A research and development project investigating solo-autobiographical performance-making at the paediatric bedside. Click to link below to see how the project developed.
The expression ‘all the world’s stage’ has become such a neatly integrated idea within contemporary studies that terms Performance and Performativity form almost compulsory points of access across a range of discourse. Contemporary Performance, in a more theatrically inclined experience which explores the formal properties of audience, artifice, and the time limited encounter, functions outside of theatre traditions that engineer performance in specific models. Performances are durational or so fleeting they go almost undetected, live and precariously close or remote and removed; certainties are destabilised and subjectivity (re)establishes Performativity and the Performance experience.
Spaces in which Performance happens extend to the realms of the everyday and my performance making has explored this grey area containing everything-that-is-pretty-much-forgotten-and-ordinary. In Performance this space, and all that resides forgotten within, acquires new meaning and potential; a footbridge is imbued with spiritual significance (see Bridge Angels, 2017), the role of a shop assistant becomes an extension of the artist, see ShopJob: The Liberation, 2017). Bed-making, is a term that I use to describe the process of creating solo performance in a bed; it frames a space that is intimate and shared, inviting a process of crafting that is private and small with bigger public implications.