Author: Lauren Simpson

Empowerment Comes From Bravery

Lauren Simpson / / Documentation, Performance process

The dictionary definition of ‘brave’ is; “having or displaying courage, resolution, or daring; not cowardly or timid.” (http://dictionary.reference.com/browse/brave?s=t) After completing 2 performances in the ‘Safe House’ I feel that this sums up my experience perfectly. I have never felt such a sense of achievement or felt such pride in myself, as I did after this performance. It gave me a huge sense of empowerment. The empowerment came from, not only being brave enough to be naked in performance, but also from the audience’s reactions. I managed to control what they did, even in the most vulnerable position. Each reaction was different and unpredictable, which made this a very exciting project. At the start of this long process, none of us knew how our final performance would turn out. Even as the process carried on, we had no idea how an audience would react to our piece, particularly the bedroom and the cupboard performance.

The male voyeurs were the more difficult to be confronted with as the blindfold came off. I did not know how they would react to me.

“Do spectators simply watch? Or are they gazing, or gawking? Are they impartial observers, innocent bystanders or voyeurs?” ((Freshwater, Helen (2009) Theatre and Audience, Hampshire: Palgrave Macmillan p. 2.))

I had no idea where they were looking when I had the blindfold on. Some audience members admitted to me, post-performance, that they were looking at my body. They looked at every single part of me. However, as soon as I took my blindfold off, they couldn’t look anywhere else but my eyes. This in itself gave me a sense of power over them. Using only my eyes, I could control where they looked. Some male voyeurs struggled with eye contact, and admired the pictures on the wall with forced interest. Only half of the male voyeurs that encountered me in the cupboard obeyed the command to get on their knees. The ones that did kneel said they did so because they were scared of what might happen if they didn’t. This is a comment that we did not expect when beginning the performances.

I found looking at the female voyeurs much easier, although I didn’t feel as powerful. I asked them questions in the narrative to which they answered me with a nod or a shake of the head. This was empowering as I controlled their movements and their thoughts for that period of time. However, the narrative was more about bravery and sympathy than power. “There was no unwritten script for the audience to follow, no clear actions to carry out, no roles proffered for adoption; there was simply a provocation.” ((Freshwater, Helen (2009) Theatre and Audience, Hampshire: Palgrave Macmillan p. 63.)) We wanted to provoke a reaction with simply the use of eye contact. No gestures or movement was used. My body and voice were not needed. Eye contact can be a powerful thing, and it worked in achieving our aim…total power reversal!

Referring back to an earlier post concerning the work of Carolee Schneemann, there are certain boundaries and opinions to overcome when incorporating nudity into performance. I took the following quote and referred to the fact that we would need to be careful with how we approached the subject.

“The line is very fine between making this point clear to the audience, and once again being turned into an object by the still powerful male gaze.” ((Sundberg, M (2011) ‘A One-Work-Artist? Carolee Schneemann and the Reception of her Work’, Konsthistorisk Tidskrift, 80, 3, pp. 168-179.))

The point that this is referring to is; Schneemann tries to subvert the idea that woman are simply an image. By comparing this quote and our performance, I believe we were successful. We reversed the concept of the male gaze as soon as the blindfold was taken off. We made the male voyeurs feel awkward and uncomfortable. We did all this by simply using the female gaze to return the males. All this was accomplished while we were tied, gagged and bound in a cupboard on the wall. So, I think our performance can be summed up in 2 words…girl power!

Sexual Fantasy

Lauren Simpson / / Performance process, Research, Rooms

The bedroom is typically thought of as a place for sleeping, dreaming and sexual activity. Combining all three in our performance will cause an interesting reaction. Sexual fantasy and dreaming is an interesting topic and very little is known about the relationship between them. Freud created the notion that all dreams could be considered to have sexual references within them; it is all down to the interpretation. However, not all psychologists share this view. “The typical male dreamer has 12 “sex dreams” per 100 dream reports.” ((Domhoff, G.William (1996) Finding Meaning in Dreams: A Quantitative Approach, New York: Plenum Publishing Corporation.)) This is a relatively high number, considering dreams are a fairly regular occurrence for most people. Freud “also claimed that much of dream imagery represents repressed sexual instincts or desires.” ((King, D, DeCicco, T, & Humphreys, T 2009, ‘Investigating sexual dream imagery in relation to daytime sexual behaviours and fantasies among Canadian university students’, Canadian Journal Of Human Sexuality, 18, 3, pp. 135-146.)) Therefore, presenting a male voyeur with a sexually charged situation has the potential to make them conscious of their sexual fantasies.

