Writing a script without too much thought forced upon the text, with only a handful of given stage directions to guide the process, is a terrifying prospect. Jo Bonney has stated that “all solo performers are storytellers”  (Bonney 2000, p. xiii), and this is something which rings true throughout a lot of solo pieces (although as always there will be exceptions to the ‘rule’).

Being told to ‘write’ on the spot, with no preparation or pre-thought to the text/through-line of the piece was a difficult task. When on stage, “the artist is recognised to be something other than simply ‘behaving’, his or her movements are addressed as signs” (Counsell 1996, p. 11), therefore everything created for and around said artist is crucial to convey meaning, understanding and to move on the story-line/further the line of the performance.

When writing the script seen here, I had no agenda or solid thought process. To say I was automatic writing would be a lie, however I did write down the first ‘thing’ that popped into my head and this was the opening line of the ominous Voice which is heard off-stage. Although this first seemed completely out of place and with no hope of direction, the opening spoken text of a well known lyric was to set up an interesting contrasting image with the lighting and figures which were to follow. However, once the figure appeared on stage, I had no way of furthering this piece. I think that was partly because I had no personal connection to the performance as it was just a thought, rather than a idea with a structure.

When asked to develop a piece further, I scrapped this attached idea completely and decided to take it in a direction which I could possibly use in my final performance. This time focussing on atmospheres and emotions I wanted to create within the space and how this atmosphere can be controlled and manipulated by clashes, changes and additions of light, music and/or speech.

When performing, the gaze of the audience is usually on the audience. However the solo performer Amy Taubin’s work acts as “subverting the performer’s role of being seen” (Carroll 1979, p. 53), often turning the audience to the audienced/watched. Although this is not always the case, as she sometimes forces the audience in to a position where they have to choose between an auditory or physical performance. When performing “if the self is a position, then it is elusive. That is, it shifts when looked at from different angles” (Carroll 1979, p. 58), and it is this belief that Taubin takes advantage of during her performances. Now in the early 21st Century, solo performance has turned over almost every stone available which a performance lies under, and nudity is no exception. Colin Consell states that “women artists have in recent decades consciously manipulated and redrawn images of the exposed female form” (1996, p. 222) and Taubin is no exception to this manipulation. Although not exposed in a crude or overtly threatening manner, she engages a “frustrating potential voyeurism” (Carroll 1979, p. 52) while consciously contrasting  this tense atmosphere by casually walking on stage and stripping naked openly in front of all the audience members.

As a female solo performer however, my prime objective is not to expose, re-evaluate or challenge notions of the female form. Since being introduced to further techniques of lighting, sound, contradictions, clashes and events, the power to create a moment, tell a story or manipulate a scene has heightened my awareness of all aspects of solo performance; how a single light can change the dynamic and feeling of an event and how contradictions of images can create something beautiful.

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.
Carroll, Noel (1979) ‘Amy Taubin: The Solo Self” in The Drama Review, XXIII (1), March: 21-58.
Counsell, Colin (1996[2005]) Signs of Performance: an introduction to twentieth-century theatre, New York: Routledge.

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).