literature where the literary text, a play-text, is 
faithfully presented in a performance is in direct opposition to the concept of devising.  
Away from the need for a source material in devising is the importance of the processes 
for generating content. The concept of collaboration is central to any devising process. The term, 
devised theatre is closely associated with, and sometimes interchanged with the term 
‘collaborative creation’ (Heddon & Milling, 2005). Collaboration is intrinsic to devising and 
partly differentiates devising from adaptation. Devising requires that the altering of the text must 
start with and involve everybody in the production. This is not always true with adaptation. 
When adapting, the script is mostly altered by one person – the director and/or the producer – 
before it is given to the rest of the production team. In contrast, devising requires that the whole 
production ensemble works together to ‘adapt’ the text.  
Another criterion that is useful to differentiate devising from adaptation is the aim of the 
process. According to van Dijk, many adaptations are based on the director's vision which may 
divert from the original playwright’s vision or intention. However, the actors and designers are 
still asked to come in on a predetermined vision and serve that vision to the best of their ability 
using their specific craft (personal communication, June 27, 2014). He argues further that, even 
though great actors and designers will always want to contribute to the creative process with 
their own unique and surprising artistry, “it depends on the openness of the director whether they 
encourage this to occur, or whether they only allow it to a certain degree or whether they resist it 
strongly” (van Dijk, personal communication, June 27, 2014). Van Dijk opines that, there are 
many situations where the director could not perceive the value of the creative contributions of 
their cast, design and technical support team, sometimes to the extent where they tell others 
exactly what to do and how to do it (personal communication, June 27, 2014). However, if the 
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purpose of an adaptation is to encourage all participants (actors, crew and even audience) to 
contribute to this process, it becomes a particular form of devising. In section 2.2.3 on page 34, 
the relationship between a director and other collaborators in a devising process will be 
discussed.  
Another central concept of devised theatre is research and improvisation. Van Dijk 
(2012: 21) likens the devising process to the “growth of a plant or tree”. He reckons that in a 
devising process:  
The POD can be likened to the seed that contains all possibilities of the fully – 
grown plant – either in principle or in a way that is obscure or codified. In this 
analogy, the stage of research is the root system that spreads out in search of 
nutrients (inspiration) from the surrounding earth (environment) (van Dijk, 2012: 
21).  
 
Research plays an integral role in devised theatre. For example, it enables the performers to 
reach out beyond them to dig deep for content. Research is also equally important for performers 
in devised theatre as they most often have little material to start the rehearsal process. The 
research is never-ending and the performers engage in it (research) with the totality of their 
being. Van Dijk (2012: 22) asserts that, “the boundless nature of the gathering stage [research] in 
devised theatre involves mind, body and imagination and provides [the performers] with a 
complete way of getting to know [the] POD”. 
Improvisation is equally a central concept in devising. Quite often, devised theatre is 
interchanged with improvisational theatre, even though each is different in context. Thus, not all 
improvisations can be associated with devising. In section 2.2.1, page 22, a comparison between 
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devising and improvisation is expounded. For the moment, the type of improvisation practised in 
devised theatre serves as the wheel that propels the generation of content. Thus, content is mostly 
generated through a series of improvisation exercises. Different devised theatre companies and 
practitioners have developed improvisational techniques based on their practical theatre 
ideologies. A couple of these include, Anne Bogart’s ‘Viewpoint Technique’, Moisés Kaufman’s 
‘Moment Work’ and Ruth Zaporah’s ‘Action Theatre’ (Morrow, Bauer & Herrington, 2009).  
It is important to indicate that improvisation thrives on spontaneity and Nicholas J. 
Zaunbrecher (2011: 50) notes that “spontaneity is the primary feature of an improvisational act 
[and/or] that which makes an action improvisational”. Spontaneity requires that the improvisers 
be engaged wholly in the moment of creation. It also requires that they are present and conscious 
of the ‘here and now’. Spontaneity is perhaps the constituent of devising that demands of and 
makes devised performances “original” (van Dijk, 2012: 9).  
Even though devising is common with some indigenous African performance genres, its 
development can be traced to the political and cultural revolts of the 1950s to the 1970s in the 
West (Heddon &Milling, 2005; Allain & Harvie, 2006). H. R. Wilson (2012: 14) notes that:   
In the British political theatre of the 1960s and 70s, fostering collaborative 
practices became about ideological as well as aesthetic concerns, developing a 
theatre practice that was in alignment with current socialist [and feminist] politics.  
 
The above quotation emphasises the centrality of politics as a contributing factor to the 
development of devised theatre. Thus, theatre, and in the larger context many art forms, were 
used to revolt against purported ill structured political and socio-economic systems. This was not 
peculiar to the West, but also very true in apartheid South Africa. Due to the high security risks 
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that met these revolts, the performers had little time to prepare and present their performances. 
Thus, many of the performances were devised with readily available materials. The performers 
had to rely on their immediate environments, the ‘here and now’, to generate performances. 
Christian Penny affirms the currency of devised performances by defining devised theatre as, 
“making a work about what matters to you at the time that matters to you” (Penny)11; hence, 
making devised performances not only original but also current with time. The theatre companies 
associated with these revolts were structured on a socialist political ideology, which advocated 
for the equality of all people and the collective ownership of state property. Hence, these 
companies abolished any form of vertically structured (top-down and/or bottom-up) hierarchy in 
the theatre. Everyone had an equal stake in the theatre and performances were collectively 
generated and owned by the ensemble.  
On another level, as a result of the protest or revolt that characterized devised 
performances, they embody elements of performativity (Allain & Harvie, 2006). Barbara Bolt 
(2009: 10) asserts that the term performativity best describes the ability of a performance to 
effect change in society, “either in the material, affective or discursive domains”. Those devised 
performances aimed at making real impacts or change in society. The performative need for 
devised performances does not take out the requirement of entertainment and spectacle as a 
theatrical form. Heddon and Milling (2005: 29) describe the concept of Devised Theatre as 
variously consisting of:  
a model of cooperative and non-hierarchical collaboration; an ensemble; a 
collective; a de-commodification of art; a commitment to total art; the negating of 
the gap between art and life; the embodiment of the death of the author; a means 
                                                          
11(http://www.devised-theatre.com/interviews.php)  
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to reflect contemporary social reality; an escape from theatrical conventions; a 
challenge for theatre makers; spontaneous; experimental; non-literary. 
Following the discussions above on the definitions and concepts of devised theatre, I will 
sum up the key concepts as: point of departure, collaboration, improvisation, originality, non-
hierarchical, performative and spectacle. For the purposes of this research, devised theatre is 
defined as, the creation of an original performance through the creative, and collaborative works 
of an ensemble, with a well-defined source material. On page 19, Figure 1 sums-up the 
discussions on the definitions and concepts of devised theatre. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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FIGURE 1: Definitions and Concepts of Devised Theatre 
Critics of Devised Theatre claim every 
performance is ‘devised’. Thus, in 
conventional theatre, the rehearsal 
process is devised but based on an 
established script.  
Any other Source – song, film, 
picture, an object, a site or 
location, etc… 
The process for generating content is mostly 
through RESEARCH and IMPROVISATION 
Not adaptation. Devising requires 
that the alteration of the script must 
start with and involve everybody in 
the production. The whole ensemble 
must WORK TOGETHER to adapt 
the script.  
The performance: Both content and form must 
be COLLECTIVELY generated by and for the 
ensemble.  
Improvisation relies on Moment 
Creation/Presence/CURRENCY/The 
Here and Now 
‘Create As You Go’ 
The need to create on the ‘spot of the moment’ performance due to 
the emergence of devising partly as a POLITICAL (PROTEST) 
THEATRE 
ORIGINALITY 
THEATRE 
Must be CREATIVE 
and 
ENTERTAINING 
PROTEST 
PERFORMATIVE. 
Created to make real 
impact/change in society 
POLITICAL 
Socialist Ideology of 
Equality of all People. 
NO HIERARCHIES 
IN THE THEATRE 
With a literary text (Poem, Novel, 
Script, Short Story). However the 
text must serve the purpose of the 
performance and not vice versa 
Broad Concept 
eg: Patriotism, 
Choice, Sanitation, 
etc… 
Core Devised Theatre practitioners 
however argue that devised 
performances are created without 
reliance on an existing play-text; both 
the content and the rehearsal process are 
devised. 
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In his bid to define devised theatre and conventional theatre, van Dijk (2012: 9) 
distinguishes between the two by referring to the latter as “other theatre”. By this, he refers “both 
to the Western practice of text-based theatre and the classical Oriental forms of a strictly codified 
theatre” (van Dijk, 2012: 9). While I accept van Dijk’s definition of conventional theatre, I will 
delimit the definition to “text-based theatre practice” (van Dijk, 2012: 9), with emphasis on play-
text. This is needed for the purposes of this research. Conventional theatre, therefore, refers to 
play-text performances where there is heavy reliance on the text and the text dictates to the 
performance process and product. In the context of this research, play-text theatre will be used 
interchangeably with conventional theatre.  
John B. Schmor’s (2004: 259) definition of devised theatre as “[theatrical] works which 
are not initially or primarily scripted by a playwright or dominated by a director, works which 
are instead created primarily by the performers, with designers and directors in intensive 
collaboration”, embodies two essential characteristics of devised theatre: non-hierarchical and 
collaborative. Bert van Dijk (2012: 9) also advances the essence of collaboration in devised 
theatre. In his view, the process of making a devised performance has to be collective: collective 
by an ensemble with a shared vocabulary. Hence, devised theatre refers to the creation of an 
original performance through the creative and collaborative works of an ensemble, with a well-
defined source material. 
Whereas devised theatre is non-hierarchical and not bound to a script, conventional 
theatre is hierarchically structured with either of these professionals – the producer, the director 
or the playwright at the apex. Another distinction between devised and conventional theatres is 
the level at which the ensemble members work together. Van Dijk (2012: 11) highlights that 
“devised theatre is a process of theatre-making that is by nature collaborative [and] this 
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collaboration is not just simply a matter of artists working together – a characteristic of 
[conventional] theatre”. Van Dijk’s assertion suggests that devised theatre practitioners cannot 
afford but to work together closely, which will be argued later as an intrinsic characteristic of 
collaboration. With conventional theatre, it is a matter of being together, which falls short of the 
concept of collaboration.  
 
2.2 Devising Processes 
It is unlikely to have one set of process for devised theatre. The way and manner by 
which devising is approached varies “from continent to continent, as well as from theatre 
company to theatre company” (Perry, 2008: 3). Thus, an individual or a group of people’s 
appreciation of the concepts of devised theatre determines their practice of it. Even though this 
seeming openness of devised theatre might, on the surface appear as a flaw, it is actually this 
inherent (artistic) freedom of devising, which makes it stand out and draws avant-garde theatre 
practitioners to it.  Hence, Govan, Nicholson and Normington (2007: 7) argue for the plurality of 
devising as “processes of experimentation and sets of creative strategies – rather than a single 
methodology”. However, in the midst of the complexities of devising processes, van Dijk (2012: 
7) is of the view that, “there are a number of clear defining principles shared by all” varying 
processes. For example, improvisation is a common practice to all devising processes. This is 
true to the extent that improvisation has been central with most devised works (Heddon and 
Milling, 2005). Another practice that is common to any devising process is collaboration.  
 
 
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2.2.1 Devised Theatre and Improvisation 
 Defined in its simplest form, improvisation is just making do with what is available. 
However, the usage of the word can be broad; hence, Zaunbrecher (2011: 49) offers to divide it 
into two contexts: improvisation as a category of actions and improvisation as a method of 
action. As a category of actions, improvisation involves “inventing within limitations” (Seham, 
2001: xx). In this context, improvisation is defined by its practice in “the ever changing 
circumstances of life” (Zaunbrecher, 2011: 49). This accounts for Frost and Yarrow’s (1990: 15) 
assertion of the usage of improvisation in this context as “the extension of improvisation 
principles beyond the theatre itself”. However, in the theatrical context, improvisation is defined 
as a method of action where “performers purposefully choose not to plan [and/or rehearse] 
aspects of their performance” (Zaunbrecher, 2011: 49) before presenting it to a live audience. 
Hence, improvisation as a method of action informs the practice of improvisational theatre, 
where the performance is presented as at when it is created.  
 The Italian Commedia dell’arte is a good example of a theatre genre that was fashioned 
on the principles of improvisational theatre (Allain & Harvie, 2006). Hence the trueness of 
Natalie C. Schmitt’s (2010: 225) assertion that, “it was principally improvisation that made 
Commedia dell’arte performances famous”. However, it is important to differentiate 
improvisational theatre from other forms of improvisation equally practised in the theatre. For 
example, the use of improvisation to save an ongoing performance is not the same as 
improvisational theatre. Zaunbrecher (2011: 49) further explains this as, “if actors in a scripted 
play forget their lines and make up new ones, or decide to ad-lib… this would not be 
improvisational theatre, though it certainly is theatre that is invented on the spot”. In addition, 
improvisation, when used as a means of teaching acting and/or training (amateur) actors (Allain 
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& Harvie, 2006), is different from improvisational theatre. There is yet another usage of 
improvisation, which differentiates it from improvisational theatre. This is the use of series of 
improvisational techniques to generate a performance; and this informs the concept of devising 
(Allain & Harvie, 2006).  
In this context, improvisation, as stated in section 2.1, is used as a wheel to generate 
content for a devised performance. Van Dijk (2012: 23) asserts that, “the [main] function of 
improvisation during the exploration stage of the devising process is: to probe and realize the 
point of departure (POD) in time and space”. Thus, once the POD is defined, it goes through a 
series of improvisational exercises where the ensemble examines the POD by looking at it, 
smelling it, tasting it, listening to it, sleeping with it, massaging it, dreaming about it, ignoring it, 
loving and hating it, and doing anything possible with it (van Dijk, 2012: 20). Improvisation as 
practised in devised theatre works best in an ensemble; a group experience where participants 
(are guided to) express themselves as they work and play with one another for the purposes of 
generating a performance. Several devised theatre companies have developed a number of 
improvisational techniques for their devising models, as mentioned in section 2.1, page 16.   
 
2.2.2  Devised Theatre and Collaboration 
In the theatre, working together is fundamental, hence the maxim, theatre is a 
collaborative art. The theatre is a communal space for diverse talents, skills and professions. No 
one person in the theatre is independent. In other words, the theatre brings together different 
professionals – actors, directors, technicians, designers, managers, and administrators – to work 
together within a common space. Arguably, the art of working together is unique to theatre 
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practice. Unlike any theatre professional, the painter and some visual art practitioners have some 
independence with their works. In addition, the art of working together is relatively absent with 
poets and novelists. It is however not certain if collaboration is maximally optimized in 
conventional theatre. Arguably, conventional theatre productions practise more of cooperation 
than collaboration. So, whereas devised theatre productions optimise collaboration, conventional 
theatre productions, do less of it.  
For the purposes of constructing the above proposition – working together in devised 
theatre is more collaborative than in conventional theatre – the working definition of devised 
theatre and conventional theatre is reiterated. Devised theatre refers to the creation of an original 
performance through the creative and collaborative works of an ensemble, with a well defined 
source material, and conventional theatre refers to text-based performances with a play-text, 
where there is a heavy reliance on the text, and the text often dictates to the performance. 
Robert Cohen (2010: 46) defines collaboration as “the horizontal glue that holds an 
ensemble together and makes the work collective, mutually supportive, and the composite of 
many minds, bodies, and imaginations”. Cohen’s definition highlights key terms such as: 
horizontal, ensemble, mutually supportive and composite. The relevance of these terms will be 
validated shortly. In the meantime, Rob Roznowski and Kirk Domer’s (2009: 1) definition of 
collaboration as, “a meshing of ideas” might aptly elucidate Cohen’s (2010: 9), “… composite of 
many minds, bodies and imaginations”. In Olga Kozar’s search for an effective collaborative 
learning system, she echoes Joanne M. Melnnerney and Timothy S. Robert’s (2004: 205) 
definition of collaboration as “a method that implies working in a group of two or more to 
achieve a common goal, while respecting each individual’s contribution to the whole”. This 
definition advances the concept of collaboration with the addition of two key terms, ‘a common 
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goal’ and ‘respect for other collaborators’. To have a common goal is to be bound by one 
objective, aim, intention, plan, purpose, ambition, aspiration, wish or dream. To respect other 
collaborators is to recognise and appreciate their contribution to the common goal of the work. 
The diverse human resources needed for theatrical productions, come with divergent views, 
however, in the spirit of collaboration, it is expected that all views be respected. Hence, in 
appreciating Mark Granovette’s Wisdom of the Crowds, Carlos Dominguez asserts that “the 
more diverse the group, the better they get to collaborate” (Dominguez, as cited by Mark 
Granovette).12 In furtherance to the above definitions and meanings of collaborations, I will 
attempt to define it as “an unbroken process of assembling diverse human and material resources 
to work together, and at the same time, in a mutually accommodating environment towards the 
attainment of a common goal”.  
It is easy to argue that collaboration and cooperation are the same. On the surface, yes, 
but a more practical search into the two words will mean different. Karl A. Smith defines 
cooperation as, “working together to accomplish shared goals” (Smith). 13  This definition 
associates ‘shared’ goals with cooperation. To share is to divide parts of a whole among a group 
of people. Thus, members of the group do not work on the whole work at the same time, but 
distribute parts of it among themselves. Rob Roznowski and Kirk Domer (2009: 1) also advance 
the definition of cooperation as “a handshaking group of individuals promising not to tread on 
another’s toes”. Thus, in co-operative organisations, work is divided into units and each unit 
works independently while boundaries are created to enhance the practice of division of labour.  
                                                          