Our performance separates the sleeping element and the dream content. The audience member in the bed is put to ‘sleep’ while the voyeur has the sexual ‘dream’ revealed in front of them. This shows a distortion between dreaming and sex. They are relevant and they can exist in the same place but people might not always remember a dream or it might not have an obvious meaning. This will only have this effect if the voyeur is a male. Males are reported to be “more likely to dream of someone other than their current partner.” ((King, D, DeCicco, T, & Humphreys, T 2009, ‘Investigating sexual dream imagery in relation to daytime sexual behaviours and fantasies among Canadian university students’, Canadian Journal Of Human Sexuality, 18, 3, pp. 135-146.)) Therefore, it will still be as effective seeing a naked stranger or acquaintance as it would be to see their own partner. It could be considered to be more effective as they might feel like they should be repressing their reaction.

Another interesting point to monitor on performance day would be the audience member’s interactions with each other. The person in the bed will be completely oblivious to anything else that would have happened and so will have to be informed by the voyeur. The voyeur might be very descriptive when describing what happened, or they might become embarrassed and leave out important details.

Oh My God are you Naked?

Lauren Simpson / / Performance process, Research, Rooms

Is it socially acceptable to be naked in a performance? Where does the line sit separating performance and real life? Does this line change when the performer is naked? These are all questions we have to deal with when creating this performance in the bedroom.

carolee schneemann

 

(http://artintelligence.net/review/?p=529 :accessed 06/04/13)

It would be “useful to distinguish among approved, liminal, and subversive spaces with regard to the acceptability of nude performance.” ((Jones, MT (2010) ‘Mediated Exhibitionism: The Naked Body in Performance and Virtual Space’, Sexuality & Culture, 14, 4, pp. 253-269.)) With regards to the cupboard, it is not a subversive space because no one has specifically denied the right to be naked in a cupboard. In an everyday society I doubt it would be considered an approved space for nudity.

It could be considered a liminal space. It has a purpose (storage) but it is never really considered to be a room of its own. “Liminal spaces are experimental zones where social roles and relationships are tested and redefined.” ((Jones, MT (2010) ‘Mediated Exhibitionism: The Naked Body in Performance and Virtual Space’, Sexuality & Culture, 14, 4, pp. 253-269.)) The socially established roles of performer and audience member are tested in our performance. The eye contact that is made while the narrative is playing through the headphones puts the audience member in a vulnerable position. They are used to being passive; simply sitting and watching others perform. A cupboard in a bedroom is usually there to store clothes, which implies the opposite of nakedness. Our aim is to shock the audience and so by taking a place not usually associated with nudity and filling it with a naked female should achieve this goal.

“Nudity is often associated with freedom from the constraints and demands of culture.” ((Jones, MT (2010) ‘Mediated Exhibitionism: The Naked Body in Performance and Virtual Space’, Sexuality & Culture, 14, 4, pp. 253-269.)) We also challenge this notion, by alluding to the prospect of bondage using ties and gags. Nudity in plays is often approached at a very domesticated level, so it seems normal to an audience and a lot less shocking. In an article by the BBC on nudity and performance one actor comments; “We were expecting a lot more guffaws and giggles and awkwardness, but because it’s so domesticated and so real the audience feels quite relaxed by that point.” ((Phoebe Waller-Bridge in: Masters, Tim (2013) ‘Actors Reveal Challenges of Stage Nudity’, BBC News, 6. March.)) Our performance aims for two different reactions. At no point, do we aim to make any audience member feel comfortable. However, it will be a very different experience for males and females. The females will sympathise with the vulnerable girl in the cupboard and there is no dominant power source. With the male audience members, we want to make them feel as uncomfortable as possible and want to reverse the power so the naked female is in control. This is an unexpected turn and so will prevent the viewer from relaxing into the situation.

Getting the correct balance of nudity and performance is important. The nudity must serve a purpose, whether it is to shock the audience or simply to make a scene more ‘real’. For example, you couldn’t perform a scene in a bath being fully clothed: it would look unrealistic. Using Carolee Schneemann as an example, her work was extremely avant garde and not always received well. In academic books, she doesn’t tend to be mentioned other than a few of her early works. She was considered a performance artist and nudity became like a trademark for her work.

“Often, her focus on the body, on sex, was seen as a problem both by feminists and by the (male) audience.” ((Sundberg, M (2011) ‘A One-Work-Artist? Carolee Schneemann and the Reception of her Work’, Konsthistorisk Tidskrift, 80, 3, pp. 168-179.))

This is a lot to do with the male and female gaze. It would be considered normal for the male audience to accept her work as it is more common to have a male gaze on the female form. However, her work was rejected and criticised by men as well as women. She wanted to break down the stereotype of women being the ‘image’. Trying to portray this message in a time where men were still very much the dominant figures in society would have provoked critique.

“The line is very fine between making this point clear to the audience, and once again being turned into an object by the still powerful male gaze.” ((Sundberg, M (2011) ‘A One-Work-Artist? Carolee Schneemann and the Reception of her Work’, Konsthistorisk Tidskrift, 80, 3, pp. 168-179.))

