Month: May 2018

On Friday 18th May, I performed my final degree show How to Succeed: Corporate Enlightenment (HtS:CE). Having had the weekend to reflect (and most importantly, relax!) after the performance, I’ve reflected on the positive and negatives of the performance and my progress throughout this module.

 

Artistic Influences

Throughout this module, I’ve researched into a variety of practitioners. Laurie Anderson, Shia LaBeouf and Marina Abramovic are just a handful of the ones that have been analysed and utilised during this module. Specifically for HtS:CE, my main influences were Rosie Kay’s MK Ultra (2016), TOOT Theatre’s Focus Group (2016) and the Julian Baggini article in The Guardian about the Illuminati.

 

Why the Illuminati?

Throughout my degree, I’ve consistently done comedy performances. Stemming from my Tragedy & Comedy performance in first year, all the way up until my Off the Page last semester. I wanted to create something different – to use a different facet of my writing capability, to see if I can make ephemerality and a seemingly serious performance work for my solo performance. My interest in popular culture is often times used for comedic reference, but I wanted to look into this to create something seemingly dark. Therefore, the thing that stood out the most in popular culture to me was the secrecy of what goes on behind closed doors. Owing to the erratic nature of conspiracy theory and Illuminati involvement in popular culture, it seemed that this was the best way to utilise pop culture references to write my performance.

 

At the start of the module, I was very torn between doing an auto-biographical performance or not. Indeed, I could have done a performance about my experience as a bisexual. I could have written about my drag performances, or even have done a drag performance to celebrate the culture that I involve myself in regularly. Yet, when I began planning auto-biographical performance, I found it hard to make the performance material relatable. Whilst people like Tim Miller have cleverly used their solo work to make commentary on wider LGBT+ issues, I found it difficult to relate my personal experiences for a wider audience. It also seemed inappropriate to use the experiences of LGBT+ individuals around me, as these are not MY experiences, so the performance (to me, anyway) would have felt inauthentic. Therefore, I decided early on in the module that I didn’t want to make my performance about myself, but instead wanted to make something that would be inherently political using the motif of the Illuminati as a gateway to such.

 

I’m an incredibly political person and I believe it’s important to make this flow into your performance. The motif of the Illuminati allowed me to make commentary on issues of gender, political divides and sociological ‘Otherness’. Using the New World Order, I made reference to the political divide that followed Brexit, the issues faced in America by the US President and also the ‘cult logic’, where those who are ostracised by their community turn to crazed activities (like joining the New World Order) because of their community. It sounds cliche, but so long as I have a voice I’ll always stand up for oppressed and othered communities and groups, so my performances are a way of attempting to be impactful in making commentary about this.

 

Final Performance Reflections

Overall, I’m very happy with how HtS:CE went on Friday! The feedback I’ve received is really truly spectacular and I’m really grateful about that. When asked what he thought about the show, Daniel Fotheringham stated the following:

 

“I think you did an outstanding job. You created one of the most unnerving atmospheres out of all the solos and actually made me have goosebumps down my spine when you were talking about the Illuminati” (Fotheringham, 2018).

 

I was glad to hear that the performance appeared to work in creating an unnerving atmosphere, seeing as this was the word I wanted to be associated with my performance since I began writing it! Despite some technical qualms a few days beforehand, I feel that the performances tech worked well, hand-in-hand with the script tailored to it, to create this mood and atmosphere.

 

If I were to extend or reshape the performance, I feel that there was definitely room for more text. If I had a longer performance slot, I feel that the piece could potentially be altered to become a 30-minute performance. There is so much depth to the New World Order and the connotations that come with it, that it was difficult to fit everything I wanted to into a twelve-minute performance. The way in which the performance ended, again with extra time, could have definitely been strung-out for a longer period of time, to make it feel less sudden. This was have meant more performance researched, as I would have to look into how to work on the subtleties of a slowly deteriorating facade within the character.

 

Overall, I feel that I created a performance that I can certainly be proud of this semester. It was an oddly relieving feeling to have the performance done with initially, but now the reality has sunk in that my time here as an undergrad at the University of Lincoln is done! I’d like to say special thanks to the following individuals for their involvement in the process and performance.

 

Acknowledgments

Diane Dubois, Andy Jordan, Martin Curtis and Donald Pulford. Thank you for your guidance and teaching throughout this module. Without your knowledge of solo performance and practitioners, I doubt the performance would have reached the potential it had.

Jonny Carr, thank you for being a rock to me throughout this performance. Without your love and support, I doubt I would have trusted myself and my judgment enough to go with the performance theme that I truly wanted. As always, thank you so much for being your caring and wonderful self.

Tilly Devine, Sebastian Farr, James Reilly and Daniel Fotheringham, thank you for constantly reading my performance script and working with me to make my performance the best it could be. Your work throughout the module has meant a lot, good luck with all your final performances!