12(blogs.cisco.com) 
13(www.personal.cege.umn.edu). 
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The above explanations of collaboration and cooperation draw a distinction between the 
two. Even though both embody the practice of working together, they differ in levels. 
Collaborative productions are more interested in the process of working together. Cooperative 
productions on the other hand, are more concerned with the product of the working together. 
According to Jeremy Roschelle and Stephanie D. Teasley (1995: 70), “each person in a 
[cooperative work] is responsible for a portion of the problem solving”, while in collaborative 
works there is “the mutual engagement of participants in a coordinated effort to solve the 
problem together”. Co-operative organizations use diplomacy to solve problems. By diplomacy, 
I mean a tactful way of engaging with one another. Randy Nelson is of the view that 
“cooperation is a protocol that allows you not to get in each other’s way as you work” 
(Nelson).14 Collaborative productions, on the other hand, employ [consensual] democratic means 
to solve problems. To conclude on the differences between collaboration and cooperation, I refer 
to the metaphor in Olga Kozar’s story. 
In a potluck dinner where people cook and bring different dishes to the table, 
there is more exciting than what each individual would have eaten individually. 
However, the guests return to their homes being able to cook only the same dish 
they brought to the potluck. Even though they may have gotten recipes, they still 
need to learn to make the new dishes themselves. On the other hand, had they 
cooked together in the first place, they would have observed and learned a lot 
more from one another. They would have taken away some practical, hands-on 
skills even if cooking together had meant a messier and a more chaotic process. 
(Mclnnerney and Roberts, 2004: 210) 
                                                          
14(www.edutopia.org). 
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The above story highlights aptly the difference between cooperation and collaboration. 
The first instance where the guests individually prepared their food before bringing it together to 
be eaten is an example of cooperation, whereas the second illustration is of collaboration. Thus, 
with the second illustration, the guests will have jointly prepared the different dishes and eaten 
them together. Juxtaposing the definitions of devised theatre and conventional theatre vis-à-vis 
that of collaboration and cooperation, the argument can be made that, devised theatre practises 
collaboration whereas conventional theatre practises cooperation. I will illustrate this assertion in 
a moment with the two productions cited for artistic audits: Snakes and/or Ladders and Grip Am. 
Snakes and/or Ladders is a “multidisciplinary production based on real life situations as 
to whether people should live their lives by chance or by choice.” (Framewalk on the Road & 
Lab dc 2013) Lab dc, headed by Petra Kron, produced Snakes and/or Ladders. The performance 
explored the subject of choice. A young girl, Akweley, is in dilemma whether to listen to her 
mother and marry a rich man she does not love, or to follow her heart and marry the poor village 
boy. The performers in an ensemble created the performance. Snakes and/or Ladders employed a 
collaborative intercultural approach by bringing together performers from diverse national 
cultures – Ghana, Germany, Nigeria, Turkey, and U.S.A. The cross-art performance blended 
different performance genres – drama, music, dance, sculpture, spoken word and body 
percussion. According to Elijah Twum, a member of the production, directing Snakes and/or 
Ladders was a shared responsibility among the directors (Petra Kron, Alfred Kunutsor and Mr. 
Black) on one hand, and between the directors and the performers on another hand (personal 
communication, April 3, 2014). Even though the performers assert that there was some hierarchy 
in the production, it did not follow a vertical hierarchical structure. Rather it employed the 
parallel or horizontal approach. Thus, all members of the production were involved at every 
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stage of decision-making and execution. This emphasizes Robert Cohen’s (2010: 46) definition 
of collaboration as “the horizontal glue that holds an ensemble together and makes the work 
collective, mutually supportive, and the composite of many minds, bodies, and imaginations”. 
The horizontal structure used in collaborative devised performance, as with Snakes and/or 
Ladders encourages a flexible communicative space (Goessl, 2010), which in essence enhances 
creativity.  
Collaboration also enhances ownership, which in turn promotes personal and group 
commitment. Because collaboration “respects and highlights team abilities and contributions”15, 
every single member of the team is motivated to play a part in making the performance. Comfort 
Chana, a performer in Snakes and/or Ladders, asserts that because of the strong bond created in 
the group, they were motivated to put their special abilities together to create something they 
could call their own; they created, directed, performed and enjoyed Snakes and/or Ladders 
together (personal communication, April 5, 2014). Even though there was the presence of a 
director or directors, they only supervised and guided the creative process, so the ensemble does 
not lose the focus of the production. Concerning working together among the performers, Chana 
has this to say: 
We worked together. Apart from the drama where we developed the concept 
together, we also worked with the music and dance students. We developed the 
lyrics of the songs, and assessed the dance movements. There was no way Snakes 
and/or Ladders would have been successful without the cast collaborating. It 
would have ceased to communicate the unified concept. It is because of the 
                                                          
15(home.capecod.net) 
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collaboration among us that the music, dance and drama communicated the same 
concept of choice in different ways (personal communication, April 5, 2014). 
The collaborative culture in devised performances is mutually inclusive with all participants 
having equal stake in the play-making process; no individual or a group of individual’s work 
overly dominates that of others. Even when there is a designated position for a director, s/he’s 
work is to guide the collaborative process. In addition, the director facilitates the creative process 
by being “responsible for a balance of responsibilities in the company or group” (Schmor, 2004: 
3).  
Bernice A. Animle16 directed Ola Rotimi’s Grip Am. It was staged in the Efua Sutherland 
Drama studio, from Thursday, 17 April to Saturday, 19 April 2014, at 7:30pm each night. Grip 
Am chronicles the life of a couple, Ise and Aso, who reside in a rural community. The play is set 
in a decrepit rural homestead. Ise, a poor farmer, would have been happier maintaining a low 
profile, but for his wife, Aso, who constantly reminds him of his wretchedness. In fact, she nags 
him, which always results in a fight. Their unending quarrels cause God to grant their ultimate 
life request. Ise wishes for powers that will enable him to catch anyone who comes to steal from 
his orange tree. Aso, on the other hand, wishes for the death of Ise. As promised by God, both 
wishes were granted. However, Ise’s wisdom helps him to escape and overpower death.  
No doubt the director, cast and crew of Grip Am worked together to produce the 
performance. However, unlike Snakes and/or Ladders, Grip Am employed both the top-down 
and bottom-up hierarchical structures. There was a director at the apex who dictated to the 
process. That is not to say the director was authoritative; she encouraged suggestions from the 
                                                          
16
  A final year undergraduate Directing student with the Department of Theatre Arts, SPA – UG. 2013/2014 
academic year.  
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cast and crew. This however did not heighten the degree of collaboration in the production. First, 
the cast and crew played no role in the making of the script for the performance. This is true for 
most conventional theatre productions. The playwright most often single-handedly produces the 
script. The closest the director comes to owning the script is through adaptation. However, in the 
instance where the playwright is alive and available, and/or the copyright of the play is active, 
not much can be done to tweak either the form or content of the script. The inability of the cast 
and crew of Grip Am to contribute to the making of the script limited their level of engagement 
with the production.  
On another level, the boundaries created among the cast and crew impeded effective 
collaboration. These two groups of people worked independently at the initial stages of the 
production – the first two (2) to three (3) weeks of rehearsal. In addition, the cast rarely made 
inputs into the design and construction of some technical elements of the production. For 
example, hardly did the cast know about how the light was designed. Also, not all the cast were 
involved with the designing and construction of the set and properties. That was the 
responsibility of the set and the property team. Hence, the style of working together employed in 
Grip Am, as with many other conventional theatre performances produced in the School of 
Performing Arts, UG, is not all inclusive. Each group – cast and crew – almost work 
independently at the initial stages of the rehearsal before everything is brought together to create 
the performance. More so, the director is the only entity that unites the different departments 
from the initial stages of the rehearsal; and this is because s/he is the one who carries the 
production’s vision, and everyone else abides in it.  
Whereas this cooperative way of working has its merits, it does not encourage much 
ownership by the cast and crew, as compared to a collaborative way of working. In essence, the 
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cast and crew do not get much involved with the production. Often you hear student directors in 
the Department of Theatre Arts, University of Ghana, uttering statements such as, ‘leave my 
stage’, ‘give me my script’, and ‘don’t tamper with my script’. Such attempts by some 
conventional theatre directors to personalize the performance often create some sense of 
perceptive distance between the production team and the production. However, Robert Mittan’s 
definition of collaboration as, “a cross-fertilization of ideas, the energizing discussion among 
people with common interests and goals, [and], the shared sense of accomplishments when goals 
are reached” (Mittan)17, elucidates the mental, emotional and physical connection performers of 
collaboratively devised theatre attach to their performances.  
In Jason E. Weber’s (2011: 3) quest to contribute to the academic discourse on the 
collaborative nature of devised theatre, he constructs three terminologies that define the 
collaborative processes of “three Massachusetts-based [theatre] companies – The Double Edge 
Theatre, The Bean Jest Moving Theatre and Forty Magnolias Productions”. Weber (2011) admits 
that even though devising processes differ from company to company, the categorisation of these 
three different collaborative approaches encapsulates, largely, the practice of many devising 
companies and groups. Weber’s work on defining the collaborative approaches in devised theatre 
helps to frame and appreciate the works of devised theatre companies within “a triangular plane 
on which the collaborative process of any company can be plotted” (Weber, 2011: 2). By 
constructing the collaborative approaches into, Collective Collaboration, Specialized 
Collaboration and Guided Collaboration, Weber (2011) takes into account, the composition of 
the ensemble, the positioning and perception of leadership in the ensemble, and last yet 
important, the approach to carrying out roles and responsibilities by the ensemble.  
                                                          
17(www.coral.wcupa.edu) 
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The first collaborative approach is collective collaboration, and this, according to Weber 
(2011), is the purest form of collaboration. With collective collaboration, “all of the members in 
the ensemble share equal responsibility for the creation of the work and take equal credit for the 
finished product” (Weber, 2011: 7). Thus, there is no designated role for any individual or group 
of individuals. All the ensemble members carry out each task in the process at the same time. 
This approach of collaboration works best in theatre companies with a ‘homogeneous’ ensemble. 
Thus, the ensemble had stayed together for a long time and had become ‘one’. They know one 
another’s strength and weaknesses, likes and dislikes, and are able to work at a certain level of 
accord.  
The next collaborative approach, specialised collaboration, works almost like the former, 
but differs in a way. As with collective collaboration, there is no hierarchy in specialised 
collaboration; there is no one leader. However, unlike collective collaboration, special roles and 
responsibilities are assigned to individuals or groups of individuals. Thus, even though the 
ensemble members have equal stakes in the company or group, each person or group of people 
has a special duty. Hence, the work of scripting, directing, acting, designing, and management is 
assigned to specific people. However, Weber (2011: 9) asserts that, “this specialisation does not 
limit the ability of the ensemble to work together and comment on each other’s work, and no one 
person has a final say because all participants are equal creators in the work as a whole”. As with 
collective collaboration, specialised collaboration equally works best in professional theatre 
companies that have existed and practiced for an appreciable length of time.  
The third approach, guided collaboration, was employed in this research. Guided 
collaboration differs a bit from collective and specialised collaborative approaches. With guided 
collaboration, there is one person or a group of people who assume the role of a director. 
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According to Weber (2011: 8), “in Guided Collaboration, all participants are equal, except the 
director, who remains above the ensemble and guides them to their common goal”. Even though 
the director rises above the ensemble, s/he does not become a dictator. Thus, Schmor (2004: 3) 
asserts that the director should “be prepared to submit to group consensus at every step”. As the 
name suggests, the work of a director employing the Guided Collaboration approach is to guide 
the ensemble to create a performance of their own. Guided Collaboration is often employed in 
academic settings and/or in amateur theatre groups, where there is the need for a figure who is 
more trained to oversee the work of the students and/or the amateur group. Most of the devised 
performances produced in the School of Performing Arts, UG that I have or will refer to, did 
employ the Guided Collaborative approach. The role of the director in [a guided collaborative] 
devised performance will be further expounded in Section 2.2.3, on page 34.    
Working together in the theatre is central and its practice must be maximized at all stages 
of a production. Every player in the theatre must contribute to the needed collaborative 
environment in the theatre. The director should be able to, “create an open dialogue between 
collaborators, facilitate a collective discovery led by other members of the group, and, lead a 
group in a way that facilitates democracy” (H. R. Wilson, 2012: 122). The other collaborators – 
actors, designers - must be equally willing to respect other people’s contributions. They must 
open up to divergent views in order to disagree to agree. Any theatre company aiming to 
maximize collaboration must aim at establishing a shared vocabulary. Simon McBurney (2010: 
27) states that, the best way to optimize collaboration is to, “establish an ensemble with a 
common physical and imaginative language”. By way of developing a common language, the 
ensemble is able to understand one another and build consensus among them. This requires that 
the ensemble stays together and practice more times. The ensemble must also do away with any 
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communication barriers that will hinder an open dialogue among them. Communication barriers 
can include disparity in production vision, difference in performance exposure among the 
ensemble, low self-esteem or ego with members in the production, and technology. 
Collaboration, I agree is expensive, but its expense should not be traded for its merits. 
 
2.2.3 Devised Theatre and Directing 
After presenting my minor directing project, The Applicant (2013), where I employed 
devised theatre to present a performance; I was met with dissenting criticisms from some 
sections in the department. The argument was that, the performance could have been created 
without the input of a director. In other words, it appeared as though not much was done by 
directing for The Applicant, since the performers created it themselves. In addition, Michigan 
Tech, an online visual and performing arts web page, affirms that “there are no directors or 
scriptwriters [in devised theatre]; everything that is created comes from the group” (Michigan 
Tech).18 The bottom line of this argument is that there cannot be a functional director in devised 
theatre. However, given that devised performances are largely created by the performers, this 
does not in itself rule out the functions of directing. There is more to creating a performance than 
just creating content. Hence, the need to present a case against the notion of the seeming death of 
the director in devised theatre. References are made to two devised performance produced in the 
School of Performing Arts’, Snakes and/or Ladders (2013) and Wise-up (2013). 
The process of directing and/or creating a performance begins with conceptualisation. E. 
Wilson (1994: 135) asserts that, “once the script – whether well-established or [not] is selected, 
                                                          
