The Pulse Approach

How can we effectively apply improvisation to train an ensemble of actors?
Where is the method to create physically dynamic staging for text-based contemporary and classical plays?
And how can a trainer and a director utilise improvisation to devise new work?
The Pulse Approach answers these questions and more, captured here for the first time in a workbook to the practice.
Pulse is an improvisational performance strategy that can be used by actors and directors to develop original text-based performance material and rehearse dramatic scripts. Director Tanya Gerstle has been developing the approach since 1989 and has used it to stage more than 25 theatre productions.
Through step-by-step instructions for the student and practitioner; troubleshooting advice; case studies of productions directed using the Pulse Approach; and interviews with practitioners involved, this book is the first practical guide to this innovative methodology, which has its roots in the Australian actor-training scene.
The Pulse Approach fuses improvisation and text-based theatre, too often disconnected, to offer up a methodology and rigorous practice for improvisation as a holistic process of development in classical and contemporary plays. It can be used to train any ensemble of actors in any context - inexperienced, professional, young, old and culturally and linguistically diverse.
A companion website will include a video documentary of practitioners using Pulse in their work with the author.

Tanya Gerstle is Honorary Senior Fellow at the University of Melbourne, Australia, where she was Head of Theatre and Acting for 15 years at its Victorian College of the Arts (VCA) and integrated Pulse training methodology into the curriculum. She is an award-winning performance maker, theatre director, actor and teaching artist, and is founder and Artistic Director of OpticNerve Performance Group. She has taught the Pulse Approach throughout Australia and internationally, including at Penn State University, USA; University of York, UK; Caen University, France and to theatre companies in New Caledonia. She has contributed a chapter to Encountering Ensemble (Methuen Drama, 2013).

Foreword by Mary Luckhurst, University of York, UK

1. Introduction to the Pulse Approach
2. Pulse Training Workbook: An Approach to Ensemble Practice
Introduction
The Pulse Canvas
Phase One: Developing Kinaesthetic awareness
Phase Two: Making Connections
Phase Three: Working Attitude
Phase Four: Learning a Shared Language
Phase Five: Expanding the Action Vocabulary
Phase Six: The Pulse Sketch
Phase Seven: Adding Sound to the Physical World
Phase Eight: Speaking on the Canvas

Performance Improvisation
Case Study: Visions of Paradise (or you should have been here yesterday)
3. Directing Workbook: Working with Pulse on a Script
Introduction
Part One: Inner Life revealed Through Action
Rehearsal Practice, Rehearsal Process, Rehearsal Concepts
Part Two: Case Studies (The Mill on the Floss, Pericles Punished, Five Kinds of Silence,
Stage Beauty and Manbeth: Macbeth Amplified)
4. In Conversation with Practitioners
Introduction
Pulse as a Framework
Training
Working with Pulse on a Script
A 'Living Practice'
Notes on Interviewees
5. Appendices
Ensemble Practice Tasks
Skill Focus Tasks
Integrating Design Elements and Audience
Alternative Applications
Towards an Original Performance Text - Case Study: Invisible Stains
Bibliography
Index