These jottings are a space for my thoughts not directly related to PerfLab practice.
Having missed Week 2 my creative juices must have bubbling up under the surface because I seriously considered writing my first short essay on The Lyric’s production of a Doll’s House as a dialogue between two theatre critics, initially named Max Four and Modesty Wanton. The name Max Four came about through a mis-understanding during our Contemporary Theatre and Performance seminar. Max Four writes for The Telegraph, likes a well-made play and leggy blonde in the female lead. Modesty Wanton writes for the Guardian, has a blog and far too many followers on Instagram. She also makes guest appearances on Radio 4. I resisted this urge and wrote a relatively bland academic essay. Building up the courage to be experimental in my writing as well as in performance.
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The day before our first Perf Lab, after my first academic seminar in around a decade, I visited the Wellcome Collection to see Misbehaving Bodies. Jo Spence’s PhotoTherapy was new to me – but I loved it. I had already been having inklings of a Fosse 'Aloof' inspired image manipulation of the female form and relevant costuming (made from empty contact lens cases).
Reminding myself of my previous experience and some of the great people I have worked with in the past: Kneehigh, Trestle Theatre, Martyn Duffy, Ole Brekke, Mark Trezona to try and convince myself out of Imposter Syndrome - I was still petrified about the idea of working as an artist again. Trying to find my way into writing with some sort of clarity about what I wanted I to do and where I wanted to go I went back to look at what I had written in my personal statement: I am particularly interested in theatrical experiences that combine live performance with pre-recorded images and audio-visuals. I am also fascinated by the use of interactive spaces and audience/practitioner dialogue. Plus: Combining story telling and performance with truly interactive learning. I had no idea if I would achieve any of it. Enrolment Week
Of course I was nervous. Looking back at my notes I had written “voice”, “self scripted” and “physicality”. I wasn't sure if I had any voice, any words or any physical presence! I had done my homework and read Selina Thompson’s, ‘salt’ and had been very impressed. I wondered if I would have wanted to sit at the front and when I was researching reviews of the show I found one with a reference to Josette Bushell-Mingo’s show, Nina. I had worked with her at the very beginning of her career when she showed poise, guts and professionalism beyond her age. Selina Thompson seemed to have a similar strength. I was gutted to realise that I would have to miss the workshop that she would lead. I was reminded of ‘woke’ at BAC, Apphia Campbell’s show that had convinced me that Queen Mary was the right place to study. I was still really,really scared. |
Viv HarrisDocumenting returning to devising and studying performance ArchivesQMUL |