The Seemingly Sacred Performance Space
Within my last blog my conclusion was that I wanted to couple Realism with In-Yer-Face theatre. The dilemma is to now figure out how I can do this while retaining the overall meaning of the performance. While watching the collection of presentations put on by my fellow class mates, I drew ideas from the soloists that we discussed especially with deep consideration towards the means of creating a realistic performance style. The two soloists that caught my eye are Chris Goode and Rachel Rosenthal. Through using influences from these two soloists I want to ultimately explore ways in which I can change the dynamics of a traditional performance; creating a sense of realism that isn’t confined behind the imaginary 4th wall.
A Thought towards Chris Goode
During Lauren Watson’s presentation on Chris Goode’s Wound Man and Shirley, she pointed out that Goode used a doubled-ended frame narrative within his performance to tell a story. A doubled ended frame narrative is where the performer, Chris Goode introduces the story directly to the audience stating “Hello. Thanks for being here”, which breaks the 4th wall and ends it in much the same manner saying “that’s where we all are, me and all of you” (Goode, 2012, 1). Chris Goode is not a narrator but rather a character from within the story that is depicting the event through his perspective.
(The Camera Hire Company, 2012)
What is significant about this style is that it creates a sense of realism as it doesn’t hide the story behind any dramatics like a 4th wall, sound or music. I did feel that his stage layout which resembled some sort of study area with cluttered table tops, a lamp and a 1 seat couch took away from his performance (The Camera Hire Company, 2012). This is because the double-ended narrative created an environment that is open and direct with the audience while the set only created clutter that distracts and takes attention away from the story.
How I Wish To Incorporate a Double Ended Narrative
Part of me wants to question if there is ever even a 4th wall when you are doing a solo performance, as you are always one with the audience. Unlike performances with multiple actors, when you talk you are only heard by the audience and no other actor. Like it or not, however a solo performance is framed the soloist always talks with the audience. What is apparent is how easy it is to forget this; that whatever meaning that is created on stage is not created to influence fictitious characters but rather the audience, always.
No matter the case my objective it not to simply break the wall but rather to, as Jean Schiffman puts it, “manipulate the audience to feel those moments” (Schiffman, 2006, 10). However the word ‘manipulate’ is not used in a possessive manner but rather to describe elements of a performance that purposely shifts the audiences’ perspectives. I feel that the manner in which I engage my audience will lead to a greater perspective shift. To break the 4th wall by talking directly to my audience is not enough as Steve Nelson says that “the actors say their lines and go through their routines without being unduly affected by what the audience does or does not do” (Nelson, 1989, 93). Since direct speech can equally be as rigid as the imaginary 4th wall I plan to be intimate with my audience in the sense that it is only me and them without staging, lighting, sound or any dramatics apart from myself as an a performer. This is also why I am intrigued by Rachel Rosenthal as her style not only made me think about how I can be more realistic on stage but also how I can be more intimate with my audience.
A Thought towards Rachel Rosenthal
Rachel Rosenthal is described as “a bold woman with long, black gloves, wearing a fluttery fray-green tunic, raps, chants, sings, and screams to the sound of an amplified violin” during a 1987 performance at Central Park, New York (Lampe, 1988, 170). Her body is like a painters canvass where her performance becomes the paint, this is represented by her bold head and costume.
(Rachel Rosenthal Company, 2009)
When watching Rosenthal from an excerpt called Brain it becomes clear that Rosenthal’s look and performance allows her to create a different plain of reality where she can indirectly address the audience with a message about the world. This works well because the message isn’t direct or aggressive as this would make the audience feel bullied into their acceptance and understanding of the message. Rosenthal’s interdisciplinary improvised performances follow a “sacred” pattern where the actor should not be distracted by “chewing gum, giggling, or adjusting hair or T-shirts” (Rosenthal, 2010). Unlike Chris Goode who constantly talks facing his audience and wearing casual clothes like his audience members, Rosenthal is bald and during her performance she in constantly looking around as if she is trying to avoid looking directly at the audience for too long.
During my performance I do not want to create barriers between me and my audience, but if I were to follow Rosenthal’s sacred rules I would be demonstrating to my audience that I am an actor and that they are my audience. However to fidget and make mistakes is not the tradition of a performance, therefore I slowly break the illusion that I am an actor. The space only becomes a sacred performance space with I acknowledge that I have to present myself in a specific way but if I acknowledge that I am human with idiosyncrasies I better create a community with the audience by represent myself and the audience as equals.
Citations:
Goode, C. (2012) The Adventures of Wound Man and Shirley. London: Oberon Books.
Nelson, S. (1989) Redecorating the Fourth Wall. TDR: The Drama Review, 33(3), 72-94.
Lampe, E. (1988). Rachel Rosenthal Creating Her Selves. TDR: The Drama Review, 32(1), 170-190.
Rachel Rosenthal Company (2009) Rachel’s Brain excerpt. [online video] Available from https://www.youtube.com/watch?v=Y51bJLBHEDQ [Accessed 25/05/2014].
Rosenthal, R. (2010) Sacred Time, Sacred Space. [online] Backstage. Available from http://www.backstage.com/advice-for-actors/editorial/sacred-time-sacred-space/ [accessed 25/05/2014].
The Camera Hire Company (2012) Chris Goode & Company – The Adventures of Wound Man and Shirley [HD TRAILER]. [online video] Available from http://vimeo.com/37559590 [Accessed 4 March 2014].
Schiffman, J. (2006). Beyond the Fourth Wall. Back Stage West, 13(5), 10.
