Abstract

In this article I examine the ways in which devised theatre practices affected the score, libretto, characterisation, and production of the opera Myisi. I chart the four main devising phases of the opera within the context of established theatre practices, and evaluate the collaborative working model at each stage of development. I place this case study in the context of past collaborative projects: Reminiscence (Jackson’s Lane, 2008), Fragments of Sun (Tête à Tête Opera Festival 2012), and Rituals to Mould Her With (Kings Place, 2017). I conclude that employment of a devising process engendered a fragmented structure, an inverted-round stage set-up, the need for visual digital media, a libretto in which no two characters engage in dialogue, and a score consisting of sung and instrumental music that is directly related to the artists involved in the devising group. In my analysis of the devising processes, I conclude that there are no fixed rules. The approach is and should be adaptable to suit the nature of the project concerned and particular group of people generating the work.