Casey Wells

Today, we were given a task to create a script expanding on the voice of someone or something. As a starting point, we were given the surroundings and beginning lighting and setting states so we were all creating from the same point. What was asked from each of us was to expand on a voice that guided the piece, but we were also tole to think about lighting, positioning, structure, atmosphere and character. At the time, I wrote within my subconscious without deliberately creating something specific but it wasn’t very exciting and I wasn’t interested in what I had actually created. Therefore, I went away and made a few short scripts within the same setting but with different outcomes. I then chose any one of these scenarios to speak about in the next teaching session where I justified my choices and decisions.

This task was obviously set in order for each of us to introduce ourselves to the concept of creating, individually. Seeing as though I have had experience in directing and devising previously, this wasn’t too difficult. However, in the past I have worked in a group where I have facilitated ideas with others and so I have had other opinions and voices to work with. Therefore, this task was slightly different. Although it didn’t spur ideas for my future performance, it helped me to envision what kind of atmosphere I would like. I like the idea of creating a connection between the audience and myself. I don’t know right now how I imagine doing so but after a few mind-mapping sessions I hope to be a step closer to an idea. I also know that I want to make use of spotlights to help with the intimacy and experiment with coloured lighting. My final automatic writing script was fragmented and while it made sense, it wasn’t structured in sentences. I like this structure as it keeps the audience alert as they are un-expectant of what will follow. I will bare this in mind when creating my final performance piece.

We had been set another task which we had to complete in groups of 3. We were all asked to bring in something in written form, such as a newspaper article, a cooking book, lyrics or a novel etc, from which we each chose a sentence at random. Our task was to create a short piece, using only these three sentences from three separate mediums, and experiment with repetition, volume, pace, silence, atmosphere and intention. We were able to create tension and humour whilst speaking the words of something absurd. This task obviously presented to us the abilities we have of creating a performance piece. No matter what the concept is, if the intentions are thought through well and we experiment with artistic elements, then a performance can be created.

If ‘all solo performers are storytellers’ (Bonney, 2000, p. xiii) then so are performers in general, surely? Considering that there is no given way to narrate a story, all methods to narrate should be limitless. Everyone has a story to tell, a question to ask or theory to answer and if performers are storytellers then of course, so are artists! Artists include performers, who choose to speak out in whichever means they feel will express their ideas and thoughts… justifiably.

Contemporary artists have been transferred into the ‘performance artist’ category. The reason for this may be because the word “contemporary” initiates something specific, such as “modern” or “current” – something that no longer describes the art that it has developed into. Instead “performance art” allows the artist to choose from ‘just about everything’ (Bonney, 2000, p. xii) that they may wish to include within their performance.

In modern theatre, artists have learned to appreciate the importance of both process and performance. Nonetheless, Jo Bonney suggests that initially “performance art” was a ‘testing ground… [it] was a process, not [a] product’ (2000, p. xii). This shows that artists around this time period prioritised the development of the art as opposed to the product itself. I understand that the process is a significant element of performance; however, I don’t think it should necessarily be ranked above the end product. Bonney adds that ‘provocation, not entertainment’ (2000, p. xii) was more of the objective in such performances. Presently, this view is still valued and shared by many artists and audiences where the main goal can be to create a debate or opinion. Although, there are still artists and audiences who expect to feel entertained when they attend a performance.

 

 

Bonney, Jo (2000) Extreme Exposure: An Anthology of Solo Performance Texts from the Twentieth Century, New York: Theatre Communications Group.