18(https://wiki.vpa.mtu.edu/wiki/index.php). 
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the director must begin to formulate the all-important concept of the production”. Thus, the 
concept of the performance emanates from the controlling idea, vision, or viewpoint of the 
director. The director formulates the concept before meeting with the entire ensemble. When 
formulating a concept, Zimmerman (2005: 25-26) asserts that:  
… the primary factor that determines what goes into the final show is 
undoubtedly the unconscious and conscious impulses of my own personality in 
dialogue with the original text: how I read its story, how I can best give that story 
a body, what I am drawn to, what I feel is beautiful, what formal considerations I 
value, what I am obsessed with. In other words, my own taste.  
In Snakes and/or Ladders, the director formulated the concept. Twum asserted that, “the 
director came up with the subject of choice. However, in the democratic culture of devising, the 
concept does not become a ‘box’ that limits the rehearsal process, but works mainly as a canvas 
on which the performance is painted. In Wise-up, the concept was formulated by the event 
organisers as, ‘Fair Culture – The World of Tomorrow’. The use of concepts as kernels for both 
performances corroborates the argument made in Section 2.1.  
The next stage after conceptualisation is the creation of content for the performance – 
composition. Even though it is primarily the work of the performers to create content, it takes a 
director’s “ability to develop material or set tasks that help the performers to develop [content]” 
(H. R. Wilson, 2012: 122). Dymphna (2001: 165) asserts that “devising is rooted in the concept 
of the creative actor developing ideas from tasks; usually the director translates ideas into tasks 
(which may be games or improvisations)”. 
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The composition stage consists of three phases: “a pre-production research period, a 
‘making’ stage where text is generated and a final phase, of rehearsing that text” (Dymphna, 
2001: 135). In Snakes and/or Ladders “every meeting was followed with a discussion after 
which the director gives the performers assignments to go and research on the topic. They are 
told to write something – poetry, song, monologue…” (Twum, personal communication, April 3, 
2014). Thus, the director tasked them to create both individual and group dramatic pieces. Chana 
noted that the director helped them to establish content for the performance (personal 
communication, April 5, 2014). In Wise-up, the director tasked the performers to create 
individual pieces after a thorough discussion on the subject.  
At the ‘making’ stage of composition, the director brings together the pieces created by 
the performers. The director then filters the pieces, informed by the central concept for the 
performance. It is also the function of the director, to facilitate the arrangement of the selected 
pieces and synchronize them into a narrative. In Snakes and/or Ladders, as accounted by Twum, 
the director chose which part should be included and which part should not (personal 
communication, April 3, 2014). Chana affirmed that, “what the director did was to fuse them [the 
selected pieces] together… to make them look like a performance” (personal communication, 
April 5, 2014).  In Wise- up, Kankam noted that putting together all the individual pieces 
together into one harmonious piece needed a director’s hand (personal communication, January 
14, 2014). The final stage of composition is rehearsing the performance, which will be termed as 
‘picturerisation’.   
‘Picturasition’ refers to painting the stage picture. According E. Wilson (1994: 137) “a 
theatre presentation can be compared to a mosaic consisting of the many bright-coloured pieces 
of story fitting together to form a complete picture”. It is the responsibility of the director to 
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create an appealing spectacle on stage. Even though the performers create the content, they are 
unable to work out a good picture. Hence, the need for an outside eye that is physically distant 
from the stage, but intuitively connected to the stage as stressed by Anne Bogart (2001). In both 
performances under audit, the directors regulated the visual aesthetics at the rehearsal stage to 
produce the most beautiful stage picture. In doing this, they consider the placement and 
movement of both material and human resources on stage. In this regard, the director functions 
as an audience (Pinney, 2006, & Bogart, 2001). 
The role of the director has evolved with time. From merely managing actors to 
combining both managerial and artistic functions, the post-modern ‘auteur-director’ can now 
manipulate a script to suite the purposes of a performance. In devised theatre, the director is as 
alive as the performers, where the director arguably, is also a performer. According to van Dijk 
(2012: 11), “the role of a director in devised theatre is not to come up with artistic solutions for 
the challenges encountered; instead, the director will enable the collaborating artists to find 
artistic solutions for themselves”. Thus, the role of the director is relevant in devised theatre and 
even more “demanding, multi-faceted and, above all, one of service” (van Dijk, 2012: 11). 
At the core of devised theatre is the quest to create performances with readily available 
resources. Hence, devised theatre is, essentially, ‘create-as-you-go’. The concept of devising also 
frowns on any vertical hierarchical structure in the theatre. As H.R. Wilson (2012: 1) states, 
“devised theatre is structured in the mould of a socialist idea of theatre making in which 
everyone in the theatre has an equal say”. The director traditionally has much power over other 
people involved in putting together a theatrical performance. This potentially makes his role 
autocratic. Whereas both the conventional theatre director and the devised theatre director, have 
mutual functions (H.R. Wilson, 2012), the idea of a centralized power differentiates them. Power 
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in conventional theatre is centralized but diffused in devised theatre. Diversity means losing 
power; it means those traditionally with centralized power get to lose some of it. The diversified 
power in devised theatre is indicative of its search for a consensual democratic theatre, which 
complicates the idea of an autocratic director. Hence, directing in devised theatre is subject to 
democracy.  
The function of a director in devised theatre include, but not limited to formulating a 
concept for a performance, building an ensemble for the performance, assigning tasks to the 
performers, individually and/or in groups to create content for the performance, filtering 
materials created by the performers, and synchronizing them into one narrative.  For Katthryn M. 
Syssoyeva (2008: 187), “directing within a collective is about stimulating, guiding and shaping 
the proposals of the ensemble toward the creation of theatrical work”. In order to meet these 
functions, H.R. Wilson (2012: 122) suggests the director of devised theatre should possess such 
attributes as  
ability to nurture a collaborative and creative environment, ability to create an 
open dialogue between the collaborators, ability to lead a group in a way that 
facilitates democracy, ability to develop material or set tasks that help the 
performers to develop materials, possess dramaturgical skills in selecting, 
arranging, developing and composing material for the performance, and, the 
ability to empower the performers.  
 
In Twum’s opinion, the director for Snakes and/or Ladders had a lot to do, but in 
comparison with what the performers did, it might seem on the surface as though she did not do 
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anything (personal communication, April 3, 2014). This paradox, however, cannot be equated to 
an absence of a director in devised theatre.  
 
2.3 Devising Model 
Bert van Dijk (2012) in his book, Devised Theatre: A Practical Guide to the Devising 
Process, provides a model made simple for beginners in devising. His model which I find was 
most appropriate for my research project starts with the establishment of the point of departure 
(POD). Thus, even though the end of the creative process is unknown to the ensemble, there is 
the need for a well-defined starting point. Van Dijk (2012: 13) further advises that the POD “has 
to be agreed upon by all participating artists”. However, he also advises that not much time 
should be wasted on arriving at the POD, as it can “prevent the actual devising process from 
moving forward” (van Dijk, 2012: 13). In instances where a director is responsible for the 
selection of a POD, the director is expected to explain the rationale for choosing the POD to all 
participants. Thus, and most importantly, the director must ensure that all participants agree to 
the choice of the POD. It is worrying to start a devising process with divided interests in the 
POD among the ensemble. 
Next is the exploration stage. This is where the POD is thoroughly examined to be known 
it in its completeness. Van Dijk (2012: 21) asserts that, “the journey of exploration is one of 
getting to know your POD in all its imaginative, sensual and intellectual fullness”. The 
exploration stage starts with conducting research on the POD. The ensemble is expected to 
“gather and collect anything that relates somehow to the POD” (van Dijk, 2012: 21). The 
research stage is very important to the devising process as the success of it informs the quality of 
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the final performance. For this reason, it is expected to be treated thoroughly and not limited by 
any factor; and all participants must embrace and engage it comprehensively. However, van Dijk 
(2012: 22) cautions that “the process of gathering is fundamentally never-ending; therefore it is 
vital to set a deadline, so you can move on to the next stage, [which is] to select the most useful 
and inspirational materials”. The selection stage often proves to be “challenging and demanding” 
(van Dijk, 2012: 22). At this stage, the ensemble, led by the director, where applicable, sieves the 
materials gathered from the research to come up with the most suitable ones that best defines the 
concept of the performance. It is expected of a director at this stage to be diplomatic with guiding 
the selection of materials “because many people find it hard, even painful, to let go of things that 
seemed at first so useful or interesting” (van Dijk, 2012: 22).  
The next stage after the selection of materials is to turn them “into theatrical possibilities” 
(van Dijk, 2012: 23) through a series of improvisations. The aim at this stage is to find several 
theatrical means of representing the POD. So, a director, where applicable, is expected to guide 
the ensemble through a series of improvisational exercises to convert the short-listed research 
materials into stimulating and inspiring theatrical possibilities (van Dijk, 2012: 24). Van Dijk 
(2012: 24) further asserts that “this is a highly sophisticated and artistic task, predominantly the 
domain of the director”. Hence, the director has to be tactful and creative with the tasks s/he 
employs, to get “the actor jumping up [and] eager to play” (van Dijk, 2012: 24). Moving from 
improvisation is the creation of the performance score, where improvised materials are 
connected into a narrative. When doing this, it is important to define the dramatic structure, by 
outlining the development of the main conflict in the performance. The final stage of the 
devising process is rehearsing the performance score “so that both the form and content of the 
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performance can be repeated on command and thus shared with an audience” (van Dijk, 2012: 
32).  
Even though the process has been chronologically arranged, it does not always follow in 
that sequence; it is likely for some stages to overlap with one another or happen simultaneously. 
For example, research and selection of materials can happen concurrently, as well as 
improvisation and creating the performance score. In the same way, the creation of the 
performance score can overlap with the rehearsal stage. However, it is most important to know 
and appreciate the different stages in the devising process and attempt to practise it accordingly. 
As such, this devising model was used for this research project because of its relative simplicity. 
On page 42, Figure 2 illustrates van Dijk’s devising model. 
 
 
 
 
 
 
 
 
 
 
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FIGURE 2: van Dijk’s Devising Model 
             
      
Presentation of Performance 
<< 
Rehearsing the Performance 
Score 
 
Creating the Performance 
Score 
 
Improvisation  
Research 
 
 
Knowing the POD 
 
 
 
 
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2.4 Devising with a Novel 
The Twelfth Heart is a novel written by Elizabeth-Irene Baitie. This novel has heightened 
morals and emotions and fuses narration with rich dialogue and lends itself for creative de-
construction. Per van Dijk’s devising model (See Figure 2 on page 42), this novel comes in 
handy and suitable to be used as the point of departure for this project. In section 2.5, the novel, 
The Twelfth Heart, is reviewed as part of the literature for this research project. Novels have 
often been used as stimuli for devised performances. For example, the resident theatre company 
of the School of Performing Arts, University of Ghana, devised a performance with a short story 
written by Efua Sutherland. The short story, Samantaase Village, is Efua Sutherland’s version of 
a Ghanaian folktale, which narrates the story of an outcast who suffers societal marginalisation 
only to gain a heroic fame in the society.  
When using novel for a devised performance, Zimmerman (2005) suggests that, the 
director with the entire production team must be enthusiastic about the story; the story or 
something about the story must stir up conflicts in the director. There has to be something about 
the story that captures the mind, body and soul of the director, as well as the entire production 
team. Lindsay Price (2010) emphasises Zimmerman’s view by suggesting that the first question 
to be asked when using a prose for a [devised] performance is: “what do you [the director as well 
as the entire production team] want to explore with the original work, or what’s the most 
important part of the story that makes it exciting?” 19  Sarah Dorgbadzi, a co-director of 
Samantaase Village, asserted that, she and her co-director were much concerned with exploring a 
character in the story. The character in question, Affum, is marginalised and ridiculed as a fool 
by his parents and the entire community, because they do not understand his ways (personal 
                                                          
19(www.theatrefolk.com). 
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communication, September 29, 2014). So, the directors, as well as the entire production team 
sought to highlight this negative of societies that marginalise those who they consider as 
deformed. As with Samantaase Village, Catherine, a character in The Twelfth Heart, the novel 
used for this project stirred up my interest.   
The concept of devised theatre requires that the text is used for the purposes of the 
performances and not the other way round. Thus, the story can be subjected to rigorous 
manipulations to suit the purposes of the performance. Nevertheless, it is imperative that when 
using a novel for a devised performance, the production team knows “the original work inside 
and out” (Price, 2010). Price (2010) further suggests that the original work must be thoroughly 
explored by “reading it a great deal and highlight anything in the work that leaps out as a 
theatrical image”. The production team should be able “to talk about the characters and the story 
at the drop of a hat” (Price, 2010). Zimmerman (2005: 25) also is of the view that the “primary 
factor that determines what goes into the final show is undoubtedly the unconscious and 
conscious [instinctive motive] drawn from the story”. Consequently, this instinctive motive 
drawn from the story informs how the story is read, and most importantly, how the basic 
narrative of the novel is hewn out of the lot.    
Many novels are descriptive, hence the need for narrations. Narration is used to establish 
the setting and character and to advance the plot of the story. As a result, it is likely to introduce 
a narrator when employing a novel for a devised performance. This, however, has been argued as 
not being best practice. Therefore, Price (2010) suggests that “the urge to throw in a narrator to 
fill in plot points and descriptions”, must be ignored. She argues that narrators are often, “one-
dimensional, talking heads, and not fleshed-out characters” (Price, 2010). However, in the 
unavoidable instance where a narrator is employed, Price (2010) suggests that the narrator be 
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made “three-dimensional: with a name, a purpose in the play beyond sharing information, a 
want, an obsession, and a flaw” 20 . The production of Samantaase Village exemplified the 
rotundity of the narrator by sharing the role to almost all the performers, as more than one person 
narrated the story, hence creating a seeming roundness for the narrator.  
 
2.5 Review of The Twelfth Heart 
 To the extent that the novel was used as the source material for this thesis-project, it 
equally served as literature, which is reviewed. The review focuses on the plot, character 
analysis, and the subject matter. These selected dramatic elements are most essential for the 
purposes of this thesis-project.  
Plot Summary 
The plot unfolds a story revolving around the high school life of a group of girls. Though 
these girls bond, they are all different in ways that threaten the very foundation of their 
friendship. Mercy meets a group of other first years in Morton House upon her arrival in St. 
Felice. Eleven out of the twelve first years report in time to familiarise with one another. When 
Catherine reports later, the other girls make it their duty to antagonise her due to her physical 
appearance. Meanwhile, Juliet introduces Lex to Mercy and she (Mercy) convinces herself that 
he is her type of ‘guy’. Juliet then suggests to her friends to steal and hide Lucy’s money as 
punishment for misguiding her into failing her Maths test. Despite all efforts by Mercy and the 
other girls to shun Catherine, she persistently shows them her good heart and never complains. 
Catherine constantly ignores her weak and fragile state to help the girls with their problems, 
                                                          
20(www.theatrefolk.com) 
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earning her Mercy’s admiration. Along the line, Mercy discovers an intimate relationship 
between Ms. Quaigrine (Ms. Q), their housemistress and the man everyone knew to be Akosua’s 
father, and tries to protect her friend from being hurt. When the senior house-mistress threatens 
to find the underlying cause of the issue concerning students breaking bounds, Mercy gets scared 
that she will be discovered. However, she is shocked to find out her shoe (the evidence) was 
gone without knowing who hid it or why. Catherine eventually convinces Mercy to give Lucy a 
chance, as she was a nicer person than she let others believe. Mercy starts feeling guilty about 
stealing Lucy’s money and urges the other girls to give the money back. Tension and suspicion 
builds among the girls when they realise the money is gone with no one to take responsibility. 
When Mercy finds out that Michaela is responsible for the missing money, she is forced into 
silence bound by a secret they share. Meanwhile, Catherine who had been in the hospital for 
some time, due to her condition, was later pronounced dead which devastated all the girls, at the 
same time leaving them with love and a hymn  that will stay in their hearts for a long time.  
Character Review 
Catherine: She is a very kind and gentle girl, to the extent that, sometimes, her 
generosity seems unreal to others. Despite her very fragile health, she never hesitates to help the 
other girls with their troubles. She is a person who helps from her heart without expecting 
anything in return. The theme of love is generally developed through her actions and inactions in 
the story. Her role is significant because, though she seems to be the very least in the group, she 
singlehandedly brought all the girls together in a way that was very unlikely from the beginning. 
Mercy: A girl who thought she had it all figured out from the very beginning of the story, 
but soon finds out all is not as it seems. She proudly leaves Aboagyekrom with the primary aim 
of escaping the boring lifestyle of the people who live there, including her parents. She is 
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obviously not pleased with her identity, and makes up many lies in order to feel accepted in her 
new society.  She also helps the other girls antagonise Catherine and Lucy from the beginning 
but rectifies her mistakes later. She easily learns from her mistakes and tries to make amends. 
Juliet: Juliet is described as a young girl who does what she pleases. She even comes up 
with the idea of punishing Lucy for her own failures. She is flirty and has a bad influence on the 
other girls, especially Mercy. Her toughness, however, is questionable after she rats on Mercy to 
the school authorities. It is especially interesting how she strategically deceives her own mother 
into believing she is a saint. 
Michaela: She seems normal and without much drama until she is revealed as a thief. It 
is interesting how she energetically accuses everyone but herself when the hidden money is 
reported as stolen. Another side of her is also shown when she blackmails Mercy and helps her 
skip punishment for breaking bounds. She is carefree and pretentious. Even after Mercy 
discovers what she has done; she still acts as though everything is fine. 
Akosua: She is angry with her mother because she (her mother) married a man too old to 
be a real father to her. She is angry about the effects of their union on her young age, and uses 
that as an excuse for her actions. She is immature and childishly plays along with the confusion 
of her handsome brother being her father, probably to gain her more attention and popularity.  
Elinam: She is obviously a spoilt girl, one who thinks she deserves the very best of 
treatment from the other girls. She even expresses her dissatisfaction at Lucy for not contributing 
to her birthday party like everyone else. She behaves with hostility towards Lucy even without 
finding out what her reasons are for her action. 
Lucy: She is resourceful and a bookworm obviously with already laid out plans for her 
high school education. She believes making friends is a waste of her time probably because they 
might sway her from her goals. She is very careful with money, and would not spend on 
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anything that is not of a pressing need. A generous side of her is seen when she, without as much 
as a grudge forgives all the girls for stealing her money. 
Ms. Quaigrine (Ms. Q): Ms. Q is a young beautiful house-mistress who grabs her 
opportunity at love even when the man in question could bring her trouble from her students. She 
is unusually very nice and considerate as a house-mistress who tries to help Catherine fit into her 
new environment when she arrives. She plays a minor role in the story but her input is not one to 
be overlooked. 
 