Another thanks goes to my close friends and family, for supporting me throughout my three years at this university.

 

That’s all, folks!

As this blog post is submitted, my blog reaches its final publication, meaning my final submission as a part of the University of Lincoln. Thank you to everyone that has made the past three years the most amazing, thought-provoking and rewarding of my life thus far. Time to go out into the real world and work on getting my journals published!

Just a quick update after my technical rehearsal!

 

There’s have been a few changes, as a means of making the technical requirements of my show flow better with the script. Firstly, the original lighting in which I intended to create didn’t appear to full work with the projection, particularly at the point where ‘Image Clip’ comes onto the screen.

 

The main technical change was the way in which the show ended. The way in which I had done my original tech-based ending was to play a static sound, as to make it appear that the performance had been ‘disrupted’ by the New World Order group. However, this didn’t appear to fully work, as there was little-to-no visual queues for the audience to see. To combat this, the static will be played upon the screen, as a means of ensuring it is crystal clear what is going on.

 

Thankfully, the technical requirements for the performance meant I was able to remove the Powerpoint style, to move it back to individual images displayed on the screen. When rehearsing this, it felt menial and a bit mundane styling the performance in a ‘powerpoint-presentation’ style.

 

The main thing going forward before the performance that needs working on is the performance delivery. To look into how I deliver my script, I’ve decided that I will be watching Laurie Anderson’s O’ Superman (2016) to look into how I can perform a somewhat unnerving technical backdrop with my script paired with it.

 

WANT: To rehearse my script, with reference to the Anderson work, to ensure that I perform the work to the best of my ability.
LEARNT: To be careful about the technical side of my show. Throughout my degree, I’ve always been the scriptwriter within my groups, rather than the technical director. Seeing as this is my solo show, I realised that the technical side of the performance is something I need to work on, as I’ve relied on other group members to do tech in the past, leaving me practically clueless. I’ve also learnt to be careful when performing this kind of ‘unnverving’ material, as the way you perform it ensures that the message behind the performance actually comes across.

EXPERIENCE: The technical experience has been a both good and bad experience. I’ve tweaked my show, to make it the best it can be on Friday. However, it was certainly a stressful experience to say the least! Now that the tech has been altered and I know how to work upon my performance, I’ll begin doing this to ensure my performance goes as well as it can.

At long last, my tech for my solo performance (and my script paired with this the tech) are done! There were quite a few tech requirements that needed changing when moving them to a larger screen. Owing to the fact that my original beginning image barely stretched across my laptop, it came as no surprise that the image was particularly pixilated when moving to the projection screen. To work upon this, I’ve changed the initial image. I like this new one better, as its less ‘on the nose’, and gives less away about the performance that it previously did. This new image can be seen below:

Seeing as the style of my performance is presentational until the end, I’ve prepared my files and videos in a PowerPoint presentation format, so the videos can be seen to be part of a presentation. This makes the shift in tone at the end more dramatic, as it goes from what seems like a formal, albeit disturbing, presentation, to an event that has seemingly gone wrong. RECRUITER ends the performance distressed, attempting to get out of the situation before he becomes monotone and scared. This is when the audience is asked to leave, and ‘collect a flyer on their way out’. The presentation can be seen below:

Solo Presentation

I thought that a nice way to end the performance would be to make the slides disappear during the section were ‘things go wrong’, and to end with the presentation reappearing with just this on the screen:

 

As this is a typical way to end a presentation, it feels that this works with the monotone and almost ‘brainwashed’ attitude I want RECRUITER to have after the soundscape is done. The soundscape, played just as RECRUITER tries to leave the room, sounds like such:

This soundscape, played only for ten seconds [before the Horror section comes in…thank you Annabelle (2014) for ruining all soundtracks I tried to find on YouTube] coupled with lighting going off and then flickering after five seconds, worked well to change the atmosphere of the performance.

My finalised staging will look like this:

As you can see from the image, the projection screen and two seating banks make the shape of a triangle. The reason behind my staging being like this is to reinforce the imagery of the Pyramid, to make the audience a ‘part’ of the New World Order triangle. Rather than doing a third seating bank and having a small projection in one of the gaps, I decided to use the projection screen as the third side of the triangle, so the images shown in the performance are large and clear for those spectating.

Solo Performance (Flyer)

The leaflet/flyer table is near the entrance, and there will be a sign saying ‘please collect at the end, so they have something to take with them. The content of this can be seen above.

Overall, I’m happy with the progress that Corporate Enlightenment has made so far, and I’m looking forward to my tech on Wednesday! It’s crazy to think that the performance is only six days away, but I’m very excited to perform!

WANT: To continue my rehearsals for Corporate Enlightenment and ensure that the piece is well-rehearsed and the tech ‘snaps’ at the right sections.

