The nature of, and relationship between, intimacy and risk in the context of confessional one-to-one, solo performance practice in contrasting sites

背景：近年来，忏悔式的“一对一”独奏表演已经成为一种可见的表演形式，在一种个人已经商品化的文化中占据了一席之地。在这种背景下，作为实践者，似乎必须理解这种形式可能带来什么，特别是通过观众的经验（和交流的潜力）。通过不断的创作、发展的实践探索（使用对比场地和表演结构）本研究计划将探讨一对一的个人忏悔表演实践中的“亲密”和“风险”的性质和关系。目的和目标：i）虽然表演者越来越多地使用一对一的互动模式，但没有研究可以质疑这种互动模式的功效或效果/影响;本研究计划将透过设计一对一、独奏及更典型的集体表演形式的忏悔表演，探讨两种不同的结构表演模式在经验上的差异。ii）虽然“亲密”一词经常被用来描述某些表演，没有持续的研究表明“亲密感”是如何在表演中产生的。这个项目特别感兴趣的是“亲密”和“空间”之间的关系;一些空间本质上比其他空间更亲密还是更不亲密？通过在不同类型的空间中进行实际探索和表演，本研究将确定亲密在多大程度上依赖于表演空间，或受表演空间的影响。这项研究还将提出实践模式的“娱乐”的原始“空间”在替代网站。iii）“风险”被假定为坚持一定形式的身体艺术，与身体的危险和痛苦;我的经验，创造忏悔表演让我认为，有其他方式的概念化风险和产生其他形式的风险的性能。本研究将提出什么可能的风险意味着在忏悔的表现和程度的风险感（例如，透露个人材料）也依赖于一种亲密感。iii）在这个项目中进行的最后的实际研究旨在了解什么目的忏悔的表演可以发挥在世俗社会，忏悔已被转化为商品。这项研究的关键是探索表演中交换的潜力，作为一种“提供”观众一些东西的方式（一种世俗的“赦免”？）ApplicationsGiven独奏，忏悔的做法在eveidence在英国和美国的程度，并在这种做法发生的背景下（大众介导的忏悔文化），本研究项目提供了一个及时的审讯独奏忏悔的形式。虽然这个审讯的一部分将涉及调查现有的工作，为了产生一个背景下，我自己的做法，该项目的主要目的是探索的潜力和限制的形式，通过实践探索。这些调查结果将广泛提供，并通过利用各种媒体，包括表演，反思性写作，批判性写作和全国研讨会，针对不同的选民。虽然我们的意图不是提出固定的实践模式，但研究结果应该促进从业人员，研究人员和学生之间的辩论和交流，这将有助于知情的实践，也有助于进一步发展和挑战这种新兴形式。

Context:Confessional, 'one-to-one' solo performance has become a visible form of performance practice in recent years, taking its place in a culture where the personal has become commodified. In this context, it seems imperative to understand, as practitioners, what this form potentially enables, particularly by way of experience (and the potential for exchange) for the spectator. Through the creation of ongoing, developmental practice explorations (using contrasting sites and performance structures) this programme of research will investigate the nature of, and relationship between, 'intimacy' and 'risk' in one-to-one, solo confessional performance practice.Aims and Objectives:i) Though performers are increasingly using one-to-one models of interaction, there is no research available interrogating the efficacy or effect/affect of this; this research project will explore the experiential difference of contrasting structural performance modes through devising confessional performances in one-to-one, solo structures but also in more typically communal performances.ii) Whilst the word 'intimate' is often used to desribe certain performances, there is no sustained research on the way 'intimacy' is created in performance. Of particular interest to this project is the relationship between 'intimacy' and 'space'; are some spaces intrinsically more or less intimate than others? Through conducting practical explorations and staging performances in a number of different 'types' of space the research will determine to what extent intimiacy is dependent upon, or affected by, performance space. The research will also propose models of practice for the 'recreation' of original 'space' in alternative sites.iii) 'Risk' is assumed to adhere to certain forms of body art, related to physical danger and pain; my experience of creating confessional performances leads me to think that there are other ways of conceptualising risk and engendering other forms of risk in performance. This research will propose what might risk mean in confessional performance and the extent to which a sense of risk (for example, of revealing personal material) is dependent also on a sense of intimacy.iiii) The final practical research undertaken in this project seeks to understand what purpose confessional performances can play in secular society, where the confessional has been transformed into a commodity. Key to this research is exploring the potential for exchange within performance, as a way of 'offering' the spectator something ( a secular equivalent to 'absolution' perhaps?)ApplicationsGiven the extent of solo, confessional practice in eveidence in the UK and the USA, and the context in which this practice takes place (a mass-mediated confessional culture), this research project offers a timely interrogation of the solo confessional form. Whilst part of this interrogation will involve surveying existing work, in order to produce a context for my own practice, the primary aim of the project is to explore the potentials and limitations of the form through practical exploration. These findings will be made widely available and targeted to different constituents through utilising a variety of media including performances, reflective writing, critical writing, and a national symposium. Whilst the intentions is not to propose fixed models of practice, the research findings should nevertheless foster debate and exchange between practitioners, researchers and students that will contribute to informed practice but also to further development of and challenge to this emergent form.