Subject Matter 
Subject of Identity: The subject of identity is discussed extensively in the novel 
especially about Mercy. She is a girl who refuses to accept who she is because she believes that 
she could do better than the people back in her village. She is embarrassed by the way of life she 
is accustomed to, therefore, makes up stories in order to fit into her new social circle. She 
despises her town, her identity and associates it with boredom and dullness. She is willing to 
elude ‘her prison’ at all costs to experience a ‘better life’ which turns out to be very 
disappointing for her in the end. The writer is able to relay the message of identity crisis through 
Mercy to her audience. 
 
 
Subject of Love: The story portrays an endearing love through the character Catherine. 
She is selfless, humble, caring, patient and understanding: a true epitome of love. Catherine does 
not just portray love; she is love herself. She knew she was sick from the very beginning and 
understood that she gained nothing being anything other than love. Catherine is one who shows 
love even to those who show her none, and never complains.  The writer probably kept the words 
of Catherine’s favourite hymn in suspense until the end to give the reader a summary of the kind 
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of life she chose and its meaning to her. She demonstrated that no matter the conditions of love, 
one must never give up and the results will imprint deeply in the hearts of many, even the 
unexpected ones. 
, 
 
Subject of Deception: Juliet is deceptive in a very clever way, probably too much so for 
her age. She is portrayed as a very tough student, one who will do anything to get what she 
wants, including deceiving her own mother. She succeeds greatly in deceiving her mother into 
believing that she is the opposite of who she really is, such that her mother just couldn’t accept 
that her daughter could mastermind such a thing as “bound breaking”.  This character explores 
the length some young teenagers will go to have their way while deceptively keeping their parent 
in the dark. 
Akosua also highlights deception in a different way. When her friends hastily conclude 
that her brother is her father, she decides to leave the situation as it is. Even though it was not her 
intention to deceive her friends in the beginning, she later plays along because it makes her seem 
popular and important. 
Michaela deceives all her friends when she steals Lucy’s hidden money and denies 
touching it. Even after she is caught by Mercy, she vehemently denies taking the money and 
makes up excuses. To further cover up her lies, she blackmails Mercy to keep her secret. The 
writer uses her to explore a dangerous kind of deception, one that is almost invisible yet very 
poisonous. 
Lucy’s version of deception is not exactly clear-cut as it can only be determined based on 
the perception of the audience. She knows Juliet is cheating on her, and quietly mislead her. It is, 
however, arguable if her actions can still be classified as two-timing and deceptive, even though 
the other characters think so. 
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CHAPTER THREE 
WORKING PROCESS 
 
“The purpose of [devising] is to weave and shape a   
[performance] with words, with gestures and off-the-cuff 
situations” (Fo, 1987, as cited in Callery, 2001: 229). 
 
 Chapter Two examined how some concepts and practices − collaboration, improvisation, 
and directing − inform devising. This chapter outlines the working process of this thesis-project. 
The chapter also highlights the devising process through which the performance was created. 
 
3.1 Conceptual Framework: Postmodern Theatre Practice 
The key concepts of the framework are: auteurism, cross-art integration and collaborative 
theatre. (See Figure 3, page 55). These concepts are framed within a postmodern style of theatre 
practice. Philip Auslander (2004: 98) categorises postmodernism into three: “a period, a stylistic 
descriptor and a way of describing the contemporary culture in which performances occur”. For 
the purposes of this project the understanding of postmodernism is limited to the stylistic 
descriptors. Whereas the periodic framing of postmodernism situates it “within a particular 
historical period, usually thought to have begun after World War II (Auslander, 2004: 98), the 
third category, a way of describing the contemporary culture in which performances occur, poses 
contradictions to the periodic framing. Thus, the use of the word, “contemporary” could mean 
anytime in the present, where the present is anytime between the past and the future. 
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Consequently, these contradictions account for the exclusion of the other two categorisations of 
postmodernism by Philip Auslander.  
As a style, postmodern theatre is one of many things, some of which include 
experimental theatre, avant-garde theatre and even contemporary theatre. Postmodern theatre 
revolts against some stringent structures that characterised realistic theatre. It promotes the 
practice of a more flexible and subjective theatre, opposes the unitary perception of truth in the 
theatre, and advocates for a multiplicity of truth (Allain & Harvie, 2006). In addition, 
postmodern theatre challenges the relation of theatre with life, as not just a reflection of life, but 
also a reflection on life. Bertolt Brecht, a postmodern dramatist, is quoted as saying, “art is not a 
mirror to reflect reality, but a hammer with which to shape it” (Greinke, 2007: 18). Similarly, 
Stacy Klein (2005: 70) believes that theatre must serve as “a mirror which challenges rather than 
reflects what is already seen”. Prominent among theatre genres that emerged from 
postmodernism are The Living Theatre in the 1960s; The Poor Theatre of the late 1950s and 
championed by Jerzy Grotowski; and last yet equally important, and of more contemporary 
times, Devised Theatre. Underlying the practice of devised theatre as a genre informed by 
postmodernism is the quest to do away with the over-reliance on the play-text for performances. 
Some important questions posed by devised theatre practitioners include:  
can playwrights protect their work from distortions, are directors justified in 
reshaping a script to suit their own vision, even if it distorts the playwrights’ 
intentions, and, should playwrights’ preferences be honoured even after audience 
tastes and staging conventions have changed?21 
                                                          
21(http://hs.nctu.edu.tw).  
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Mia Perry (2008: 3) defines devised theatre as, “the creation of original work or the 
reimagining of traditional texts by one or more theatre artists, often in collaboration with visual 
art, creative technologies and other forms of performance, such as music and dance”.  This 
definition highlights the centrality of terms such as intertextuality, multimedia and cross art 
performance in devised theatre. Similarly, Joan Schirle (2005: 95), remarks that a devised 
performance often encourages the fusion of “movement, text, music, and possibly masks, dance, 
and multimedia”. This is exemplified in most of the devised performances that have been 
referenced in this research.  
Hence, the idea of cross art integration, defined by Dymphna Callery (2001: 6) as “cross-
fertilisation between theatre and other art forms”, informed the basis for this research. There was 
a blend of drama, movement, dance, music, poetry and digital media presentations. Finally, the 
project gave credence to the manipulation of a play-text, re-interpretation of character roles,  to 
suit the purposes of a performance. Thus, even though a novel inspired the performance, it was 
subject to some level of distortions and reshaping to suit the purposes of the performance. 
Furthermore, the guided collaborative approach that was engaged in the process enhanced the 
multiplicity of voices in the performances.  
                                                                                                                                                                                           
 
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Figure 3: Conceptual Framework for the Project 
 
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3.2 Thesis-Project Approach 
 
The research adopted a practice-led methodology. In his article, A Manifesto for 
Performative Research (2006), Brad Haseman opines that, “practice-led research has emerged as 
a potent strategy for those researchers who wish to initiate and then pursue their research through 
practice” (1). Thus this research project employs stage directing to investigate the indispensable 
yet challenging role of directing in devised performances and the practice of collaboration in 
theatre productions, with the aim of extending the current body of knowledge on devised theatre 
in Ghana. Practice-led research breaks away from the orthodox qualitative and quantitative 
research methodologies which often hinder research conducted by creative artists. Practice-led 
research situates (creative) practice not only as an object to be researched, but essentially, as a 
method of conducting research (Haseman 2006, van Dijk 2011).  
Practice-led research also advances a shift from qualitative and quantitative research 
methodologies with its approach to commencing research and presenting research output. Unlike 
the orthodox research methodologies, practice-led research does not necessarily start with asking 
questions. Rather, practice-led researchers are often moved by research interests. Also, practice-
led research does not limit its research output to numbers, as with quantitative research or words, 
as with qualitative research (Haseman 2006, van Dijk 2011). Practice-led research opens up 
research output to include dance, drama, music, video, graphic arts, and any other means deemed 
most appropriate (Haseman 2006). As with this research project, research output is presented in 
words, pictures and video. The production process was divided into four sections: pre-
production, devising process, project presentation and project evaluation. Equally, the research 
was documented through journal keeping and photo documentation.  
 
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3.2.1 Pre - Production 
 The pre − production stage consisted of many activities, such as obtaining permit for the 
The Twelfth Heart, audition, and casting. The pre-production stage for this project began about a 
year before rehearsals started. Following from the above statement, it can be stated that there is 
no specified time for the pre − production stage; it can take days, months or even years before 
the actual rehearsal starts. The central function of the pre-production stage is to plan for the 
entire production, even though planning for a production does not end there. While planning for 
the production of The Twelfth Heart, resources needed were taken into account. This included 
the venue for rehearsals and performance, human and material resources, as well as financial 
resources.  
 
3.2.1.1 Permission for the Novel 
My first encounter with the novel was in 2012, a year before I went to graduate school. I 
was a national service man with the Department of Theatre Arts, University of Ghana. My first 
impression after reading the novel was to adapt it for film. However, a year later, while in 
graduate school, I realised that directing the novel for the stage was more suitable. Thus, with my 
proposed practice-led research on devised theatre through directing, the ‘engagingly stimulating’ 
novel, The Twelfth Heart, came in handy.   
I needed permission to use the novel for my thesis project. As part of the process, I had 
series of meetings with the publishers − Kwadwoan Publishing Ltd. A tentative verbal 
permission was granted by the publishers, pending the approval of the novelist. With a hint from 
my Head of Department (2013/2014 academic year), I got to know about a book reading at the 
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Goethe Institute, Ghana, to be attended by the novelist on Wednesday, May 28, 2014, between 
the hours of 8 P.M and 10 P.M. Therefore, at the said book reading, I interacted with the novelist 
and got her permission to use the novel. She was excited to know about my proposal, and 
remarked looking forward to seeing it (E.I. Baitie, personal communication, May 28, 2014). 
 
3.2.1.2 Audition  
 Auditions were held on Thursday, 11th September 2014 and Friday, 12th September 
2014, between the hours 4 pm and 6 pm each day. Seventy students turned up for the two-day 
auditions. An improvisation, group based, open audition approach was used. This approach is 
more suitable for the ensemble or group creation project (Price, 2006). The audition aimed at 
exploring group work among the participants, as well as individual creativity. Additionally, the 
audition aimed at finding out the participants’ abilities to improvise in order to generate exciting 
and surprising performance materials, ability to transform their states of beings into different 
qualities and characters, and their abilities to trust themselves, both as individuals, and as a 
group. The audition was organised in groups; each group consisting of seven participants. A 
group went through a series of four activities for passion, smartness, team spirit, and a sense of 
humour. The first activity, termed ‘Hello Neighbour’ (Price, 2006) was aimed at creating a 
friendly environment for the participants. The participants imagined themselves in a cocktail 
party and as they moved randomly about, they say hello and introduce themselves to one another 
(Price, 2006). The rationale for this activity is to create a friendly environment, where the 
participants get to know one another. If group familiarity was that essential to ensemble creation, 
it needed to start in the audition room.  
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 The next activity after ‘Hello Neighbour’ was ‘Shake Character’ (Price, 2006). This 
activity is aimed at loosening the nerves of the participants and preparing them, both physically 
and mentally, for the next two activities. The participants moved randomly about the space and 
shook all parts of their bodies (Price, 2006). The next activity is termed ‘Environment Walk’. In 
this activity, the participants imagined themselves in different environments. As each 
environment is called out, participants transformed their states appropriately. Some of the 
environments called out included, a hot desert, a rain forest, a busy market, and a living room. 
Additionally, music was played out and the participants were expected to dance or move with it. 
The aim of this activity is to test the creative abilities of the participants to adjust to different 
environments and circumstances. The odd nature of a devising process requires that the 
performers are friendly with change. 
The final activity required the participants to present individual pieces of performances. 
A one-page excerpt from the novel was given to each participant as stimuli to create short 
performances. However, the participants were not restricted to any particular mode of 
presentation. They could present it through mime, music, acting, poetry, or dance. The aim is to 
test the participants’ abilities to understand the written piece and how best they can creatively 
transform that understanding into performance material. Consequently, the improvisation 
approach to the auditions engendered several portraits of performances, as shown in Image 1 
(page 58). A number of the participants, both as individuals and in groups, turned the moment 
into a performance rather than just an audition.  
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Image 1: Audition Pictures. Photos by Bernice A. Animle 
 
Thirty-two out of the seventy students who turned up for the auditions were selected. 
However, the selected students were not told of their specific duties, either as cast or crew. 
Instead, they were made aware of the collaboration that the process would employ. Figure 4 on 
page 59 is a sample of an audition sheet used for the casting process.  
Pic A: A Section of students going through 
‘Hello Neighbour’ 
Pic C: A section of the students going through 
‘Environment Walk’ 
Pic B: A solo performance 
at the audition 
Pic D: A solo performance at 
the audition 
 
Pic E: A solo performance at the audition 
 
Pic A: A Section of students 
going through ‘Hello 
Neighbour’ 
 
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Figure 4: A Sample Audition Sheet for Casting 
 
 
 
 
 
 
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3.2.1.3 Casting 
The casting process was made up of four levels for a period of five rehearsal days. At the 
first level, each cast selected two characters in the novel that they wanted to play. At the second 
level, the cast selected for one another, two character roles they wanted the other cast members 
to act. Similarly, each crew was tasked to choose which character roles they wanted for each 
cast. At the third level, each cast was made to think in abstract terms; abstract paintings of the 
characters in the novel but without their specific character identifications to match with their 
preferred characters.  Image 2 on page 61 presents abstract sketches of the characters.  
The final level of the casting process was the merger of assessment of all three levels. 
Thus, results from the three levels were collated and with the help of the two stage managers the 
final casting was made. A week after the auditions, the cast then knew of the specific character 
roles they will be [re]presenting. At the end of the casting process, double-castings with double 
roles were assigned to the cast. The reason for double-casting was to create a sense of 
competition among the cast, as healthy competition bring out perfection. In addition, assigning 
two character roles to a cast member was to reduce the tendency of stillness of character 
development. As a cast member was required to play two character roles at different times, 
he/she was challenged to find diverse ways of (re)presenting them.  
 
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Image 2: Character Sketches by Napoleon Mensah 
Even though character roles were assigned after the casting process, casting did not end with it. 
We trusted the devising process would present itself with the right casting. As was the case, 
some character roles were swapped in the course of the process.   
 
3.2.2 Devising Process 
The devising process followed the pre-production stage and consisted of an interwoven 
set of activities. Activities undertaken included research, workshops, mapping out the bare story, 
creating scenes, learning and/or rehearsing music and dance, blocking, character development, 
digital media interactivity, and technical enhancement. This stage had time limitations as we 
Pic A: A sketch representation of Mercy Pic B: A sketch representation of Juliet 
 
Pic C: A sketch representation of 
Michaela 
 
Pic D: A sketch representation of Akosua 
 
Pic E: A sketch representation of Lucy 
 
Pic F: A sketch representation of 
Catherine 
 
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could only use five weeks to explore in a collaborative manner different possibilities to create 
content and form for the performance. The entire devising process was transient with “the 
purpose of weaving and shaping the performance with words, with gestures and off-the-cuff 
situations” (Fo, 1987, as cited in Callery, 2001: 229).  
 
3.2.2.1 Devising the (Bare) Storyline  
 
 
The devising process began with a reading of the novel by the production team. The 
entire ensemble read the novel in three rehearsal days. The readings were followed by a mapping 
out the bare story. A draft performance script 22  of the novel was given to all production 
members, which was followed by discussions on it. Ideally, the ensemble is expected to establish 
the performance script. However, with the time constraints, I created a draft performance script 
for the production. The introduction of a draft performance script at the beginning of a devising 
process is justified by Frantic Assembly’s approach to devising (Graham and Hogget, 2010: 5). 
The ensemble collectively discussed the draft performance script, as shown in Image 4, and 
made necessary changes. The diversity of ideas (that emerged) created some conflicts but 
working as a team, consensus was reached at each point. The best ideas were retained and the 
process continued. I guided the discussions by outlining the central message for the performance: 
the death of Catherine before she could be celebrated. The discussions were followed by a series 
of workshops and research activities, which aimed at bonding the ensemble, as well as 
harnessing the concept of devising.  
 
