PART I: Redefinitions of Ensemble

1.1. MICHAEL BOYD (Royal Shakespeare Company): A 'Contingent Community' in a Free Market Economy

1.2. GABOR TOMPA (Hungarian Theatre of Cluj): Between the East and the West Today

1.3. HERMANN WÜNDRICH (The Berliner Ensemble):How the Berliner Ensemble Changes With Time

1.4. YURI BUTUSOV (guest director Satirikon Theatre): Directing as an Art of Composition

1.5. MAX STAFFORD-CLARK (Out of Joint): A Tried and Tested Ensemble Methodology

1.6. ELIZABETH LECOMPTE (The Wooster Group): 'A Group of People Around a Place'

1.7. LYN GARDNER (The Guardian Newspaper): On Regional Theatre-Making

PART 2: Working Processes

2.1. ANTON ADASSINSKY and ELENA YAROVAYA (Derevo): Beyond Words

2.2. EMMA RICE (Kneehigh Theatre): From a Community to the West End

2.3. JOANNA HOLDEN (freelance actor, Northern Stage, Kneehigh, Cirque du Soleil): On Being an Ensemble Actor in the UK

2.4. IAN MORGAN (Song of the Goat): An Actor's Journey Between Wales and Wroclaw

2.5. DAN ROTHENBERG (Pig Iron): 'Comic Figures Repurposed'

2.6. ADRIANO SHAPLIN (The Riot Group): Ensemble as a Musical 'Intersubjective Unit'

2.7. HANNA SLÄTTNE (Tinderbox Theatre): Working together in Northern Ireland

2.8. ALEXANDER KELLY (Third Angel) and CHRIS THORPE (Unlimited Theatre): On Writing and Performance in an Ensemble

PART III: Ensemble and the Audience

3.1. MIKE ALFREDS (ex-Shared Experience, Method and Madness): Sharing the Experience of Imagination

3.2. GREG ALLEN (The Neo-Futurists): An Interactive Ensemble

3.3. PHELIM MCDERMOTT (Improbable): 'Safe Emergencies'

3.4. PETER ECKERSALL (Not Yet It's Difficult): The Dramaturgy of Long-Term Cross-Cultural Collaboration

3.5. KATARINA PEJOVI and BORIS BAKAL (Shadow Casters): Ensemble as a Tool of Civic Engagement

3.6. DAVID BAUWENS, ALEXANDER DEVRIENDT, JOERI SMET (Ontroerend Goed): On Courting the Audience

3.7. RICHARD JORDAN (Richard Jordan Productions): Towards a Global Ensemble