Over the past few weeks, I have been developing a solo performance that originated from a given stimulus from my lecturer:

A chair is down stage right.  Lit from the side.  A voice is heard.  What does the voice say?

At first I think I took the task too literally and so I was considering voices that followed the tone of the piece that had been set up, that for me felt very cold, dark and eerie.  However, in wandering down this route, I was able to create the opening to this sequence.  I started off with fragmented questions, only using the beginnings of such questions, for example ‘Can you, Will you’.  I imagined these to be recorded and played off stage as it is just the voice that is initially heard.

Presence.  Absence.

This sequence would gradually build in tension and pace so that when it reached the completion of a question, the final word that is heard is ‘truth’.  My aim in creating this piece was to keep the meaning very ambiguous so that when the figure of the voice appeared, she would be the “outer manifestation” (Carroll, 1979, 56) of her inner thoughts and feelings (as spoken about in an earlier blog), something that the audience would not at first recognise until this entrance.

“That the represented body has a language and that this language of the body, like other semantic systems, is unstable” (Warr, 2000, 13)

 Upon her entrance, the figure would remain in the dark until the appropriate time within the monologue to sit down.  Throughout this tiny speech, almost set around the style and structure of an interview, shifts within the tone of the monologue would be the performer’s cue to slightly alter her position, whether it is a click of the finger or a crossing of the leg.

This monologue would then ‘cut’ – in that a recorded voice would shout this much like a director would do on a film set, bringing into play the theme of acting/performance/theatre/being interviewed, tying them all together -into an atmosphere that placed her as the centre of attention, of what she has just been commenting on.  This would differ from that atmosphere previously established as she would directly address the audience at this point, as if she is now the host, the interviewer.

The performance reaches its climax when a camera flash starts and she is forced into the spotlight once again.  This time what she says are answers to those questions proposed earlier in the performance.

The “‘here and now’ is imbricated with phenomena of memory and anticipation” (Giannachi et al, 2012, 7)

This time, she is in fear; she feels exposed and has lost the calm composure gained at the beginning of the performance.

“The ‘private’ is the ‘public’ and the artists body is always and never ours to keep” (Warr, 2000, 43)

It might be nice to use some of this material I have experimented with in this exercise in my final 10 min solo performance piece.

References:

Carroll, N. (1979) Amy Taubin: The Solo Self. The Drama Review, 23 (1) 51-58.

Giannachi, G., Kaye, N. and Shanks, M. (2012) Archaeologies of Presence. London and New York: Routledge.

Warr, T. (2000) The Artist’s Body. London: Phaidon Press.

Over the past few weeks, as we’ve been researching different solo artists within the field, many ideas have started to occur in terms of the potential and the possibilities with what I can do with my own solo performance.

I’m taken by the idea of being theatrical, to make the audience aware of the fact that my performance is a performance that was an idea enhanced through researching solo performer David Cale:

*As a solo performer he is known as a storytelling monologist and refers to his work as being ‘theatrical’ (Churnin, 1990) so much so that it’s almost like you’re in a novel.

*Through his poetic storytelling technique, powerful imagery is evoked. He achieves this by the idealism/hope/optimism/romanticism he creates in his work which is almost fairytale like.  For instance The History of Kisses, 2011, is a fictional monologue ‘about a writer who’s trying to finish a collection of stories that all take place by the sea and they’re all romantic’ (Kansas City Repertory Theatre Company, 2011).

*His way of working is to write stories, characters, monologues and words that fit with music and then put them all together.  With his show Palomino, 2009, he says the music is scored ‘like a film’, but dressed very simply as it’s all about the performance’ (Center Theatre Group, 2010).

The theatre is generally regarded as a place and space of escapism from the ordinariness of everyday life.  Focusing on this will enable me to play with these notions of illusion and reality, between what is happening and what could happen for instance.

“To blur everyday life with the fictional realm of performance” (Govan et al, 2007, 21)

In blurring this distinction, it would also allow me to experiment with the performing of the subconscious in opposition to what is conscious.  This would provide the connection between the real and the imagined in terms of the pictures and images created from the language spoken.  In revealing the unruly, the subconscious, “the imaginary distance between performer and the work performed” (Howell, 1979, 154) would be enhanced and I would aim to exploit this connection further through experimentation with lights, sound, tone and atmosphere.

“Where her words rather than her body dominate the production…the use of the text as a stream of consciousness is meant to stand for consciousness” (Carroll, 1979, 54-55)

Grappling with all of these ideas will also allow me to create a piece, not wholly autobiographically, but one that contains within it elements of my personal imagination.

To be true to myself.

