Come Closer: Confessions of Intimate Spectators in One to One Performance

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Notes

<http://www.bac.org.uk/whats-on/one-on-one-festival/> [accessed 21 May 2011].

See Dee Heddon and Adrian Howells, ‘From Talking to Silence: A Confessional Journey’, PAJ: A Journal of Performance and Art, 97:33.1 (January 2011), 1–12.

Jacques Rancière, The Emancipated Spectator (London and New York: Verso, 2009).

See Lyn Gardner, ‘I Didn't Know Where to Look’, Guardian, 25 March 2003,  <http://www.guardian.co.uk/stage/2005/mar/03/theatre2> [accessed 28 August 2011]; Emma Safe, ‘Come into My Parlour’, Guardian, 3 March 2005  <http://www.guardian.co.uk/artanddesign/2002/may/25/artsfeatures.books1>  [accessed 28 August 2011]; Theron Schmidt ‘Review: Helen Paris, Vena Amoris’, Writing from Live Art blog, 24 June 2007,  <http://www.liveartuk.org/writingfromliveart/index7e5b.html> [accessed 28 August 2011]; Alex Eisenberg, ‘Becoming a Child or a Lamb? Review of Samantha Sweeting's La Nourrice: Come Drink From Me My Darling’, Spill: Overspill, 12 April 2009,  <http://spilloverspill.blogspot.com/2009/05/becoming-child-or-lamb-by-alex.html> [accessed 28 August 2011]; Lyn Gardner, ‘How Intimate Theatre Won Our Hearts’, Guardian, 11 August 2009,  <http://www.guardian.co.uk/culture/2009/aug/11/intimate-theatre-edinburgh>[accessed 28 August 2011].

See Rachel Zerihan, ‘La Petite Mort: Erotic Encounters in One to One Performance’, in Eroticism and Death in Theatre and Performance, ed. by Karoline Gritzner (Hatfield: University of Hertfordshire Press: 2010), pp. 202–23; Zerihan, ‘One to One Performance: A Study Room Guide’, Live Art Development Agency, 2009,  <www.thisisliveart.co.uk/resources/Study_Room/guides/Rachel_Zerihan.html> [accessed 28 August 2011]; Zerihan, ‘Revisiting Catharsis in Contemporary Live Art Practice: Kira O'Reilly's Evocative Skin Works’, Theatre Research International, 35 (2009), 32–42; Deirdre Heddon, Autobiography and Performance (London: Palgrave Macmillan, 2008); Helen Paris, ‘Too Close for Comfort: One to One Performance’, in Performance and Place, ed. by Leslie Hill and Helen Paris (London: Palgrave Macmillan, 2006), pp. 179–91.

Sidonie Smith and Julia Watson, ‘Introduction’, in Getting a Life: Everyday Uses of Autobiography, ed. by Smith and Watson (Minneapolis: University of Minnesota Press, 1996), pp. 1–24 (p. 9).

Ibid., p. 10.

Ibid., p. 11.

Ibid., p. 17.

This phrase is borrowed from ‘the character Adrian’, played by Adrian Howells, a scripted ‘audience member’ in Tim Crouch's The Author (Royal Court Theatre London, 2009), who declares: ‘I saw a play last year. And I remember thinking, “that writer has imagined me”. I've been imagined! Poorly imagined! The audience has been badly written! We're all going to have to pretend ourselves!’ (London: Oberon, 2009), p. 20.

Helen Iball, ‘My Sites Set on You: Site-Specificity and Subjectivity in “Intimate Theatre”’, in Performing Site-Specific Theatre: Politics, Place, Practice, ed. by Anna Birch and Joanne Tompkins (London: Palgrave Macmillan, 2012 forthcoming).

Petruska Clarkson and Jennifer Mackewn, Fritz Perls (London: Sage, 2007), p. 73.

See Jean-Luc Nancy, Being Singular Plural, trans. by Robert D. Richardson and Anne E. O'Byrne (Stanford: Stanford University Press, 2000).

Hélène Cixous and Catherine Clément, The Newly Born Woman, trans. by Betsy Wing (Minneapolis: University of Minnesota Press, 1975), p. 148.

Sara Ahmed, The Cultural Politics of Emotions (Edinburgh: Edinburgh University Press, 2004), p. 126.

See Adriana Cavarero, Relating Narratives: Storytelling and Selfhood, trans. by Paul A. Kottman (London and New York: Routledge, 2000).

See Felix Guattari, The Three Ecologies, trans. by Ian Pindar and Paul Sutton (London and New York: Continuum, 2008).

Lauren Berlant and Michael Warner ‘Sex in Public’, in Intimacy, ed. by L. Berlant (Chicago and London: University of Chicago Press, 2000), pp. 311–30 (p. 312).

Ibid., p. 322.

Lauren Berlant, ‘Introduction’, in Intimacy (Chicago and London: University of Chicago Press, 2000), pp. 1–8 (p. 6).

Ahmed, The Cultural Politics of Emotions, p. 201.

Berlant and Warner, ‘Sex in Public’, p. 324.

See Berlant, ‘Introduction’, p. 3.

Berlant and Warner, ‘Sex in Public’, p. 317. Emphasis in original.

Grant H. Kester, Conversation Pieces: Community and Communication in Modern Art (Berkeley: University of California Press, 2004), p. 1.

Ibid.

Nicolas Bourriaud, Relational Aesthetics, trans. by John Howe (Paris: Les Presses du réel, 2002), p. 28. Emphasis in original.

Kester, Conversation Pieces, p. 10.

Ibid., p. 110.

Smith and Watson, Getting a Life, p. 9.

Berlant, Intimacy, p. 2.

Michel Foucault, The History of Sexuality, Vol. 1: The Will to Knowledge, trans. by R. Hurley (London: Penguin Books, 1980), p. 59. See Deirdre Heddon, ‘Personal Performance: The Resistant Confessions of Bobby Baker’, Modern Confessional Writing: New Critical Essays, ed. by Jo Gill (Oxford: Routledge, 2006), pp. 137–53.

Helen Freshwater, Theatre & Audience (Basingstoke: Palgrave Macmillan, 2009), p. 29.

Petruska Clarkson, Gestalt Counselling in Action (London: Sage, 2004), pp. 30 and 181. In these terms, Clarkson draws direct comparison between the concerns of Gestalt counselling and those of qualitative research. She adds that, just as qualitative research is concerned with ‘the examination of practice’ and ‘research into the qualities of […] subjects, subjective experience, the phenomenological quality of experience unique and inimical as it is. So is Gestalt’ (pp. 182–85).