Category: Solo Performers (Research)

A brief insight into some of the solo performers discussed in class as well as performance I have found online.

Rhythm O (1974) by Marina Abromović

Jessica Sanders / / Solo Performers (Research)

Rhythm O (1974) by Marina Abromović is an extreme example of the use of the spectator-performer, as without it, there would be no performance. During this piece Abromović placed seventy-two objects including: a gun, feathers, scissors, pens and an axe, in a room for six hours with the audience, leaving herself at “…their mercy…to be used on her as they wished2 (Freshwater, 2009, 62). This type of performance places many hazards for the performer as they are no longer in control of the performance and the spectator is able to develop their own ownership of the piece. Helen Freshwater explains in her book, Theatre and Audience, how this can affect the performance: “…breaking conventional performer/audience boundaries can produce exciting, unexpected outcomes, but it can also expose the performer to uncontrollable risks.” (2009, 13)

I extremely like the concept that the performer can have one effect on a specific member of the audience (the performer-spectator), as well as the surrounding audience in the museum.

Works Cited

The Artist is Present by Marina Abramović

Jessica Sanders / / Solo Performers (Research)

The Artist Is Present, 2010. Performance with three-channel video installation; 3 Months. The Museum of Modern Art, New York
The Artist Is Present, 2010. Performance with three-channel video installation; 3 Months. The Museum of Modern Art, New YorK

This piece was performed at The Museum of Modern Art in front of a vast, ever changing audience where spectators where given the chance to enter the performance space and sit opposite Abramović. The performance involved Abramović sitting in a chair for the duration of her exhibition of work being open: she would sit from opening (9.30) until closing (17.00) on the 9th of March 2010 until the 31st of May 2010, where the spectators would be given permission to sit with her. Once entering the square space, the spectator becomes involved in a different performance to what the other onlookers see and feel. Abramović performs for every individual that comes to sit down, she bows her head, closers her eyes and prepares for the next performer-spectator. In the film The Artist is Present each performance is individual for the one audience member, Abramović is said to“ Reconnect, it is only for you. Everyone would like a clean, unique contact with Marina” ( Akers, 2012)

I extremely like the concept that the performer can have one effect on a specific member of the audience (the performer-spectator), as well as the surrounding audience in the museum.

 

Works Cited

Tour That Didn’t Tour – Tour (2011) by Peter Kay

Jessica Sanders / / Solo Performers (Research)

https://www.youtube.com/watch?v=zT2PLl3AFVo

 

Peter Kay, a stand-up comedian would, at the start of each evening’s performance, film the audience on the large screens and make comments and create stories. He states that by doing this at the start of his performance he manages to make a positive relationship with the audience as well as it “…makes them relaxed and then I do too, it works both ways2 (2012). He also talks about the crowd intervening in the show and how it can have a positive effect on the performance: “…they shout something out, and you just go in a different direction and sometimes that’s the magic, that the spontaneity that makes the show2 (2012). it is important during this solo performance that the performer “enjoys the relationship with the onlookers and responds to change in their emotions2 (Oida and Marshall, 2002, 83).; not only does it give the opportunity for a greater performance but it also engages with your audience in a new an inventive way each time it is performed.

I hope to engage with my audience and feed off their reactions during my performance.

Works cited

Seal of Confession by Martina Von Holn

Jessica Sanders / / Solo Performers (Research)

 

During this piece the spectator is led into a confessional booth where they are greeted by a woman who can barely be seen. The woman shares an intimate confession with the spectator and then the roles are reversed and the spectator is given the opportunity to share something with the performer. During the performance the actor tries to gain the spectators trust, she says “I’m here, you’re safe.” And “everything that is said will stay here, between me and you” (Eshed, 2009). This helps to relax the spectator and involve them in the piece.

Von Holn explained how her performance also displays the performer’s personal exposure, “What is essentially occurring is a making oneself vulnerable, the unpredictability of the audience response is an expression of that ‘disarming’ process” (Zerihan 2009, 79). As this performance’s success is based equally on the performer and the performer-spectator there can be a variety of outcomes for the spectator’s experience.

I will be researching, in much more detail, the use of One-on- one performances for my Solo Performance essay. I am really interested in the intimacy and involvement the audience receive during this type of performance and may consider it for my own solo performance piece.

Works Cited