                                                          
22
 Performance Script: A scene-by-scene summary of the novel outlining the essential parts of the novel to be 
presented for performance.   See APPENDIX 5.  
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3.2.2.2 Devising Research and Workshops 
 
An improvisation workshop was organised for the cast. Two faculty members from the 
Department of Theatre Arts, SPA, UG, Ms. Ekua Ekumah and Ms. Roberta Gardiner, facilitated 
the workshop. The facilitators took the cast through a series of voice exercises, and ensemble 
playing, as shown in Image 3 on page 64. Consequently, the workshop helped the cast to 
appreciate the essence of working together as an ensemble. At the initial stages of the workshop, 
they struggled to create on impulse. In addition, the cast had difficulties with bonding as an 
ensemble; their individual differences created both physical and psychological blocks among 
them. They could hardly appreciate the essence of devising as best achieved by blending as a 
group, thinking as a group, communicating as a group, and protecting each other as a group. 
With all these challenges, the cast after the workshop agreed that there was more to do towards 
attaining a cohesive ensemble. A dance workshop, instructed by Mr. Kofi Antonio23, was also 
held for the cast. 
                                                          
23
Faculty member with the Department of Dance Studies, School of Performing Arts, University of Ghana, Legon 
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Image 3: Activities during the voice and improvisation workshop; Photos by Bernice A. Animle 
 
The workshops were followed by a field day research at Aburi Girls Senior High 
School24. The purpose was for the cast to acquaint themselves with current high school activities. 
Image 4, on page 65, shows the cast at the premises of Aburi Girls Senior High School. While in 
the school, the cast were expected to connect with the setting of the novel, a boarding house of a 
senior high school, and find out for themselves, how the system there works. They gathered 
enough information to help with the devising process. They attended classes, took meals at the 
dining hall and visited the dormitories. They also had interactions with a house mistress and an 
assistant headmistress, who enjoined them to make the best of the day’s exercises. The cast at the 
                                                          
24
Aburi Girls Senior High School is an all-female boarding school located South of Aburi in the Eastern Region of 
Ghana.  
Pic A: A section of the cast walking 
through the workshop space 
 
Pic C: The cast warming up before the 
workshop  
 
Pic B: The cast forming a group image  
 
Pic E: The cast in a post workshop interaction with 
the Director 
 
Pic D: The cast taking instructions from the Instructors 
 
Images from the Workshop 
 
Images from the Workshop 
 
 
Images from the Workshop 
 
 
Images from the Workshop 
 
 
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end of the field day appreciated how different the system worked in the high school as most of 
them complained of not being able to keep up with the fast pace of activities. 
 
 
Image 4: The cast on a field day at Aburi Girls Senior High School; Photos by Barbara Gyasi 
(Stage Manager) 
 Many of the activities listed above, the audition, process casting, workshops and the field 
day to Aburi Girls were aimed at empowering the cast to enrich the devising process.  
 
 
 
PIC A: The cast taking breakfast at Aburi Girls S.H.S  
 
 
PIC B: The cast taking breakfast at 
Aburi Girls S.H.S  
 
 
 
PIC C: The cast at Aburi Girls 
S.H.S waiting for the 
Headmistress 
 
 
 
 
 The cast at Aburi Girls campus 
 
 
 
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3.2.2.3 Devising Scenes 
The creation of scenes was characterised by improvisational exercises and games, 
learning of music and dances, and interacting with digital media – video and graphic projections, 
audio technology. In addition, the creation of scenes was collectively done with both the cast and 
crew. Whereas the cast were hands-on with creating activities for each scene, the crew served as 
the primary audience and also actively supported the process with technical work. I was equally 
involved in the creation of scenes; as a facilitator, making sure the production team, both cast 
and crew, were on the right track, using the best of their creative, imaginative and technical 
ideas. The scenes created were not fixed; the cast were admonished to play bearing in mind the 
ephemeral nature of each rehearsal moment. Thus, they were discouraged from attempting at 
scripting dialogue.  
Character development was also central while creating scenes. As each scene was 
created, characters were being (re)created. Consequently, the cast were tasked to take cognizance 
of the formation and demands of each character. They were tasked to investigate the background 
of their respective characters. This was to enable them explore the totality of the characters. 
Hence, the cast developed a biographic character chart, as shown in Figure 5, on page 67, 
outlining detail demands of their respective characters.  
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Figure 5: A character chart for Catherine developed by a cast.  
 
To allow for an uninterrupted process for the creation of content, little attention was paid 
to the form of the scenes. Moreover, the creation of content for the scenes did not end abruptly, it 
continued even with the establishing the performance score. After which, attention was given to 
the form of the performance; the physical aesthetics of the stage picture.  
 
 
3.2.2.4 Devising the Performance Score 
 
To establish the performance score was to bring together all scenes created, with a clear 
definition of the dramatic structure. In addition, the central conflict, Catherine’s failing health 
and her hope to impact positively on her roommates, was well placed and its development well 
projected. Once the performance score was established, it was rehearsed and refined until the 
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performance date was due. A great deal of attention was given to the form of each scene. This 
included, blocking, character development, and use of set and properties.  
The presence of the designers – scenic, light, sound, costume and make-up – came to the 
fore. Even though the designers were involved from the onset of the process, they were more 
involved with establishing the performance score. Once again, my work was to facilitate 
discussions among the designers and the entire production team. The flexible and transient nature 
of the devising process allowed for content to be tweaked, even after it has been created. Thus, 
the number of scenes as created reduced from sixteen to twelve. Also, the transient nature of the 
devising process did not allow me to pre-empt stage movements for the cast. Rather, the cast 
were challenged to find the best possible means to move about on the stage with their actions, 
which in turn created the floor plan for the acting area, as shown in Figure 6, on page 69. I could 
only [re]shape their movements as and when necessary. For this reason, − the transient nature of 
the process − any attempt to capture and make permanent the stage movements would have gone 
against the essence of the devising process.25 
                                                          
25
However for the purposes of examination, a synoptic Post-Performance Script, a Photo-Narrative, and an 
Abridged Stage Blocking have been attached. See APPENDICES 6 and 7 respectively.  
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Figure 6: Floor Plan - The Twelfth Heart 
 
3.2.2.5 Technical Dress Rehearsals 
Once the performance score was established, there was the need to bring together all the 
technical and design elements. We needed to create a unity of scenic picture, by blending the set, 
light, sound, properties, visual projections, and costumes with the actors’ performance. 
Consequently, a period of three successive days was used for the technical dress rehearsals. The 
first day was dedicated to exploring the effectiveness of the set, properties and sound, both 
recorded and live; even though the cast had rehearsed with these elements, they had been 
engaged at separate times. On the second day and third day, light, costume and visual projections 
were added.  
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3.3 Devised Project Presentation – Performance 
< 
 The performance ran for three nights: Thursday, 23rd October, to Saturday, 25th October, 
2014. For each night, the performance started at 19:30 (GMT) and lasted for eighty minutes. All 
the performances took place at the Efua Sutherland Drama Studio of the School of Performing 
Arts, University of Ghana. As with the saying, no two performances are the same, and even more 
so for devised theatre, not all three performances were the same. Several factors, such as the 
transient nature of the devising process, performers’ attitudes, double-casting, a rainfall on the 
last night, accounted for the variations in all three performances. Whereas the first night saw a 
spirited performance that kept the reflective audience glued to their seats, the second 
performance night was lacklustre and laughable. The performers after a good premier were 
caught up complacency, and consequently presented a spiritless performance on the second 
night. With lessons learnt from the second night and the desire to save the best for the last day, 
the performers braced themselves for a glorious performance on the third (last) night. But for a 
heavy rainfall that flooded the open-air Efua Sutherland Drama Studio, forcing the opening time 
to be postponed for an hour, which affected the morale of the performers, the last night of the 
performance, could have been better than the previous days. Some performance moments have 
been captured in Image 5 on page 71. 
Even with all the variations, the core of the performance as rehearsed was intact on all 
three nights. All the collaborators collectively carried the message to the audience. Thus, as the 
actors carried the message through dialogue, music, dance, movement, the costume and make-up 
crew did not relent in enhancing the performance by swift costume changes, scene after scene. In 
addition, the set and properties team were active on all three performance nights, and ensured 
that the performance was well equipped with the requisite set and properties. Furthermore, the 
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audio-visual department which comprised the light, sound and media arts crew, resourcefully 
aided with creating the best scenic views for the audience.   
 
Image 5:  Portraits of Performance Day One; Photos by Bernice A. Akweley 
  
In the spirit of cross-art integration, the performance was interspersed with music, both 
live and recorded, choreographed dance, visual projections, still and motion images, poetry, 
movements, and dialogue. Songs such as Sam Cooke’s Change is Gonna Come, Asa’s 360°, 
Elton John’s Candle in the Wind, were sung live with keyboard, guitar and xylophone 
accompaniments. In addition, Yemi Alade’s Jonny and Rafiki’s Chant from the The Lion King 
were played as pre-recorded music. Other sound effects and voice-overs were used to enhance 
PIC A: Scene from the prologue 
 
 
PIC B: The girls are back from gardening 
 
 
PIC C: Ms. Q welcomes the girls to school  
 
 
PIC B: The girls at Catherine’s funeral.  
 
 
PIC E: The girls celebrating Elinam’s 
birthday.  
 
 
PIC F: The girls having a fun time in the 
dormitory.  
 
 
PIC D: Ms. Q in a conversation with Mercy 
and Catherine 
 
 
PIC D: Catherine sitting through the night.  
 
 
PIC B: The girls getting to know 
themselves.  
 
 
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the performance. Moreover, recorded sounds and live xylophone tunes were used during 
blackouts and scene changes. Three dances were choreographed for the performance. These 
include an entertainingly jubilant dance in Scene One as the first year students celebrated their 
first day in school; a metaphoric abstract dance to signify Catherine’s retrospection and 
aspirations, and a dance of death to mourn the demise of Catherine. With Rafiki’s Chant, the 
performers used both still and motion images to mourn the death of Catherine, whom they had 
only known of as a wind. Furthermore, Catherine’s life and personality was symbolised by a 
flaming candle, which was projected on a screen at up stage centre, each time focus was directed 
onto her. The attempt at using some digital media practices, as mentioned above, was however 
not fully materialised as a result of technical challenges posed by the Drama studio. The Efua 
Sutherland Drama studio, at the time of mounting this project, did not have enough and advanced 
technical theatre equipments to support the demands of the production. Nonetheless, the 
production team did their best to make do with what was available.   
 
3.4 Post Devise Evaluation 
There was a general post-performance review by both the cast and crew. The team was 
divided into groups of five and tasked to discuss the following questions: 
1. What is your understanding of Devised Theatre and/or a Devising Process? 
2. What was your role / function in the process? 
3. What was the director’s role / place / function in the process? 
4. What was working together (collaboration) among the director, cast, and crew in the 
process? 
5. How did the process transform / influence / affect you (socially, physically, 
emotionally, creatively, mentally, psychologically, spiritually, etc…)? 
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6. What were the prospects / challenges / failures of the process? 
7. What recommendations will you make that could better the process? 
 
The group discussions occurred concurrently and lasted for an average of twenty-five 
minutes. A member of each group was tasked to record in writing, the proceedings of the 
discussions. After the parallel discussions, the groups were merged into one and the entire 
production team discussed the same questions. This was an attempt at echoing what was 
discussed at the parallel sessions. Additionally, each member in the production was tasked to 
independently answer the same set of questions stated above. Similarly, personal interviews were 
conducted with some selected members in the production.   
The Department of Theatre Arts, University of Ghana, also organised a post-performance 
discussion, which was open to all students and faculty members. At this forum, I presented a 
process account to the attendees, who afterwards engaged me with some questions and answers. 
The discussion lasted for an hour and half. All these attempts at reviewing the process and the 
performance were to consolidate the findings and to reinforce the answers provided at the 
different review sessions. Consequently, findings of the process and that of the reviews have 
been analysed in the next chapter.  
 
 
 
 
 
 
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CHAPTER FOUR 
THESIS-PROJECT ANALYSIS AND INTERPRETATION 
 
“Devising theatre is a unique opportunity for students to 
collaboratively create original material that culminates in a 
performance” (Wampler, 2011: 17).  
 
 This chapter focuses on the analysis of the working process from the previous chapter. 
The analysis looks at the role of directing and collaboration in devised theatre with regard to this 
thesis-project. Also, the concept of cross-art integration as applied in this thesis-project, as well 
as the transformative power of the working process is be analysed.  
 
4.1 Performance Review 
Non-earthly beings costumed in long white tunics walk across the stage from different 
directions, stopping and posing with different eerie gestures. Catherine, in a similar costume, sits 
at up stage centre, a spot that will mark her eventual death. This provides a surrealistic opening 
to the performance. Following the exit of the eerie beings comes the entrance of some playful 
characters who have fun with a game of chase with cloths tied around their waists below, and the 
other top end held with their hands. Catherine joins in the chase and exits the stage with the 
playful characters. A ghostly sound effect accompanies the scene with the eerie beings, and a 
seashore sound effect accompanies the game of chase.  
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The actual performance begins with the first day at school for eleven form one girls of St. 
Felice Mixed Senior High School in the dormitory of Morton House. Each one of them has 
different opinions and expectations of being in the boarding house. Elinam, the pampered brat, 
cries as a result of homesickness, Michaela is happy to be in school, Mercy, on the other hand is 
not just happy, but determined to conceal her poor background and associate with the rich folks. 
Juliet assumes the role of a queen bee at the top of the food chain in the dormitory, and Lucy 
poses as the nerdy academic worm. Catherine is yet to report, but her absence is not noticed as 
the girls start to party immediately after Ms. Quagraine, the house mistress, gives them a 
welcome address.  
Mercy and Juliet quickly bond and discuss their individual escapades. Juliet tells how she 
has managed to keep her mother in the dark over her amorous relationships with her male 
friends. Mercy, however, attempts to keep Juliet in the dark about the dullness of teenage life in 
Aboagyekrom. Mercy hopes her life will flourish through her association with Juliet’s wild and 
affluent life. Mercy’s hopes are however thwarted with the coming of Catherine, as Ms. 
Quaigraine gives her the task of seeing to Catherine’s well-being. While Elinam will not stop 
nagging and complaining over dormitory chores, Catherine clings to Mercy and will not let go 
even in the face of repeated, open rejection from Mercy and the other girls in the dormitory.  
Catherine is hopeful and optimistic of some hospitality from her dormitory mates. As a 
result she continuously shows them kindness. A case in point is when Catherine gives a good 
account of Mercy to Ms. Quagraine. Also, Elinam complains that her parents are unable to visit 
her on her birthday so Catherine manages to persuade the other girls to organise a surprise 
birthday party to cheer Elinam up. Again, Catherine sympathises with Lucy when the latter’s 
money is stolen by the other girls, as punishment for misleading Juliet into copying wrong 
answers during a Maths test.  
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Following this, Lucy and Catherine become close friends, as both were ignored by the 
other girls. Catherine shares the darkest moments in her life with Lucy, who empathises, and, 
with time, the other girls begin to appreciate the essence of Catherine. However, before this 
could come to full fruition, fate brings Catherine’s life and miseries to an abrupt end. Her death 
kept her colleagues in a remorseful and nostalgic mood. The performance ends with a befitting 
memorial service in honour of Catherine. Her colleagues use the occasion to eulogise and 
immortalise her persona.  
The performance, for the most part, takes place in a dormitory with a few scenes in an 
adjoining common room. As shown in Image 6 below, the dormitory has three entrances; one at 
up stage left leading to the bathrooms, one at up stage centre leading to another dormitory, to 
create the illusion of more beds as the acting space could not contain all six bunk beds needed for 
the performance. The third entrance is situated at up stage right and leads to the classrooms. 
Located up stage centre is a projector screen to aid the projections of videos and images. The 
common room is stage right, and attached to the dormitory. It serves as a front room to the 
dormitory and the house mistress, Ms. Quagraine, often meets the girls individually or in smaller 
groups there. With the objective of creating a gentle mood for the performance, ivory and 
golden-brown paint were used in constructing the set.  
 
 
Image 6: The Set; as designed (left) and as constructed (right) 
  
PIC A: Rendering of the Set 
PIC B: Photograph of actual set 
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As shown in Image 7 below, most of the costumes stood out from the set in their different 
tones of blue. About three different senior high school costumes are used for the performance. A 
blue check dress as house dress is used for most of the performance, and a plain blue round-
necked shirt with a black short is worn for clean-up exercises. In the final scene, at the memorial 
service, the students are dressed in sea-blue shirts and blue-black A-line skirts. For the night 
scenes, the students wear their individual night-gowns, each with a specific colour to match 
one’s character. For instance, Elinam wears a pink night-gown to show how childishly she 
behaves, while Catherine wears a brown night-gown to highlight her frailty, and Juliet wears a 
red night gown to portray her wild persona.  
 