This is something that we considered with our performance. We want to shift away from the male gaze and make this naked female form in the cupboard gain total control over the male viewer. When creating and recording the narrative we needed to make sure our voices were strong enough to gain instant control over the audience member. Our eyes once the blindfold is removed will also help this process.

The Veiled Woman

Lauren Simpson / / Home, Performance process, Research

veiledlady

(http://www.robincamille.com/2009-03-22-veiled-lady-femme-voilee/) accessed: 12/03/13

“Men do not think of themselves as cases to be opened up” ((Showalter, Elaine (1992) Sexual Anarchy: Gender and Culture at the Fin de Siecle London: Virago Press. page 134)) in a sexual context. They want to carry out the act of opening to get the feeling of power and domination. They can choose a time and a place for this act to be carried out which takes away any power from the woman.

“They gain control over an elusive and threatening femininity by turning the woman into a “case” to be opened or shut.” ((Showalter, Elaine (1992) Sexual Anarchy: Gender and Culture at the Fin de Siecle London: Virago Press. page 134))

With reference to our performance, the cupboard represents the metaphorical case. It is opened by another performer but will invoke different audience reactions depending on the gender of the performer. If a male opened the cupboard to reveal a naked, bound and gagged female, it would come across as much more sinister than if it was the other way around.

A female is generally considered to be the more vulnerable. For instance, when walking in the street at night, a lone female would be considered to be more at risk. So what would happen if we were to reverse that? How would a man feel if his power was stripped away and suddenly he became dominated by the same woman he was once in control of? How would he react? Would he then actively take on the role of the submissive?

If a text is being read to them by a female through their headphones while they are looking at the same female tied, gagged and blindfolded, they will sympathise with her. They will feel a sense of guilt if the text makes out that it is their fault that this character is in such a vulnerable position. If that text suddenly subverts into an accusatory text aimed directly at them, their role is instantaneously reversed. Their gaze becomes entirely different to what it was before. It becomes “both self-empowering and self-endangering.” ((Showalter, Elaine (1992) Sexual Anarchy: Gender and Culture at the Fin de Siecle London: Virago Press. page 146))

To accompany the shift in text, the ‘sub’ female in the cupboard will remove her blindfold and make constant eye contact with the voyeur. This in itself will be an unnerving experience, without the added pressure of the instructions on the recording. Lifting the blindfold is a powerful image “for what lies behind the veil is the spectre of female sexuality, a silent but terrible mouth that may wound or devour the male spectator.” ((Showalter, Elaine (1992) Sexual Anarchy: Gender and Culture at the Fin de Siecle London: Virago Press. page 146)) The idea of the veil was linked with femininity and was used in a ritual context. The blindfold could be considered to be the modern day veil for rituals like BDSM.

Beneath the Waters of Consciousness

Lauren Simpson / / Home, Performance process, Research, Rooms

alice in wonderland

http://disney.wikia.com/wiki/Alice : accessed 04/03/12

The act of the bedtime story is an intimate experience, usually shared between parent and child. It is almost always a private occurrence. So, by creating a performance with it and making it public, it no longer has the element of privacy. It is often understood that the mothers are more likely to read to their child than fathers. “Not only do mothers still do the majority of shared reading, studies suggest that they do it more effectively than fathers.” ((Blake, J, & Maiese, N 2008, ‘No fairytale… the benefits of the bedtime story’, Psychologist, 21, 5, p. 386-388, EBSCOhost: accessed 27 February 2013. Page 387.)) Having a mixed gender group, this is a concept that can be challenged. Would an audience member respond differently if read a story by a male rather than a female?

“Storytelling is sometimes seen as an innocent activity best suited to young children” ((Killick, S, & Frude, N 2009, ‘The teller, the tale and the told’, Psychologist, 22, 10, p. 850-853, EBSCOhost: accessed 27 February 2013. Page 850.)) Therefore, combining the sexual content of a raunchy novel with the innocence of a fairy tale blurs this theory. The audience go from the safety of a bedtime story to the unnerving effects of the adult content. Because they won’t be expecting it, then it should come as a shock to them.

“Beware the stories you read or tell: subtly, at night, beneath the waters of consciousness, they are altering your world.” ((Killick, S, & Frude, N 2009, ‘The teller, the tale and the told’, Psychologist, 22, 10, p. 850-853, EBSCOhost: accessed 27 February 2013. Page 850.))

If this quote is true, this story should stir a deeper reaction than just uncomfortable shifting or nervous laughter. Even though the audience are not going to sleep, the crossing over of child and adult content may have an effect on them after they leave the room. They may look at fairy tales in a different light and be able to pick out the Freudian elements in a lot of them. Alice in Wonderland itself is a very Freudian story.