The “presentation of self and role…encounter with one’s own sense of self” (Giannachi et al, 2012, 2)

In terms of creating a performance that combines all of the elements I have been deliberating over, I’m keen to base the concept of my performance around the idea of the acting industry.  Being in my 3rd year, I am at a time in my life where I am considering many career options and in studying Drama, acting is potentially a possibility.

TeCHniQUeS  

Headphones – to divide, not only the audience in terms of them hearing what is being seen as separated pieces of the performance – joining the two together to create personal meaning, – but to play with the idea and distort the notion between what is fact and what is fiction.  I would also encourage this ambiguity by having a narrative that only alluded to the concept of the story.

“To contrast an invisible living, “inner” voice with its visible, “outer” manifestation” (Carroll, 1979, 56)

I could enhance the use of the headphones by having the audience switch between the two different worlds, zoning in and out of each as they wish.  In this transaction what they would establish and gain from both worlds, in terms of the meaning created, would be that of a journey with each audience member feeling and imagining, through the narrative, something different, something personal to them as to what that journey stands for in their own lives.

“Jacques Derrida described as ‘a discourse on the frame’ that places meaning on works of art and invites spectators to question the limits of art and non-art” (Govan et al, 2007, 21).

References:

Carroll, N. (1979) Amy Taubin: The Solo Self. The Drama Review, 23 (1) 51-58.

Center Theatre Group (2010) An Interview with David Cale. [online video] Available from: http://www.youtube.com/watch?v=B0x-P4MtfEg [Accessed 2 February 2014].

Churnin, N. (1990) Stage Review: One Man’s “Little Stories” Deliver Large Dose of Truth: David Cale Takes your Breath Away on an Unforgettable Tour Through the World of Lost Souls. [online] Los Angeles: Los Angels Times.  Available from: http://articles.latimes.com/1990-01-06/entertainment/ca-391_1_david-cale [Accessed 1 February 2014].

Giannachi, G., Kaye, N. and Shanks, M. (2012) Archaeologies of Presence. London and New York: Routledge.

Govan, E. Nicholson, H. and K. Normington (2007) Making a Performance: Devising Histories and Contemporary Practices. Oxon: Routledge.

Howell, J. (1979) Solo in Soho: The Performer Alone. Performing Arts Journal, 14 (1/2) 152-158.

Kansas City Repertory Theatre Company (2011) David Cale on ‘The History of Kisses’. [online video] Available from: http://www.youtube.com/watch?v=Rp5lPXb_Log [Accessed 25 January 2014].

Art

1)      the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power

2)      the various branches of creative activity, such as painting, music, literature, and dance

3)      a skill at doing a specified thing, typically one acquired through practice

Theatrical

1)      relating to acting, actors, or the theatre

2)      exaggerated and excessively dramatic

Presence

1)      the state or fact of existing, occurring, or being present

2)      a person or thing that exists or is present in a place but is not seen (which coincidentally also highlights the idea of absence)

3)      the impressive manner or appearance of a person

Tristan Tzara: ‘All I wanted to convey was simply that my presence on stage, the sight of my face and my movements ought to satisfy people’s curiosity’ (Govan et al, 2007, 21).  This is especially important in solo performance as the audience’s gaze is instantly directed to the one person on the stage, that of the performer.

What is Theatrical? (In my opinion)

Masks, lights, red curtains, make-up, jewellery, smoke, sound, costume, magic, spectacle, grandeur –

In doing so, does this challenge our perceptions of what theatre is or should be?

Traditionalism versus the contemporary– the mechanics of the theatre hidden

To create a wonderland, a place in which to escape

Feeling is brought to our consciousness

‘Stories and picture books all filled with wonder

Magic worlds of the impossible become the everyday’ (O’Hara, 1997).

References:

Govan, E. Nicholson, H. and K. Normington (2007) Making a Performance: Devising Histories and Contemporary Practices. Oxon: Routledge.

O’Hara, P. (1997) Stories. Beauty and the Beast Soundtrack.  [CD track] Walt Disney, USA: Walt Disney Records.

Over summer 2013 I performed at the Edinburgh Fringe Festival.  During my time in Edinburgh, I was able to see a variety of performances happening across the city.  Amongst these were many solo shows, a few I was greatly inspired by in terms of creating my own performance.