 
 
Image 7: Costumes used for the performance; Photos by Bernice A. Akweley  
 
Unlike many other devised performances, this in its presentation was more realistic than 
surreal. Often, devised performances defy the conventional canons of the realistic theatre due to 
the odd and experimental principles that underpin the devising process. Whereas this 
performance has some elements of surrealism, especially with the use of imagery, most of it, 
PIC A PIC B PIC C 
PIC D 
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both in content and form, lean more to realism. The eventual choice of set, costumes, properties 
and dialogue gave a realistic pictorial representation of the performance.  
 
4.2 The Role of Directing 
Two concepts informed the directing of the project; auteurism and performer 
empowerment. Auteurism26 allowed for the manipulation of the text to suit the purposes of the 
performance. As posited by E. Wilson (1994), auteurism as applied in theatre studies, has been 
used to describe a certain experimental approach to theatre-making. He further explains that this 
approach is not just about the altering of time and place of a play-text, but the total 
transformation of the original script – the playwright’s words, meaning, the sequence of scenes – 
to suit the purposes of the created performance. The concept of auteurism as used in the context 
of this thesis-project, allowed for the alteration of a novel-text, by the entire ensemble. Whereas 
the author of the novel originally makes Mercy the main character, Catherine was made the 
central character, for the purposes of the performance. Similarly, within the concept of 
auteurism, the devising process allowed for the tweaking of the plot and character identities from 
the novel.   
The concept of auteurism informed the production team to create a performance that they 
could own, reminding them that the novel was only a stimulus, which ought not to be mirrored 
for the performance. Each member in the production was tasked to bring diverse experiences to 
reflect on the process. This allowed for a multiplicity of voices, and consequently advanced the 
auteurist idea of using a novel-text to suit the purposes of a performance and not vice versa. The 
author of the novel, who watched the performance for two nights, attested to the first 
                                                          
26
 The use of auteurism in this thesis-project differs in part from the cinematic application of auteur theory, which 
emphasises the domineering role of the director with regard to creative control s/he has over a film/performance.  
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performance night of how different the overall performance was from the novel. She appreciated 
the changes and thought they challenged her to see her work through a different lens (Baitie, 
personal communication, 23rd October, 2014).  
Directing the project was also characterised by the need to empower the collaborators 
involved; to guide, enable and equip them through the process to be able to create a performance 
they could call their own. A facilitator is expected to function more as an intermediary who 
listens to all the collaborators and guides their discussions toward the creation of a performance. 
This function of a facilitator was however challenging for three main reasons: time constraints, 
weak creative abilities, and inadequate practical knowledge of devised theatre among the 
production team.  
The biggest challenge in any devising process is the time factor; for every one minute of 
performance at least 10 hours of devising work is needed; and this is a conservative estimate 
(van Dijk, personal communication, 10th September 2014). With only seven weeks, and an 
average of five working hours a day to mount the production, the ‘time challenge’ was 
overwhelming with this project.  By van Dijk’s assertion, we could produce a maximum of thirty 
minutes performance. However, given the tacit convention of theatre performances for a paid 
audience produced by the Department of Theatre Arts, University of Ghana, having to run for an 
average of ninety minutes, the process faced the challenge of time inadequacy. Similarly, the 
members in the production suffered various levels of creative fright. This challenge was 
anticipated, as many of the students had not been exposed to a devising culture, which challenges 
artists to be at their most creative abilities. Hence, the techniques used in this project were new to 
the students. After what seemed like a stagnant period for the first three weeks of the devising 
process, some effort was made to direct the process, instead of merely facilitating it. Katie 
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Wampler (2011) in her attempt to design a teaching method for devised theatre, shares in the 
unavoidability of this challenge.  
My goal was to prepare the students through the lessons and exercises as well as 
provide guidance in rehearsal, but the students were to direct each other. The 
students would best be able to fulfill the multiple roles of director, actor, etc. if I 
acted as the guide instead of the director. Although this was my intention from the 
beginning, I did find myself needing to guide the students throughout the process 
because of their lack of training and experience. For three students, I did take a 
more active approach... (22).  
 
My attempt at taking a more active role to partly direct the process due to the stated 
reasons led to a fusion of directing as practised in conventional theatre, and facilitation as 
practised in devised theatre. Thus, aside from guiding the collaborators to create the 
performance, on some occasions I had to take a more active role to augment the process.  
As a result of the synthesis between traditional directing and facilitation in devising, 
which was almost inevitable, I propose a new term, dirvising to redefine the construct 
underpinning the thesis. This new term is a merger of the two words, directing and devising. 
Even though it was born out of a mishap, it opens up a new avenue in theatre studies and 
practice. The idea of dirvising, which can be defined as a fusion of guidance and intervention 
by a director, when working with less skilled performers in devised theatre, can come in handy 
for [student] directors who want to approach a devised theatre practice. Thus, with dirvising, a 
director can “take a more active role” (Wampler, 2011: 22) in a devising process. This could be 
an answer to Schmor’s (2004) concern for the appropriateness of the presence of a director in a 
devised theatre practice. The idea of dirvising also gains relevance from Jason E. Weber’s 
(2011) account on the guided collaboration category in devised theatre. In his article, Creating 
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Together: Defining Approaches to Collaboratively-Generated Devised Theatre, Weber (2011) 
advances the notion that a person or a group of people working with guided collaboration can 
assume the role of a director and be placed above the ensemble. He states that, “in Guided 
Collaboration, all participants are equal, except the director, who remains above the ensemble” 
(Weber, 2011: 8). This places the director in a position which makes it possible to facilitate, as 
well as take a more active role in the process. This research thus adds on to the role of directing 
in devised theatre as not only limited to guidance, but also in a given context, the director can 
actively get involved so as to augment the devising process. A given context includes, working 
with less skilled or immature performers within a short time schedule.   
Nonetheless, I will not hesitate to acknowledge the centrality of time to devised theatre. 
Time is decisive when devising; the outcome of a devised performance partly depends on the 
time allotted for the process. Thus its (time) limitation or mismanagement could hinder any 
devising process. To this end, academic institutions that intend to pursue devised theatre must be 
prepared to allot enough time for its (devised theatre) practice. With the outcome of this 
research, I can assert that when devised works are given due time, the performance could be of 
such high quality, as well as be a good avenue for teaching creativity.   
The above discussions notwithstanding, the ideals of devised theatre encourage a director 
to stimulate the other collaborators to delve into the unknown and create performances by 
themselves. The role of a director is “demanding, multi-faceted and, above all, one of service” 
(van Dijk, 2012: 11); it requires that the director be selfless, motivating, resourceful and 
hospitable. To agree with van Dijk, I assert that a director in devised theatre should be ready to 
welcome open criticisms to him or herself and among the ensemble. Last, yet important, the 
facilitator/director should be fair, firm, and friendly to everyone in the ensemble.  
 
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4.3 Working Together  
 The ensemble stayed, worked together and was involved at every stage of the 
process. The participants were conscious of the need to collaborate and treat one another as 
“equal partners in the development of the artistic vision” (van Dijk, 2012: 10). The cast 
appreciated the need to involve the crew while creating content and developing their respective 
characters, and the designers equally engaged both cast and crew in the designing and 
construction of technical elements for the production. The process used a guided collaboration, 
which established a level platform for all the participants. Thus, there was no hierarchy among 
the participants; everyone was treated as an equal partner in the creative process.  
Working together came with some difficulties; it was characterised by both anticipated 
and surprising challenges. Whereas the cast struggled to bond with one another, the crew did not 
see the need to be present throughout the rehearsals. In the early stages of the process, while 
discussing the performance script and at the same time creating content, the whole production 
team was actively involved in every activity. However, this could not be sustained as the process 
advanced and content creation became intense; more attention was given to the cast as to the 
crew, where the latter became detached at rehearsals.  
However, collaboration among the different crew departments was great. There was a 
conscious attempt to involve everyone with the designing and construction of technical elements. 
Eventually, each crew department gave a presentation on their work, which was scrutinised by 
the entire production team. This involvement of the crew members in the process was more 
rewarding during rehearsals and even most beneficial for the performance. Even with the delays 
in acquiring props and costumes, mostly due to financial constraints, the crew efficiently 
improvised during rehearsals, by engaging the services of whoever was at hand.  
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Collaboration among the cast however saw a steady progress; although it was not 
forthcoming at the early stages, gradually they were able to establish an ensemble, in the latter 
part of the process. A number of factors accounted for the difficulty of the cast working together, 
including; uneven levels of exposure to devising, infighting over desired roles, differences of 
opinion, [deliberate] attempts to hold back by some cast members, divisions along academic year 
levels, cliques among the cast, power commandeering by few cast members, lack of confidence 
by some cast members, and growing negative attitudes towards the production by some other 
cast members. Some of these factors – uneven exposure to devising among the cast, difference in 
individual attitudes, clash of desired roles, and divisions along academic year levels – were 
expected, and attempts were made to prevent or reduce their occurrence. Some of these attempts 
included the casting process, which reduced cast members clashing over desired roles. In 
addition, the workshops and the field day research helped, by introducing the cast to some 
devising techniques. Nonetheless, some of the factors that accounted for the difficulty with cast 
bonding were surprising. It was least expected that the cast would engage in petty squabbles, 
power struggle and [deliberately] holding back. These factors called for immediate measures to 
curb them. As a result, a number of sit down talks were held, sometimes with the cast alone, and 
sometimes both cast and crew to discuss any differences among the production members. During 
such discussions, I ensured that everyone was free to express their concerns. In addition to the sit 
down talks, a number of games aimed at bridging gaps of differences among the cast were 
played. Gradually with time, these interventions helped, and the cast appreciated the need to be 
united.  
 
 
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4.4 Character Representation 
 Since the cast had to create the essence of their respective characters, these characters 
appeared more as an extension of the cast rather than an appendage. This often is not the case 
with play-text theatre performances. With the latter, the cast engage their characters after the 
characters have been created by the author. Consequently, all the actor has to do is develop the 
character and give life to it. However, with devised performances, and in the case of this project, 
the cast worked with a novel with already created characters, and were tasked to recreate their 
respective characters based on their individual experiential and metaphysical knowledge of the 
characters. The actors were not limited to what was given by the novelist; indeed, in many 
instances, the novelist’s portrayal of a character was totally ignored.  
 The ingenuity put into characterisation was most evident with the manner in which a 
character acted by two different people was portrayed. For example, whereas ACTOR A in the 
role of Michaela was afraid of being on a top bed because of the possibility of falling down, 
ACTOR B in the same role was happy to be on the top bed because from there she gets to see 
what everyone in the dormitory does. Similarly, ACTOR A for the role of Elinam was jovially 
annoying, while ACTOR B in the same role was clamorously annoying. The doubles for the role 
of Catherine gave the rest of the cast a run for their creative abilities. Their individual uniqueness 
to presenting the character challenged the other cast to find different ways of adapting to them. 
In a post-performance interview with some audience members, they extolled the cast for the 
ingenuity by which they [re]presented the characters. According to a number of the audience, the 
characters came alive and were believable.  
 
 
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4.5 Cross-Art Integration  
 A cardinal benchmark of postmodern theatre is the interplay of multiple art forms. This 
has gained much prominence and assumed different nomenclatures. Thus, the use of terms such 
as multimedia theatre, total-theatre, hybrid theatre, and cross-art performance, could just be 
referring to the fusion of different arts forms − text, graphics, and electronics − in a single 
performance. Hence to situate this project within a postmodern framework, the performance 
engaged with multiple art forms, fusing drama, dance, music, imagery, and media arts. Whereas 
drama was the main medium for the performance, it was interspersed with other art forms. Dance 
movements to both live and recorded music were interwoven into the performance. Projected 
videos and the use of pre-recorded voice-overs in the performance formed the basis for media 
arts. In addition, both still and motion images were created. These images, mostly surrealistic, 
were created using the performers’ bodies.  
 The fusion of the different art forms provided an open box for the creation of the 
performance, as well as enhancing its aesthetics. Through singing, the performers, especially 
Catherine, are able to express inner emotions that would have been difficult to convey with just 
dialogue. Catherine expressed most of her emotions through songs. Abide with Me 27 , her 
favourite hymn, that she constantly hummed, Catherine could express both sadness and hope. 
Similarly, Elton John’s Candle in the Wind, was used as Catherine’s eulogy. The words in the 
song being a true reflection of Catherine’s life; “her candle [life] burnt out long before her legend 
[fame] ever did” (Elton and Taupin, 1973). As said by Bernie Taupin, a co-writer of the song, 
“[the concept of a short yet eventful life] is fascinating, and it is really about how fame affects 
                                                          
27
Methodist Hymn Book #784, Authored by Henry F. Lyte. 
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the man or woman in the street, that whole adulation thing and the fanaticism of fandom” (Song 
Facts).   
The use of imagery also expanded the purview of the audience to see and appreciate it 
beyond their experiential knowledge. The images in the prologue established a dreamlike world, 
creating a surreal outlook for the performance. This was well achieved with the projected 
images, unworldly sounds and motion images created with the bodies of the performers, who 
were dressed in white gowns.  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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CHAPTER FIVE 
 
CONCLUSION AND RECOMMENDATIONS 
 
 
“Devising theatre as a course is founded on challenging the 
hegemony of traditional theatrical styles, aesthetically, 
philosophically and physically” (Jackson, 2006: 73). 
 
The final chapter provides a summary of the thesis-project, outlines the findings and 
provides recommendations. 
 
5.1 Summary 
This research sets out to explore the art of directing and collaboration in devised theatre 
as a way of expanding the frontiers of theatre studies and practice in the Department of Theatre 
Arts, SPA. To achieve this, a novel was chosen as source material to which van Dijk’s devising 
model was applied as the devising process. The practice-led process, with emphasis on directing 
and collaboration, was documented, both in writing and pictures. Consequently, the process was 
analysed for possible findings and recommendations.  
 
 
5.2 Conclusion 
 
Call it the ‘alternative theatre’ or ‘third theatre’ (Jackson, 2006), the ideals of devised 
theatre embrace the need for theatre practitioners to bring to life the true essence of that creative 
discipline; theatre practice. Theatre is expected to reflect life and on life, and life is ephemeral. 
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There is the need for theatre to respond to the ever changing state of life, and not be made static. 
Any attempt to keep theatre in a box will be an affront on the discipline. Like most creative 
disciplines, devised theatre cannot assume any absolute validity. It has its flaws, however 
liberating it may seem. Nevertheless, the liberal posture of devised theatre encourages all and 
sundry to actively get involved with theatre practice. The practice of devised theatre encourages 
the embodiment of knowledge, as practitioners can best engage in it with the totality of their 
being.   
Through this thesis-research, I have come to appreciate how devised theatre can be used 
not only for aesthetic advancement in the theatre, but also for personal and community 
empowerment for those practising it. Many of the research participants, students, who took part 
in the project, appreciated the invitation to be active contributors to the project, and not just 
respondents, as they might have been with text-based theatre. Similarly, they came to appreciate 
the challenge of creating theatrical performance out of a non-traditional source. Whereas at the 
beginning of the project many of them were doubtful of the possibility of devising a performance 
from a novel, the process challenged them to see the need to create an inspiring performance. 
The entire ensemble created content on the moment, which challenged the students to broaden 
their scope of thinking and doing. Following on from this thesis-project and moving towards a 
devised theatre practice in Ghana, it will be worthwhile to replicate the findings in other Theatre 
Arts institutions in the country. The proposal of dirvising can be tested for possible suitability.  
 