LEARNT: That I am TERRIBLE at tech. It’s a good job the tech department are so helpful at the LPAC otherwise I’d be absolutely stuffed.

EXPERIENCE: Despite my aforementioned tech stresses, I’ve had a great experience writing and teching the end of my script. Now that everything is together and I’m off script, its time to keep running and running the performance until I’m absolutely 100% happy with it.

 

 

Progress on my performance How to Succeed: Corporate Enlightenment is going well! After going to a feedback session to work on my script, I received the following feedback:

1) The ending section of the performance should be elongated, so it doesn’t appear to be so sudden

2) Make sure to ensure the comedic timing of the writing works when appropriate

3) Add additional sections to make the script appear more business-esque.

 

To work on the following feedback points, I’ve researched further into the three points and added to my script.

 

PROGRESS #1: Elongate Ending Section

To elongate the ending, where the meeting ‘goes wrong’, per se, I decided to add sections throughout the text. During the ‘Beyonce’ section, RECRUITER states:

Poor B. She’s just like us, you know? Minus the twenty Grammy award-wins, net worth of five-hundred million dollars, rich husband and endless career prospects, me and my girl have a lot in common. Actually, that doesn’t sound quite right…

The reason for adding this to the script is so the final section doesn’t feel ‘thrown in’ at the last minute. To make the ridiculous nature of the Illuminati speculation apparent, I’ve added this to the text too:

All we want is to simply create one world where everyone has the same opinion and has no freedom of speech, to maintain order. Purging societies has worked out splendidly in the past, has it not?

 

There is an awkward silence.

 

Erm, so, moving promptly through the rest of the triangle, we have chattel slaves, modern-day slaves and women.

The addition of this section was to make it apparent that this, as the writer, is not my genuine opinion regarding Illuminati purging. Certainly, adding this section makes apparent the ridiculous nature of the conspiracy behind the New World Order.

I’ve kept the tech relatively the same, as I believe the technical side of the performance still works. It was just the wording of certain sections that needed reworking and revamping to ensure the ending of my performance worked.

PROGRESS #2: Comedic Timing

Comedic timing is something that is particularly difficult to get right first time. Particularly the line where RECRUITER states: If Brexit has taught us anything, it’s that we are in grave danger. That, and the fact that people really take bus advertisements to heart.

After workshopping the script, it appeared that the wording of the line didn’t appear to make the comedy work. Instead, the line has now been changed to: If Brexit has taught is anything, it’s that we are in grave danger. That, and people will believe anything if you put it on the side of a bus.

The timing of this section appeared to work much better. As a means of looking into comedic timing further, I read The Art and Science of Comedic Timing (2017) by Thomas MacMillan. In his article, MacMillan stresses “the importance of having a space between the setup and the punchline” (MacMillan, 2017). This tip was particularly helpful with my delivery, as whilst comedy is something I’ve worked with the writing of before, it felt useful to have the technique of punchlining spelt out for me. This will be somethign I work towards when rehearsing the piece and its timings.

PROGRESS #3: Additional Sections

In my feedback section, a few recommendations were made for my work. Firstly, the idea of making it clear that the Illuminati have been using popular icons for years to spread their message was popular. Moving forward, I hope to have a completed version of my script by Wednesday 9th May with this section added to my script. Historical icons such as Hitler, Mussolini, Stalin and other totalitarian figures are often linked to Illuminati recruitment and symbolism. Owing to the nature of their rulership and the totalitarian-esque nature of the New World Order, comparison between these could add an additional tone to the performance.

 

The second recommendation was to making links to George Orwell’s 1984 (1949). The ‘Big Brother’ style of the performance would be a really fun way to make the final moments of the performance ‘pop’ more, per se. This will be something I aim to explore in my final script.

ADDITIONAL PROGRESS/FUTURE WORK

To facilitate my writing of the script, I aim to read/watch 1984 by George Orwell, One Night Stand (1991) by Bil Hicks and Peeping Tim (1960) by Michael Powell. Each of these texts/productions appears to have the tonality I want within my performance and will work well for writing inspiration.

WANT: To complete my script and tech by May 9th, so I can solidly rehearse and get off script. I feel that at this point will be the moment where my work starts to really get on its feet. My tech is the biggest thing that needs sorting the most urgently, as there is currently limited tech set in stone.

LEARNT: 1) About stand up comedy and the way in which to use timing and punch lines to evoke humour.

2) I need to work on the abrupt nature of my writing. I could also make final sections of my script more opinion-based and more fact-based.

EXPERIENCE: It’s been difficult balancing the writing of this script with the writing and performing for other modules, but I’ve really enjoyed the experience of working on the inital bones of a script I wrote.

Works Cited

MacMillan, T. (2017) The Art and Science of Comedic Timing. The Cut. Available at:https://www.thecut.com/2017/05/the-art-and-science-of-comedic-timing.html [Accessed 24th April 2018].