The first was Bright Lights performed by Léonie Kate Higgins.  ‘The setting is Léonie’s last day at the office before she escapes to pursue fame as a singer, and sees her indulging in anxious day dreaming in which her future in music is disastrous’ (Black, 2013).  What I enjoyed the most was the shifting atmosphere in terms of the dreariness of the office, which was created and supported throughout by ‘looped vocals… utilising the office stationary to create sound illustrations’ (Humphreys, 2013), all that would typically be in an office with additional sound effects such as the ringing of the phone, the filing of papers and photocopying for example.  Throughout the piece, the normality of the set would then transform itself into “bright lights”, the image of fame, leading a famous life, using brighter colours and the lamp on the desk being turned into a microphone.  She was able to portray two different worlds, two different ideals, tinged with authenticity and autobiographical inflections.  What was most effective about this technique was that she was not only able to take the audience on an emotional roller coaster of a journey, from happiness to sadness to laughter which motivated and engaged the audience, but that she was able to change the atmosphere without the audience predicting when and what would happen.

Secondly, she involved the audience in a way that immersed them into the narrative of the tale without physically needing their presence on the stage.  She achieved this by having the audience take on the persona of ‘the new member of staff’ (ibid) that was being trained to take over her job. With her ‘eternally optimistic persona’ (ibid) it made the audience ‘root for her as she naively negotiates every obstacle that’s thrown her way’ (ibid).

Echolalia was a show that centred on ‘Echo, a woman with Asperger’s syndrome preparing for a big job interview’ (Ribchester, 2013). The piece ‘fuse[d] clowning and physical theatre’ that the performer Jen McArthur said ‘portrays people who meet failure time and time again but don’t get fazed by it…there is a strength in the openness; the audience recognises our common humanity and accepts the fact that no one is perfect’ (ibid).  Despite the similarity in theme between this show and Bright Lights there were differences within technique.

Echolalia – *meaningless repetition of another person’s spoken words*

The three concepts I enjoyed the most, were that firstly, McArthur used very large gestures when communicating, gestures that were extremely welcoming and comforting when words were not being spoken.  Secondly, there was a wooden frame that held a large piece of paper over it with the picture of a door, that at the end of the show, McArthur burst threw as a metaphor for her entering into the big wide world.

Optimism. Hope.

Lastly, unlike Bright Lights where the audience were involved from a distance, Echo immersed herself into the audience, addressing us with questions, unafraid to do so and asking very personal questions.  I happened to be an audience member that was asked a fair few such as, ‘What’s your name? How old are you? Are you married?’ (McArthur, 2013b) At the time it felt quite intimidating to be asked so many questions in quick succession of each other, particularly in front of other members of the audience whom I did not know, but simultaneously, it felt very liberating.  It relates back to the idea of the atmosphere and the performance being very open, a space in which anything can be shared or achieved.

The State vs. John Hayes –

In comparison to the other two solo performances seen, this was the one that exploited the form of the monologue the most, with Lucy Roslyn sat on a camp bed, in the corner of the studio sat facing the audience for an hour, simply talking.  Set in Huntsville, Texas, the monologue explored the many dimensions to Roslyn’s character who was ‘about to walk the mile for double murder’ (Currums, 2013).  What is most interesting is that ‘the audience [were] drawn into her claustrophobic, paranoid, painful world’ but instead of feeling disdain and disgust at the crimes that she had committed, her use of language, a subtle and natural Texas accent and stories about her past life, flipped this notion into one of care and sympathy.  Tone and use of atmosphere are two key techniques that inspired me from this performance.

Minimalism. Theatricality.

References:

Black, M. (2013) Ed2013 Theatre Review: Bright Lights Léonie Kate Higgins. [press release] 2 August.  Available from http://www.threeweeks.co.uk/article/ed2013-theatre-review-bright-lights-leonie-kate-higgins/ [Accessed 2 February 2014].

Currums, A. (2013) Innocent! [press release] 14 August.  Available from http://www.broadwaybaby.com/listing.php?id=20710 [Accessed 2 February 2014].

Higgins, L. K. (2013) Bright Lights. [performance] Léonie Kate Higgins (dir.) Edinburgh: C Nova, 25 August. Available from www.leoniekate.com [Accessed 2 February 2014].

Humphreys, L. (2013) Broadway Baby Review: Chasing the Dream. [press release] 26 August.  Available from http://www.broadwaybaby.com/listing.php?id=22818 [Accessed 2 February 2014].

McArthur, J. (2013a) Echolalia. [performance] Jen McArthur (dir.) Edinburgh: C Aquila, 20 August.  Available from http://www.seleconlight.com/index.php?option=com_content&view=article&id=3341%3Aphilips-selecon-helps-c-venues-led-the-way-in-creative-sustainability-at-edinburgh-festival&catid=2%3Anews&lang=en [Accessed 7 February 2014].

McArthur, J. (2013b) Echolalia. [performance] Jen McArthur (dir.) Edinburgh: C Aquila, 20 August.