 
 
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5.3 Recommendations  
One of the questions this research sought to address was the role of directing in devised 
theatre. The collaborative nature of devised theatre often creates a challenge with the presence of 
a director. However, practice and research has proven that the absence of an outside-eye, a 
director, in a theatrical performance often makes it less coherent (Wilson H. R., 2012). This is 
true for many theatre productions, and even more so with amateur theatre groups or [devised] 
theatre practice with students who need to be guided to create the performance. There is the need 
to reconcile the absence of a director in devised theatre with the need to guide and sometimes 
take an active role when working with students to create devised performances. Thus, this thesis-
project recommends a new terminology, dirvising, which is a merger of some techniques in 
devised theatre and play-text theatre. With dirvising, a director working with students or amateur 
actors can safely encourage them to create performances all by themselves, and at the same time 
take a more active role to intervene in the process, as and when necessary. Dirvising should then 
be seen as a directorial approach in devised theatre, and not a breakaway from the latter. 
Consequently, devised theatre can be promoted within academic settings without much 
inhibition.  
The other question this thesis-project sought to address was the culture of working 
together in devised theatre in comparison with working together in play-text theatre. 
Collaboration in devised theatre is more demanding and ought to be practised with caution, 
especially among amateur performers.. Collaboration as practised in devised theatre is 
thoroughgoing, and requires deep tolerance among practitioners. However, students and/or 
amateur theatre practitioners are often not as [creatively] mature as is the case with professional 
theatre practitioners, and are therefore unable to fully appreciate the need to work within a 
consensual democratic environment. This challenge is more worrying in cultures where the 
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practice of allowing children to freely express themselves is absent, as it is with many Ghanaian 
cultures. Consequently, the children are often waiting to be given orders and are expected to do 
exactly what is required of them. However, collaboration when properly practised is a good 
approach to building confidence, tolerance and respect among people who have difficulties with 
group interactions.           
As with this thesis-project, it was evident that some students were not ready to open up 
and engage with others, while others were overly expressive. The need to create a structure that 
will encourage all participants to engage with the process became necessary. However, no one 
structure can work for all situations, as every ensemble will come with unique demands. In short, 
it is imperative on directors to be creative enough to fashion out solutions that will best fit the 
demands of their respective ensembles. Directors must make an effort to study the performers, in 
order to know their similarities and differences.  
 A final recommendation for the Department of Theatre Arts, University of Ghana, would 
be to institute a devised theatre curriculum. This curriculum can be made independent or fused 
with existing performance courses. The curriculum can be introduced to all Theatre Arts 
students, and most importantly, Directing, Acting, Playwriting, and Design students. This I 
believe will extend the current body of knowledge in the Department. A joint Devised Theatre 
course for the above mentioned courses will come in handy to bridge any gap among the 
respective sections. Currently, a number of faculty members in the Department bemoan the idea 
that, Directing students are unable to employ works by their playwriting counterparts. This 
challenge, I believe can best be solved by instituting a joint [devised theatre] course for 
Directing, Playwriting, Acting and Design students. In view of this, students will be encouraged 
to collectively create performances by themselves. The idea of implementing a devised theatre 
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programme can also be instituted among all three departments – Theatre, Dance Studies and 
Music – in the School of Performing Arts, UG.  
The idea of a devised theatre curriculum is not new, as it is taught in other Theatre 
departments 28 . Similarly, the idea of teaching devised theatre in academe is somewhat an 
emerging trend, yet to be popularised. The institution of a devised theatre curriculum will also 
help to curb some challenges posed by text-based theatre productions. For instance, student 
directors will not struggle much when selecting a play-text, as they will be able to use any other 
suitable source material. Even when a play-text is used, student directors can apply a devising 
process to it. With this, the play-text will be updated to reflect contemporary realities. The 
devised performances can be transcribed and published as a new play.  
This however, opens up a concern which can be considered for further research: who 
owns copyright of a new text developed out of an old one through a devising process; is it the 
author of the old text, the director of the devised performance, the actors who mainly (re)created 
content for the new script, or the entire ensemble. With the emergence of devised theatre; 
concerns have been raised with regard to ensemble ownership of creative works29. How do 
copyrights protect works created by an ensemble that is not registered as a company? Is 
Performers’ Right a good substitute for ensemble ownership? How well can a performer’s 
contribution for a devised performance be measured? It is my hope that both the Theatre 
academia and industry will advance discussions on these emerging issues.  
 
 
                                                          
28
University of Glasgow; THEATRE 5029 − Contemporary Devising Practices, 
    Hong Kong University of Science and Technology (HKUST); HART 1028 − Devised Theatre: Contemporary Creative Process for 
    Performance 
29
 Chan, W. (2004). The Writer is King: Copyright in Devised Theatre; http://www.artslaw.com.au/,    
Rimmer, M. (2002). Heretic: Copyright and Dramatic Works; file:///C:/Users/use/Downloads/95-180-1-SM.pdf,   
http://www.theatreview.org.nz/forum/topic.php?id=51 
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Accra, Ghana. 
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McBurney, S. (2010). Introduction. In A. Mermikides, & J. Smart (Eds.), Devising Process (pp. 
1-29). Basingstoke: Palgrave Macmillan. 
 
Mclnnerney, J., & Roberts, T. (2004). Collaborative or Cooperative Learning. In T. Roberts 
(Ed.), Online Collaborative Learning: Theory and Practice (pp. 203-214). Hershey: 
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125-138. 
 
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nelsonschool-to-career-video 
 
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Research. The Lives and Death of Collective Creation , 1-16. 
 
Pinney, A. (2006). Between a Director and a Cast of One: A Beginning Aesthetics. Theatre 
Topics, 16 (2), 183-191. 
 
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publicat/ dil-papers- 2/cscl/pdf 
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Rotimi, O. (2014, April 17-19). Grip Am. (B. A. Animle, Director) Efua Sutherland Drama 
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APPENDIX 1: Meeting with the Novelist. 
 
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APPENDIX 2: Audition Notice 
AUDITION 
 
AUDITION FOR A ROLE (CAST OR CREW) IN 
AN UP COMING DEVSIED PERFORMANCE 
OF ELIZABETH-IRENE BAITIE’S 
THE TWELFTH HEART. 
 
DATE: THURSDAY, 11 SEPT ’14 & FRIDAY, 12 
SEPT ‘14 
 
TIME: 4 PM EACH NIGHT 
 
VENUE: SEMINAR ROOM 3 (OLD SEM. RM 2) 
 
PRODUCTION PARTICIPATION 
IS ASSURED 
 
 
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APPENDIX 3: Sample of Audition Attendance / Assessment Sheet 
Sample of Audition Attendance / Assessment Sheet 
The Twelfth Heart 
 
 
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APPENDIX 4: Production Timetable / Schedule 
Week One     Activity 
1. Thursday, 11 September ʹ14  Audition 1 
2. Friday, 12 September  ʹ14  Audition 2 
3. Monday, 15 September ʹ14  Production conference 1 
Reading 
Process casting 1 
4. Tuesday, 16 September ʹ14  Reading 
Process casting 2 
Mapping out the bare story 1 
5. Wednesday, 17 September ʹ14 Meeting with the novelist 
Process casting 3 
Mapping out the bare story 2 
 
Week Two    Activity 
 
6. Thursday, 18 September ʹ14  Voice & Improvisation Workshop 
Technical meeting 1 
7. Friday, 19 September  ʹ14  Trip to Aburi Girls or Dance & Movement  
Workshop or Continuation of Improvisation 
Workshop 
 
Technical meeting 2 
8. Saturday, 20 September ʹ14  Dance and Movement Workshop (if it does not  
come off on Friday.   
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9. Monday, 22 September ʹ14  Production Conference 2 
Scene by scene breakdown 1 
10. Tuesday, 23 September ʹ14  Scene by scene breakdown 2 
11. Wednesday, 24 September ʹ14 Rehearsing scenes 1 
Week Three    Activity     Time 
 Venue 
12. Thursday, 25 September ʹ14  Rehearsing scenes 2    6pm 
 BHoDF 
13. Friday, 26 September ʹ14  Rehearsing scenes 3    6pm 
 BHoDF 
14. Monday, 29 September ʹ14  Discussing technical elements  6pm 
 BHoDF 
Rehearsing scenes 4    6pm 
 BHoDF 
15. Tuesday, 30 September ʹ14  Rehearsing scenes 5    6pm 
 BHoDF 
16. Wednesday, 1 October ʹ14  Rehearsing scenes 6    6pm 
 BHoDF 
Week Four    Activity 
17. Thursday, 2 October ʹ14  Rehearsing scenes 7    6pm 
 BHoDF 
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18. Friday, 3 October ʹ14   Rehearsing scenes 8    6pm 
 BHoDF 
19. *Saturday, 4 October ʹ14  1st Run Through    *** 
 D.S 
20. Monday, 6 October ʹ14  Rehearsing scenes 9    6pm 
 D.S 
21. Tuesday, 7 October ʹ14  Rehearsing scenes 10    6pm 
 BHoDF 
22. Wednesday, 8 October ʹ14  Rehearsing scenes 11    6pm 
 BHoDF 
Week Five    Activity 
23. Thursday, 9 October ʹ14  Rehearsing scenes 12    6pm 
 D.S 
24. Friday, 10 October ʹ14  Rehearsing scenes 13    6pm 
 OASQ 
25. Saturday, 11 October ʹ14  2nd Run through    *** 
 D.S / 
OASQ 
26. Monday, 13 October ʹ14  Production conference 3   5pm 
 BHoDf 
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Establishing the performance score 1  5pm 
 BHoDf 
27. Tuesday, 14 October ʹ14  Establishing the performance score 2  5pm 
 D.S 
28. Wednesday, 15 October ʹ14  Rehearsing the performance score 1  5pm 
 *** 
Week Six     Activity 
29. Thursday, 16 October ʹ14  Rehearsing the performance score 2  5pm 
 *** 
30. Friday, 17 October ʹ14  Rehearsing the performance score 3  5pm 
 D.S 
31. Saturday, 18 October ʹ14  3rd Run through    *** 
 D.S 
32. *Sunday, 19 October ʹ14  Trip to Achimota S.H.S (tentative)   *** 
And Technical Rehearsals    All day 
 D.S 
33. Monday, 20 October ʹ14  Technical -  Dress Rehearsal 1  4pm 
 D.S 
34. Tuesday, 21 October ʹ14  Technical -  Dress Rehearsal 2  4pm 
 D.S 
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35. Wednesday, 22 October ʹ14  Technical -  Dress Rehearsal 3  4pm 
 D.S 
Week Seven    Activity 
36. Thursday, 23 October ʹ14  Performance Night 1    4pm 
 D.S 
37. Friday, 24 October ʹ14  Performance Night 2    4pm 
 D.S 
38. Saturday, 25 October ʹ14  Performance Night 3    4pm 
 D.S 
39. Monday, 27 October ʹ14  Post production review   6pm 
 Sem Rm 3 
NB 
     *** To be announced with time 
    D.S – Drama Studio 
    BHoDF – Behind HOD’s office 
   OASQ – Old African Studies Quadrangle 
1. Each day’s rehearsal will last for three (3) hours.  
2. Notwithstanding No. 1, rehearsal hours will increase in the last weeks of the production 
schedule. 
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3. Rehearsal Venues will be at the structure behind HOD’s office and the drama studio. 
However, some unconventional spaces – Botanical Gardens, New Stadium, Old African 
Studies Quadrangle, Backset Ball Court, Athletic Oval, etc… might be equally used.  
4. Both cast and crew will be present at all rehearsals. 
5. Notwithstanding No. 4, exemptions can be made if necessary. 
6. Rehearsal venue(s) and times will be discussed at first production conference. 
7. A cast or crew can be assigned duties outside of rehearsal times. 
8. Both cast and crew when coming for rehearsals must be in the most appropriate clothing. 
The appropriateness of the rehearsal clothing will be discussed at the first production 
conference.  
9. All cast, as well as each crew department are expected to keep a process journal. This 
will be further discussed at the first production conference. 
10. Rehearsing scenes include: 
i. Creating dialogue 
ii. Learning and/or practising music 
iii. Learning and/or practising choreography 
iv. Blocking 
v. Character Development 
vi. Digital Media Interactivity 
vii. Technical Enhancement 
 
 
 
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APPENDIX 5: Draft Performance Script.  
(Page numbers in the original novel are indicated for the respective scenes).  
 
 
SCENE 1 (PP.1-5) 
 
Girls' first day in the dormitory, they go about their 
independent activities. They are waiting for the housemistress. 
There are intermittent monologues to expose some key characters. 
Ms. Quagraine (Ms. Q) walks in. She makes a roll call; Catherine 
is absent. 
 
 
SCENE 2 (PP.6-9) 
 
Girly chat between Juliet and Mercy; Juliet talks about her 
escapades with Lex and Kobby; Mercy talks about her wished for 
Aboagyekrom; Scene ends with the two girls anxious to meet Lex 
and Kobby 
 
 
SCENE 3 (PP.10-16) 
 
The ladies are preparing for the inter-schools' football match. 
All the ladies, except Lucy, are busy preparing for the 
occasion. Ms. Q walks in with Catherine. Mercy is asked to help 
Catherine settle. 
 
 
SCENE 4 (PP.24-26) 
 
The ladies discuss Catherine's nuisance in her presence. They 
leave her afterwards. The scene ends with Catherine alone in 
self-introspection. She dramatizes the moment with a dance. 
 
 
SCENE 5 (PP.32-34) 
 
Conversation between Ms.Q, Mercy and Catherine; Ms. Q exits 
shortly afterwards and the other ladies walk in to see Mercy and 
Catherine in a friendly chart. The ladies ridicule the moment 
with songs to Mercy's displeasure. 
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SCENE 6 (PP.34-38) 
 
It’s time for visiting. The ladies chat over which of their 
parents or guidance are coming to visit. Lucy walks out with a 
bunch of books. Ms. Q and Lucy becomes a topic for gossip. 
Catherine isn't around. One after the other the ladies walk out 
as their respective visitors come. Mercy is not expecting any 
visitor. She is left alone and thinks aloud life in Aboagyekrom. 
Catherine walks in to call her that her (Catherine) parents are 
in. Mercy exists with Catherine. 
 
 
SCENE 7 (PP.42-47) 
The ladies are discussing aftermaths of the visiting. Lucy is 
busy with her books. Catherine is around but at a distance from 
the conversation. The look of Akosua’s brother is being 
discussed. They also plan a birthday party for Elinam. 
 
 
SCENE 8 (PP.47-49) 
 
Elinam's surprise birthday party; Everyone is in the dormitory. 
Lucy is distant from the rest. Catherine attempts to involve 
Lucy but was met with a protest from Juliet. 
 
 
SCENE 9 (PP.51-56) 
 
Juliet and Mercy discuss the maths test. Catherine joins but was 
quickly sent away. The two ladies continue to discuss Juliet's 
escapades with extra teachers. Mercy attempts to match up with 
Juliet's escapades. 
 
 
 
SCENE 10 (PP.68-73) 
 
The ladies discuss their maths test results. Mixed feelings; 
Juliet gets upset and attacks Lucy for tricking her. Lucy storms 
out of the dormitory. Catherine goes after her. In their 
absence, Juliet masterminds an attempt to revenge Lucy. 
 
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SCENE 11 (PP.74-78) 
 
Lucy's agony; she is alone in the dorm. She finds out her money 
has been stolen. She brings out almost all her belongings in 
search of her money. The other ladies walk in. Mixed feelings 
among the ladies as they walk in; Catherine is the last to walk 
in. Lucy walks out to report to Ms. Q and returns with her to 
conduct an inspection. The scene ends with Lucy singing her sad 
heart out. 
 
 
SCENE 12 (PP.91-92) 
 
A confrontation between Catherine and Mercy; Mercy shouts at 
Catherine when the latter attempted to soothe Mercy's fears; 
Catherine is left in alone in a moment of self-introspection. 
 
 
SCENE 13 (PP.96-101) 
 
Lucy and Catherine are having a hearty chat. Mercy joins in. 
Catherine happily embraces her. 
 
 
SCENE 14 (PP.103-110) 
 
Mercy approaches the other ladies to return Lucy's money. Juliet 
does not agree and leaves the dorm. The others agree in Juliet's 
absence only to find out the money isn't there upon search. They 
agree to ask Juliet but she denies. Awed by the accusation, she 
goes back to the dormitory to find out for herself. The other 
ladies follow her. With a series of monologues in aside, the 
ladies suspect one another for the missing money. 
 
 
SCENE 15 (P.139) 
 
Catherine's last day with the ladies. She is seriously ill. She 
engages Lucy, Akosua, and Mercy, in moments of heightened of joy 
and sadness. Catherine collapses. Scene ends the three ladies 
rushing Catherine out. 
 
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SCENE 16 (PP.170-172) 
 
Catherine's funeral; Catherine's corps is laid in state. All the 
Ladies are present. Ms. Q makes a roll call. The ladies respond 
present. Catherine responds present out... She engages in a 
monologue and then responds absent. The ladies sing her 
favourite hymn. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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APPENDIX 6: Post performance Script: Photo Narrative and Scene Synopsis; this 
constructs the narrative of the performance using pictures. Pictures must be read from top-left to 
down-right. Each scene is also summarised to compliment the pictures. 
 
 
 
 
Synopsis 
 
The performance begins with a foreboding scene. Ghost like characters walk across the stage, 
while Catherine sits at up stage centre. With the exit of the ghost like characters, some playful 
human characters join Catherine on stage and engage her with a chase game.  
 
 
Ghost-like characters 
Catherine 
Playful human characters 
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Synopsis 
Nine first year students of St. Felice Senior High School share their different thoughts about their 
first day in school. Ms. Quaigrine later gives them a welcome address in the dormitory. With the 
exception of Lucy, the other girls socialise with their first dormitory party.  
First day in the boarding house 
Section of the girls in the dormitory 
Ms. Quagraine welcomes the girls to school. 
First dormitory party 
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Synopsis 
Juliet and Mercy opens up their previous escapes to each other. Juliet tells Mercy of her (Juliet) 
attempts at keeping her mum in the dark over her outings with her male friends. In her bid to 
match up with Juliet, Mercy lies to Juliet about how exciting her home town is. The two friends 
make a match and are ready to sip the sweetness out of their stay in the boarding house.  
 
