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实践形式，在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，理解这种形式的潜在能力似乎势在必行，特别是通过观众的经验（和潜在的交流）。通过创造持续的、发展性的实践探索（使用对比的场地和表演结构），这个研究项目将调查一对一的、单独的忏悔表演实践中“亲密”和“风险”的本质和关系。目的和目标：i)尽管表演者越来越多地使用一对一的互动模式，但目前还没有研究质疑这种模式的有效性或效果/影响；本研究项目将通过设计一对一、独奏结构以及更典型的公共表演的忏悔表演来探索对比结构表演模式的经验差异。ii)虽然“亲密”这个词经常被用来描述某些表演，但没有关于“亲密”在表演中产生的方式的持续研究。这个项目特别感兴趣的是“亲密”和“空间”之间的关系；有些空间本质上比其他空间更亲密还是更不亲密？通过实践探索和在不同“类型”的空间中进行表演，研究将确定亲密关系在多大程度上依赖于或受表演空间的影响。该研究还将提出在替代地点对原有“空间”进行“再创造”的实践模式。iii)“风险”被假定为坚持某些形式的人体艺术，与身体危险和疼痛有关；我创作忏悔表演的经验让我想到，还有其他方式可以概念化风险，并在表演中产生其他形式的风险。这项研究将提出在忏悔表演中风险的含义，以及风险感（例如，暴露个人材料）在多大程度上也依赖于亲密感。iii)在这个项目中进行的最后的实践研究试图理解忏悔表演在世俗社会中可以发挥什么作用，在这个社会中忏悔已经变成了一种商品。这项研究的关键是探索表演中交流的潜力，作为一种向观众“提供”某种东西的方式（也许是一种世俗的“宽恕”？）考虑到英国和美国证据中单独忏悔实践的程度，以及这种实践发生的背景（大众媒介忏悔文化），本研究项目及时提出了对单独忏悔形式的质疑。虽然这个问题的一部分将涉及到调查现有的工作，为了给我自己的实践创造一个背景，这个项目的主要目的是通过实践探索形式的潜力和局限性。这些发现将广泛提供，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，针对不同的成分。虽然目的不是提出固定的实践模式，但研究结果应该促进从业者，研究人员和学生之间的辩论和交流，这将有助于知情实践，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.