An exploration of intimate performative acts of confession in a secular culture: orality, physicality and site.

对世俗文化中亲密的忏悔表演行为的探索：口头、身体和场所。

• 批准号: AH/F012802/1
• 负责人: Adrian Howells
• 金额: $ 1.41万
• 依托单位: University of Glasgow
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2008
• 资助国家: 英国
• 起止时间: 2008 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FF012802%2F1
• 关键词: exploration; intimate; performative; acts; confession

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 increasingly commodified. In this context, it seems imperative to understand, as practitioners, what this form of confession might enable, particularly by way of experience and the potential for exchange, for the spectator. Over the duration of three years, as an AHRC Creative Fellow, I am conducting a series of theoretically and culturally contextualised practical explorations which aim to understand what 'confession' in performance is and might be, what it does and might do. In particular I am interrogating the terms 'intimacy', 'risk', 'confession' and 'site', and the inter-relations between these in performance practice.For this research project my focus is applied to the impact that secular and non-secular space has on intimate exchange between spectator and performer: what is the nature of that confessional exchange; what is the relationship between physical intimacy and intimate spoken revelations; and, how and whether 'the confession' can be reconceptualised for these times but still perform its function as a 'release' or 'relief'?Over a period of six months I will conduct a series of (at least six) separate but related applied research experiments. These will take the form of one-to-one performances located in both secular and non-secular spaces (including a church, a church that has been converted into a theatre and a performance studio). In each space, different modes and variables of performance exchange will be utilised, including physical (e.g. hand-holding), oral (exchange of verbal information) and silence. The aim of these workshop performances is to determine: the extent to which physicality and orality are related; the impact of space on the willingness/desire/resistance to exchange information and the type of information exchanged; and, the types of confession that may be performed by the spectator. The spectators will all be volunteer participants. Following the workshop performance each will be individually interviewed and asked to reflect on their experiences in the different spaces and different modes of intimate encounter. With the consent of the participant, each workshop performance will be video recorded. The results of this applied research will be synthesised in the devising of a final public performance, open to all, which aims to engender the greatest degree of genuine exchange between performer and spectator in such a way that the spectator feels to some extent liberated by the end of the piece. This performance engages with many questions posed in my AHRC Creative Fellowship application, not least whether performance might potentially provide a secular equivalent to absolution.Given the extent of solo, confessional practice in evidence in the UK and the USA, and the context in which this practice takes place (that of a mass-mediated confessional culture), the purpose of this project is to offer a timely practical interrogation of the confessional form, including the interrogation of my own practice. One part of this research, therefore, involves surveying existing work in order to produce a context for my own practice. In addition to the public dissemination of the work through the final performance, my research and critical reflection on it will also be made available to a variety of constituencies through post-show discussion. The final two months of the project are dedicated to creating an oral presentation reflecting on research process and outcome (to be presented within the University context but open to the public) and the submission of a critically reflective article to a peer-reviewed journal (e.g. Studies in Theatre Production).

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，在个人表演日益商品化的文化中占据了一席之地。在这种情况下，作为实践者，似乎必须理解这种形式的忏悔可能会使观众，特别是通过经验和交流的潜力。在三年的时间里，作为AHRC创意研究员，我正在进行一系列理论和文化背景化的实践探索，旨在了解表演中的“忏悔”是什么，可能是什么，它做了什么，可能会做什么。特别是，我对表演实践中的“亲密”、“风险”、“忏悔”和“场所”等术语以及它们之间的相互关系提出了质疑。在本研究项目中，我的重点是世俗和非世俗空间对观众和表演者之间的亲密交流的影响：忏悔交流的性质是什么;身体亲密和亲密的口头揭示之间的关系是什么;以及，如何以及是否可以在这些时候重新定义“忏悔”，但仍然发挥其作为“释放”或“救济”的功能？在六个月的时间里，我将进行一系列（至少六个）独立但相关的应用研究实验。这些将采取一对一的形式，在世俗和非世俗的空间（包括教堂，已被改造成剧院和表演工作室的教堂）进行表演。在每个空间中，将使用不同的表演交流模式和变量，包括身体（例如牵手），口头（交换口头信息）和沉默。这些研讨会的目的是确定：在何种程度上的身体和口述相关;空间的意愿/愿望/阻力的影响，以交换信息和信息的类型交换;和，类型的忏悔，可以由观众执行。所有观众都是志愿者。在工作坊表演之后，每个人都会被单独采访，并被要求反思他们在不同空间和不同亲密接触模式中的经历。在参加者同意下，每一场工作坊的表演将被录像。这一应用研究的结果将综合在设计一个最终的公开表演，向所有人开放，其目的是在表演者和观众之间产生最大程度的真正交流，使观众在作品结束时感到某种程度的解放。这种表演涉及到我在AHRC创意奖学金申请中提出的许多问题，尤其是表演是否可能提供一种与赦免等同的世俗形式。（大众媒介的忏悔文化），这个项目的目的是提供一个及时的忏悔形式的实际审讯，包括我自己的做法的审讯。因此，这项研究的一部分涉及调查现有的工作，以便为我自己的实践提供一个背景。除了通过最后的表演公开传播作品外，我对它的研究和批判性反思也将通过展后讨论提供给各种赞助者。该项目的最后两个月致力于创建一个反映研究过程和结果的口头报告（将在大学范围内提出，但向公众开放），并向同行评审的期刊提交一篇批判性反思文章（例如戏剧制作研究）。