 
 
 
Juliet  
Mercy 
Mercy and Juliet 
share personal stories 
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Synopsis 
The girls are back from gardening. Lucy is quick to go back to the classroom to study. The other 
girls are least concerned. Rather, they castigate Elinam for constantly complaining over 
gardening work. Later, Juliet incites the other girls to hurry for the football match to be played 
between their school and a sister school. As much as Mercy is eager to meet her yet to know her 
yet to be boyfriend, Ms. Quagraine would rather ask her to take care of Catherine, the new girl.    
 
 
 
The girls chastise Elinam 
for her constant complains 
Ms. Quagraine introduces 
Catherine to the girls.  
Mercy questions Catherine 
for coming to school late. 
Catherine familiarises 
with her new 
environment. 
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Synopsis 
 
Back from the games, the girls discuss the thrilling experience they had. Catherine makes 
attempts at befriending them, but to her disappointment. She suffers rejection from the girls, 
even Mercy, who have been tasked to share her bed with Catherine. Catherine later resorts to the 
floor to sleep as her own bed is yet to come.  
 
 
 
 
Catherine attempts to make friends with 
Michaela, Akosua & Elinam. (From right to left) Juliet and Mercy in a tête-à-tête 
Mercy pushes Catherine to the floor Catherine finds solace on the floor 
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Synopsis 
It is early morning, Ms. Quagraine calls for Mercy. Catherine had lied to Ms. Quagraine about 
how Mercy treats her. Mercy is surprised when Ms. Quagraine lauds her for being hospital with 
Catherine. Mercy attempts to apologise to Catherine, but the latter will let it pass. In what will 
appear as a situational irony, the other girls ridicule Mercy and Catherine’s new found 
friendship. The siren announces visiting time and the girls’ expectations vary. Elinam is not 
expecting any visitor even though the next is her birthday. She cries over it to the annoyance of 
the other girls. Catherine however manages to convince the other girls to organise a birthday 
party to cheer up Elinam.  
 
The girls make mockery of Mercy and Catherine.  
Ms. Quagraine talks to Mercy 
 and Catherine 
Catherine comforts 
Elinam.  
It’s visiting. Jessica and Mercy 
inspects Michaela’s food.  
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Synopsis 
It is Elinam’s birthday. All the girls, but Lucy contributed to organise a surprise birthday party 
for Elinam. Shortly afterwards, Lucy returns to the dormitory with a maths test results. The girls 
are not happy with their marks, but a disappointed Juliet goes to fight Lucy for misleading her 
into copying wrong answers. Juliet vows to avenge Lucy’s mischief.  
 
 
 
 
Elinam’s birthday party 
(From left to right) Michaela, Akosua, 
Mercy and Juliet, are not happy with 
their math test results 
Juliet fights Lucy for misleading her. 
The girls make fun of Juliet for 
copying wrong answers.  
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Synopsis 
Juliet masterminds the stealing of Lucy’s money. The latter upon knowing is thrown into 
anguish. Catherine tries to console Lucy. Later on the same day, Mercy picks up a quarrel with 
Juliet after the duo’s almost fatal escape. While Catherine presses-on to console Lucy, Juliet is 
surprised with Mercy for ignoring her.  Akosua later on chances on Catherine and Lucy, as the 
duo talk about their worries. Akosua is softened by the site and decides to convince the other 
girls to return Lucy’s money. Her attempt falls on death ears. The other girls reject the idea and 
later finds out the money is missing. After a heated-up exchange of counter accusations as to 
who might have taken the money, Elinam, Akosua, Juliet, and Michaela turn to accuse Mercy for 
the missing money. Even in Mercy’s absence.  
Stealing escapade  
Catherine comforts Lucy  
Messy Mercy 
Lucy and Mercy in a tête-à-tête 
Confusion galore between 
Juliet and Mercy 
Confusion escalates among the girls over 
Lucy’s missing money.  
Catherine confides in Lucy; 
Akosua eavesdrop.  
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Synopsis 
Following on from their current enmity, Juliet is quick to confront Mercy to own up for the 
missing money. This infuriates Mercy to fight back. In her attempt to stop the two friends from 
fighting, Catherine suffers another rejection, as Mercy and Juliet shouts at her for interfering in 
their affairs.  
 
 
 
 
Juliet and Mercy bare teeth at 
each other.  
Catherine intervenes but to 
be shouted at.  
Catherine in a reflexive mood after open 
rejection from Juliet and Mercy 
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Synopsis 
Catherine finds Lucy’s money with Michaela. But the latter denies stealing it. Michaela will also 
not allow Catherine to tell Lucy about the found money. With a surprising outburst, Catherine 
takes the money away from Michaela with the aim of giving it to Lucy. However, Jessica 
chances on Catherine holding the money and mistakes Catherine for stealing it.  
 
 
 
Catherine finds Lucy’s 
money with Michaela 
Jessica accuses Catherine 
for stealing Lucy’s money.  
Michaela remorsefully looks on 
as Catherine is accused.  
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Synopsis 
Elinam requests of Catherine to copy class notes for her (Elinam). While doing this, Elinam 
seizes the moment to know more about Catherine; why Catherine is always kind to everyone, 
even in the face of open rejection. Catherine tells Elinam, her (Catherine) kind posture is meant 
to earn her immortality even after her death. In Elinam’s attempt to understand Catherine, she 
ends up liking her.  
 
 
 
Elinam questions Catherine on 
reasons behind her kind posture 
Catherine schools Elinam  
Elinam is mesmerised with 
Catherine’s thinking.  
Elinam in a state of awe 
after talking with Catherine 
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Synopsis 
By this time Catherine had had the chance to change the perception of some of the girls towards 
her. In a final bid to do same to all the other girls, Catherine’s emotionally heightened speech 
catches the attention of the girls. The girls cannot help to see Catherine shed tears, so they get 
together to play games. Catherine gets weak while happily playing with the girls and is taken to 
the sick bay. She dies in no time and the girls are unable to forgive themselves.  
 
 
 
Catherine becomes weak and to 
be taken to the sick bay 
Catherine shares her darkest secrets 
with the girls 
For the 1
st
 time the girls play 
with Catherine 
A soul gone home; 
Catherine is dead.  
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Synopsis 
In the final scene, the school organises a vigil night to eulogise the memory of Catherine. With 
candles, songs, pieces of tributes, the eleven girls fill the atmosphere with sorrow for their 
departed Twelfth Heart.  
 
 
 
 
 
 
 
 
 
 
Catherine’s friends celebrate her with a vigil night 
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APPENDIX 7: Abridged Blocking; this blocking highlights the main acting areas for each 
scene, as well as indicates characters in each scene. This blocking does indicate the movements 
of the actors. Actors were allowed to move on their volition and intuition.  
 
Prologue 
Prologue
 
CHARACTER KEY
Catherine
Ghost-like characters 
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Scene One 
Scene One
 
CHARACTER KEY
Ms. Quagraine
Mercy
Juliet
Elinam
Michaela
Alicia
Akosua
Lucy 
 
 
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Scene Two 
Scene Two
 
CHARACTER KEY
Mercy
Juliet
 
 
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Scene Three 
Scene Three
 
CHARACTER KEY
Ms. Quagraine
Mercy
Juliet
Elinam
Michaela
Catherine
Akosua
Lucy 
 
 
 
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Scene Four 
Scene Four
 
CHARACTER KEY
Mercy
Juliet
Elinam
Michaela
Catherine
Akosua
 
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Scene Five 
Scene Five
 
CHARACTER KEY
Ms. Quagraine
Mercy
Juliet
Elinam
Michaela
Catherine
Akosua
Lucy 
 
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Scene Six 
Scene Six
 
CHARACTER KEY
Mercy
Juliet
Elinam
Michaela
Catherine
Akosua
Lucy 
 
 
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Scene Seven 
Scene Seven
 
CHARACTER KEY
Mercy
Juliet
Elinam
Michaela
Catherine
Akosua
Lucy 
 
 
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Scene Eight 
Scene Eight
 
CHARACTER KEY
Mercy
Juliet
Catherine
Dancers 
 
 
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Scene Nine 
Scene Nine
 
CHARACTER KEY
Michaela
Catherine
Jessica
 
 
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Scene Ten  
Scene Ten
 
CHARACTER KEY
Catherine
Elinam
 
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Scene Eleven 
Scene Eleven
 
CHARACTER KEY
Ms. Quagraine
Mercy
Juliet
Elinam
Michaela
Catherine
Akosua
Lucy 
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Scene Twelve 
Scene Twelve
 
 
CHARACTER KEY
Ms. Quagraine
Mercy
Juliet
Elinam
Michaela
Alicia
Akosua
Lucy
Jessica 
Others
 
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APPENDIX 8: Samples of Character Chart 
 
 
 
 
 
 
 
 
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APPENDIX 9: Sound Cue 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Number  Scene  Cue  Action Effect  
1 Prologue Starts the performance; 
before light fades in.  
Play gothic sound effect To established a 
dreamlike world. 
2 1 Girls start to sing I’m 
looking for my Johnny 
Play I’m Looking for My 
Johnny 
Enhance the party mood 
in the dormitory.  
3 3 Catherine humming Play Catherine’s pre-
recorded humming tune  
Fill the entire auditorium 
with Catherine’s 
humming 
4 4 Catherine lies on the 
floor  
Play Sam Cooke’s 
Change is Gonna Come 
Establish a self 
retrospective mood for 
Catherine.  
5 6 Dialogue: “Talk about 
sugar daddy” 
Play pre-recorded voice 
over of visiting 
announcement. 
Heighten the setting of 
the play; Boarding house 
of Senior High School 
6 9 Girls stealing money  Play Theme Song for 
Pink Panther  
Establish a suspense 
mood  
7 10 Lucy searching for her 
money 
Play suspense sound 
effect 
Establish a suspense 
mood 
8 10 Lucy pushes Catherine Play MHB #10 Establish a sorrowful 
mood 
9 11 Juliet and Mercy run on 
stage 
Play pre-recorded voice 
over of security men 
chasing Juliet and Mercy 
Establish an chase scene 
in the minds of the 
audience.  
10 15 Catherine goes to sit 
down while playing 
with the girls 
Play live xylophone 
tunes 
Establish a foreboding 
mood 
11 17 Ms. Q ends her 
monologue 
Play Raphiki Heighten the sorrowful 
mood. 
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APPENDIX 10: Light Cue Synopsis 
 
Acts Cue # Count Execution Point Description  Remarks 
1 1 
 
2 
 
3 
2 seconds 
 
8 seconds out 
 
9 seconds 
After 10 seconds light 
fade in 
 
After 9 seconds light 
fade in 
 
After 9 seconds light 
fade out 
Turn off 8. 
Fade in 10 at 
40% 
 
10 and 11; 
60% for 10  
and 70% for 
11 
 
All lights at 
90% 
 
All lights at 
90% 
 
Centre Left 
and Centre 
stage 
 
Up Centre 
and Up Left  
 
 
 
Enter stage; 
all lights 
except 3, 11 
& 10 
2 4 5 seconds out After 3 seconds lights 
fade in 
Fade in 3 at 
90% 
Down Right 
3 5 5 seconds out After 3 seconds lights 
fade in 
All lights at 
90% 
 
Enter stage; 
all lights 
except 3, 11 
& 10 
4 6 4 seconds out After 5 seconds lights 
fade in  
Fade out at 
70% 
 
All lights 
except 3, 11 
& 10 at 90%; 
fade in at 
40% 
Enter stage; 
all lights 
except 3, 11 
& 10 
5 7 
 
 
8 
 
9 
 
10 
 
 
11 
5 seconds out 
 
 
4 seconds out 
 
8 seconds out 
 
4 seconds out 
 
 
5 seconds out 
3 seconds fade in 
10 seconds fade in 
 
4 seconds fade in  
 
5 seconds fade in 
 
After 4 seconds fade 
in 
 
4 seconds fade in 
5 seconds fade in 
11 and 10; 11 
at 40% and 10 
at 60% 
All lights at 
90% 
All lights at 
90% 
5 at 70%, 11 
at20%, 6 at 
20% 
7 at 50% 
All at 90% 
except 3 
Down Right 
 
 
Entire Stage 
 
Entire Stage 
 
Centre Left, 
Up Centre, 
Up Right 
Down Left 
Entire Stage 
except Down 
Right 
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Acts Cue # Count Execution Point Description  Remarks 
6 
 
 
 
 
 
 
 
 
 
 
 
 
 
12 
 
 
 
 
 
 
 
 
 
13 
4 seconds out 
 
 
 
 
 
 
 
 
 
3 seconds out 
 
 
 
4 seconds in 
 
 
4 seconds in 
5 seconds in 
4 seconds in 
3 seconds in 
3 seconds in 
 
 
4 seconds in 
6 seconds in 
 
7 at 30%, 10 
at 30%, 6 at 
30% 
7 at 70% 
9 at 80% 
11 at 80% 
9 at 90% 
All at 90% 
except 3 
 
3 at 90% 
All at 70% 
except 3 
Down Left, 
Centre Left, 
Up Right 
Down Left 
Up Left 
Up Centre 
Up Left 
All except 
Down Right 
 
Entire Stage, 
except Down 
Right 
Down Right 
Entire Stage 
except Down 
Right 
7 14 4 seconds out 4 seconds in All at 80% 
except 11 
Down Right 
8 15 
16 
 
 
 
17 
4 seconds out 
4 seconds out 
 
 
 
8 seconds out 
fade out 
Down Right 
3 seconds in 
7 seconds n 
 
 
4 seconds in 
4 seconds in 
3 at 80 % 
All at 90% , 
except 3 
 
3 at 70% 
All at 60%, 
except 11 at 
90% 
Down Right 
Entire Stage, 
except Down 
Right 
Down Right 
Entire stage, 
except Up 
Centre 
9 18 
 
 
 
 
19 
4 seconds out 
 
 
 
 
1 second 
After 6 seconds fade 
in 
5 seconds fade in 
10 at 40%, 6 
at 30% 
All lights 
Entire Stage, 
except Centre 
Left and Up 
Right 
 
Black Out 
 
 
 
 
 
 
 
 
 
 
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APPENDIX 11: Costume Action Chart 
 
 
 
 
 
 
 
 
 
 
 
 
 
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APPENDIX 12: Costume Colour Chart 
 
 
 
 
 
 
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APPENDIX 13: Props List 
 
 
Scene Description Props 
1. Opening Scene Bunk Beds, Mattresses, Bed Sheets, Mosquito Net. House Logo, 
School Badge, Calendar, Pillows, Pillow Cases, Shoes, 
Sandales, Suit Cases, Sexy Magazine, Nail Polish, Sanitizer, 
Ghetto Blaster, Teddy Bear, School Bags, Story Book, Mirror, 
File, Pen 
2. Gardening Scene Hoes, Cutlasses, School Bag, Huge Library Books 
3. Catharine’s Arrival Grey Suitcase, Medicine Bag Full Of Pills 
4. Night Scene Bible, Cover Cloth 
5. Miss Q. And Catherine 
In The Common Room  
File, Pen, Handbag 
6. Visiting Baskets Of Food, Pizza 
7. Birthday Scene Birthday Cake, Glitter Shoal, Candles 
8. Math Test Results Test Papers 
9. Theft Scene Envelope, 70 Cedi’s 
10. Looking For Money  -  
Lucy 
Skirts, Tops Cardigan, Bed Sheets, Shorts 
11. Bring Back The 
Money 
Exercise Book, Sexy Magazine, Nail File, Nail Polish, Story 
Book 
12. Elinam And Catharine 
In Common Room 
Nail File, Exercise Book, Pen 
 
13. Catherine’s 
Monologue 
Medicine Bag Full Of Pills, Bible 
 
14. Games Cover Cloths 
15. Rafiki Beds, Mattresses And Bed Sheets, Calendar, House Logo, 
School Badge 
16. Funeral Scene Candles 
17. Epilogue Pulley System 
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APPENDIX 14: Budget Estimate 
 
 
      NO.   ITEM     COST 
1.               Novels (25 Copies)    GHS 150   
2.               Costume & Make-Up   GHS 1000 
3.               Props      GHS 700 
4.               Set         GHS 500 
5.               Remuneration for Resource Persons GHS 300 
6.               Research     GHS 350 
7.               Water and Food During Rehearsals  GHS 300 
8.               Transportation     GHS 200     
9.               Refreshments after Production  GHS 500 
 
   Total     GHS 4000 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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APPENDIX 15: Production Posters  
 
 
 
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APPENDIX 16: Production Programme 
 
 
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