Performance Workshop- Performance Evaluation
On the 14th February we had our experimental theatre performance. From looking back at the show I believe the performance was a success due to the commitment, energy and ideas we put into the piece.
I think the show achieved most of the goals that we were aiming to fulfill by breaking the wall of shame and embarrassment and allowing ourselves to become honest and free. This happened by having the audience walk in at the point when we started our emotional learning. Personally, I felt that in that moment the majority of us felt very vulnerable to show people outside of school a short period of time all of us physically working and expressing ourselves in a way that they were not expecting. Especially when I decided to take the lead and start discovering myself. I felt this passion and connection that drove me to strip down my insecurities and show people who I was. And once I found that signature movement, there was a strong atmosphere and connection I made with the rest of the group once they all synchronised with my movements. It was a beautiful moment that the audience got to experience. There was no shame, but a sense of renewal and opportunity. Something I like to call the “rebirth” of the piece.
But if I could change one thing about this section would be that instead of us doing the drug dance and collecting an audience member then, we use the synchronisation to travel across the room towards the audience and make a moment of pause looking at an audience member then slowly reaching out an arm to ask for them to join me. And once they stand next to one of us, we teach them the moves. Then they can synchronise and travel back with us to continue the emotional flocking with everyone else. That would be a strong moment where the audience connects with us; they feel safe but also have the reason to start becoming free and honest with us.
In continuation, I would like to highlight another moment of the piece where shame and judgement was shut down, which would have to be at the point of the choral riffing. In rehearsals this was the point that we found difficult because we constantly lost the connection that made all of us feel honest and free. However, in the performance freedom, honesty and possibility was found and continued for a longtime because there was always something new happening and everyone was giving and receiving offers all the time. This moment really built up to something quite strong, that when the fire alarm broke out, even though we knew it was scheduled, we found it a bit annoying because we were so into it that we didn’t want to stop. Unlike the emotion learning section this moment had the audience mixed in with us and they were scattered everywhere, but in that moment I felt like they were never there. It felt like me and a group of peers just existing and exploring in a space and enjoying it.
If I had the choice of developing this section and doing it again I would expand the time of this section and continue doing it until the audience felt comfortable with it that they wanted to join in and express who they were. I would encourage more of the performers to interact with the audience in a way that felt safe and purifying because this show was meant to show how drugs affect the mind and finding acceptance within yourself and within others, so if there could have been a chance where the performers spread their love and energy to the audience then that would be it.
A person that inspired me that night was Emily. When she took her place in front of us so she can discover, I found it the most memorable and truthful out of everything. This was because in rehearsals she wouldn’t really do a lot, mainly because she is disabled, nevertheless she did try her best. But that was a moment that was pure and honest. She did whatever she could to find herself despite the fact she has a disability. I found this inspirational and that was something that taught me a lesson about experimental theatre, about life and about myself. In terms of experimental theatre it taught me that there are different ways to explore and understand things that might not seem natural to the theatrical world. A simple form of physical could mean a lot to you, depending on where it was inspired from or who it was inspired by, it can also depend on the way you interpret it by reviewing it.
If there was one moment that I could change that would be the automatic writing bit. But would change all of it as it was a very intimate moment between the performer and the audience. However, during the performance this particular part went on for quite a long time which made it slightly uncomfortable because most of us were done with remembering and wishing, but never knew when to start the choral riffing so continued talking even though we didn’t have much to say. So if I could improve that section I would have told the performers to limit themselves to 2 memories each and wish for one thing then ask the audience member what they wish for. This be beneficial so everyone could mutually stop their conversations and continue with the show, instead of having an awkward pause.
On the whole I do believe the show was very successful and I would have loved to do it again. This genre of theatre (experimental) was definitely my favourite genre to study because it opened my eyes to things I didn’t know about theatre or myself and I would love to create work like this again.
Sherene Jordan
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