Ribchester, L. (2013) Echolalia show explores Asperger’s via clowning at 2013 Edinburgh Fringe Festival. [press release] 30 July.  Available from http://edinburghfestival.list.co.uk/article/53006-echolalia-show-explores-aspergers-via-clowning-at-2013-edinburgh-festival-fringe/ [Accessed 2 February 2014].

Roslyn, L. (2013) The State vs. John Hayes. [performance] Lucy Roslyn (dir.) Edinburgh: C Nova, 23 August. Available from http://onestoparts.com/review-the-state-vs-john-hayes-hen-and-chickens [Accessed 7 February 2014].

A performance made up of three parts; The Beginning, The Middle and The End.  Woven into all three were the ideas of love [how it begins, how it ends], youth and ageing.  This last theme focused on was particularly poignant for Pinchbeck who, throughout the piece, was announcing his retirement to the theatre.  In doing so, he was finding acceptance to let go of what was by looking forward to what could be.  In this instance he was passing the task on to Ollie his colleague who is representative of the younger generation of actors fresh from ‘drama school’ (Pinchbeck, 2014). It drew a double dichotomy between old and young, father and son.

Although this show was not a solo performance, there were techniques and aspects within that could be incorporated into a solo show.  The first was the idea of using projection.  In the show, there was a camera on the table at which Pinchbeck was sat placing cards under with words that were telling the feelings/thoughts of the people on the stage without the need for direct speech.  As the show incorporated Shakespearean characters, that interpolated with this idea of love and the first time you were on stage to the last time you were on a stage, the cards provided guidance as to when you were witnessing Act One, Scene Two for example as the characters were indicated solely by props.  Bottom the Donkey was most often conveyed through hand gestures and the ensemble were presented through construction helmets that were placed carefully in regards to the telling and the narrative of the story.  The cards set the scene and because there was no speech, it allowed the audience to get from the story what they wanted and so subtly reversed the focus onto the spectators.   The music in the background also gave a lyricist quality to the structure of the piece that encouraged the audience to feel certain emotions, much like a movie.  Built within this was the idea of altering pace and rhythm with which the cards were placed under the camera, which was sometimes in contradiction to certain feelings felt, the divide between the two emotions portrayed creating a genteel humour.

The power of words.

In the post show discussion, Pinchbeck then talked about how there were no worries about learning the lines as the piece was more to do with tone of voice in communicating what was being said.  The lines were generally read off cards that formed the script that were then littered around the floor to create the ‘aesthetic’ (Pinchbeck, 2014), a word that was repeated throughout to enhance this notion that they were explicitly making the performance un-theatrical.

The second technique that induced this light hearted comedy was when Pinchbeck started to play the recorder but the noise was actually recorded and so when Pinchbeck stopped playing and started to talk, the music continued.  This instinctively prompted the audience to burst into laughter as we fully believed he was playing the musical instrument.  It touched on this idea of the pretend, playing with those notions of what is true and what is not, which I feel is especially relevant to solo performance in that the audience has to gauge how much of the performance is autobiographical and how much is fictional. This was encouraged further as the show, Pinchbeck described, lay between ‘hope and disillusionment’ (Pinchbeck, 2014), the space and time that people inhabit.

Solo –  1) a person who performs, acts, or works alone

2) unaccompanied

3) a person who performs or accomplishes something without the usual equipment

The third technique heard the voice of Pinchbeck’s son speaking out certain phrases to do with the gaining of love, the beauty of love, and the reading out of certain words that had been spoken ten minutes before.  In doing so, it incorporated this idea of repetition that renewed the piece with a freshness and innocence that emphasised the idea of youth and the journey undertaken from childhood to adulthood.  The atmosphere and mood that was created was one of beauty, romance and sweetness.  It was both charming and endearing.

For me, the most interesting concept in terms of what the performance was based on the way words and language were used.  The show looked directly at how writing performs, weaving words and text to find meaning, almost based on streams of consciousness, through which ideas were set up and returned to throughout which was not unlike the structure inherent in Spalding Gray’s monologue, Swimming to Cambodia.  The digression in the piece however, is what allowed the material to flourish and really benefit from in that all these layers that were continually introduced and woven together formed strong concepts and themes that were focussed on interchangeably, both in depth and from afar, that created various view points and stuck all of these elements together.

Art occurs in the gap where things cannot be said.  To perform the unexplainable.

Pentimento – to see through a layer to what was there before

Reference:

Pinchbeck, M. (2014) The Trilogy. [performance] Michael Pinchbeck (dir.) Lincoln: Lincoln Performing Arts Centre, 30 January.