Self indulgence within solo performance, especially autobiographical work surely becomes inevitable. By presenting a piece of yourself for other to see, whether it is intimate or not, must surely indulge the self. From watching previous solo performances which have been bordering on arrogance rather than self indulgence, there appears to be a fairly fine line between the two. When performed with innocence and light-hearted intent, to see the self on stage, or at least in performance, can be invigorating for both audience and performer.
When performing as a solo performer there comes both “great power and great vulnerability” (Bonney 2000, p. xi), and this can be extended to the intended audience as well as the performer. Showing a slice of your soul on stage in any form can make the performer vulnerable, however, the structure of the piece can add security to the performance. Without structure, the performance and performer can go awry. In the past, Jo Bonney has stated that “”performance art” was about process, not product” (2000, p. xii), and this can still be applied to certain performance artists within the current Solo Performance context and yet not to others; creating a solo piece is a personal endeavour and so the process with vary from person to person and their personal preferences, but the image of their final product will also shape how they will go about their process. A performance might only be able to happen once, so the process would, perhaps, be less or even more intense, compared to a solo performance which is set to tour or occur for an extended run.
An example of a self indulgent performer, and one which can be classed are arrogant, is Steven Berkoff’s most recent run of Shakespeare’s Villains: A Master Class On Evil (2012). There is no denying that Berkoff has a fascinating and intelligent mind. However when it came to performance, as an audience member I felt neglected and alienated, almost as though I was being mocked.
Now, in this earlier performance, Berkoff appears more sincere while addressing the audience, more respectful (as a person and performer). He is, essentially, performing. He is dressed in such a manner that evokes character, distancing himself as a person, from himself as the performer. However, when I had the…privilege…of watching this production back in 2012, it appeared as a farce. There was no apparent decision towards costume or intent – he was not dressed for the occasion. Instead of a suit which we can see in the video, he wore tracksuit bottoms and a top. It appeared as though Berkoff himself was bored, taking for granted that the audience would love to see him just because he was him. He made no attempt to engage the audience in a substantial or sustained relationship, often breaking character and the show as a whole to boast about his life, his wealth and his neighbours – notably, Sir Ian McKellen.
Compared to this arrogant show of the self, Tom Miller is a solo performer who performs aspects of his life on stage, laying usually quite personal aspects bare for all to see, with an added sense of witty humour edged the dark and often haunting images of the truth. Tom Miller “has focused his creative and political work on marriage equality and addressing the injustices facing lesbian and gay couples in America” (Miller N/A, Online). On the surface, this could easily be seen as self indulgent, however, the techniques he deploys forms an electric relationship with his audience; engaging them (in this particular piece) as a stand up comic, with a relaxed atmosphere, inviting people into his world through humour;
This relationship he creates with the audience works, because “”I want the pieces to conjure for the audience a site for the placing of memories, hopes, and dreams of gay people’s extraordinary potential for love”” (Miller N/A, Online). He is performing for a purpose, with the audience in mind. The structure of piece and his lack of arrogance engages the audience. We feel involved, almost pleaded to at points. He makes his performances personal and touching…and relate-able. Rather than performing for the sake of it, or with elevation arrogance or self importance.
So, yes, you can be a self indulgent performer while still engaging the audience without coming across as aloof or rude. The material almost becomes irrelevant; whether it is educational, comedic, personal, tragic or performance art, the structure and techniques used during each performance are vital when performing. To turn something essentially educational into a mere show of the self without consideration for an audience is quite a feat, and one I had previously thought impossible. Whereas presenting personal work and baring your soul in such a way where you aren’t arrogant or preachy is a feat well accomplished and deserved, and one which is, at the foundations, more difficult.
You can find Tim’s blog, which offers up a more personal and wider range of work, here: http://timmillerperfomer.blogspot.co.uk.
Works Cited
Bonney, Jo (2000) ‘Preface’ in Extreme Exposure: an anthology of solo performance texts from the twentieth century, ed. Jo Bonney, New York: New York Theatre Communications Group 2000.
Miller, Tom (N/A) About: Biography, Online: http://www.timmillerperformer.com/about.html (accessed 27 Janurary 2014).