My initial research begins with Stelarc, a Solo Performance artist who’s work focuses heavily on the human body and it’s extreme capabilities. Pushing the body to it’s boundaries causing a spectacle of shock and pain, interested me as in the boundaries of what is and what isn’t Solo Performance are indeed blurry. By going hand in hand, I researched his infamous performance of ‘The Body is Obsolete’.

In this performance Stelarc hangs himself from wires which are attached to his naked body. Using these hooks, he is hoisted up to great heights, dangling in the view of passing spectators. He has performed this in various performances spaces including a bridge, a studio and in a lift well. Could this constitute as a Solo Performance though? What does Stelarc achieve in what some might say, an uncomfortable and obscene way? Is this ‘performance art’

Stelarc comments that “the body [is used] not only as a medium of expression but also as a means of experience” (2007). This makes me feel that the end product is not always the pivotal event but the process in acquiring expression and experience is just as important. He acknowledges that the skin becomes part of the structure of the body and relates his work in a possible Site Specific manner. “The body is seen as a sculpture medium, the body is a sculpture inserted in a space amongst other sculptural elements” (Stelarc 2007). I appreciate this connection of the human body and sculptures in an architectural mode, which in turn makes me agree that this is a Solo Performance in which Stelarc performs out of experience. 

In our second class, we watched ‘Swimming in Cambodia’ featuring Spalding Grey. This innovative and intense performance gave me a strong sense as to what was Solo Performance. Positioning himself on stage set up to begin his story-telling, his dialogue became a rich and powerful story-book. We discussed his performance and found that many of the group didn’t respond to his performance well. It was emotional static and there seemed to be no connection. I found this man talented however I did agree with there being no emotional connection. This made me question, does a Solo Performance have to create an emotional atmosphere? Do we have to enjoy the piece to appreciate the art? 

His use of voice and facial techniques contributed to the intensity of his dialogue which I found interesting, as in essence a Solo Performance is the telling of one’s story. By embodying the room, the talent of holding ones attention was evident and I felt I had to listen intently to keep up. There was two parts to his performance, a genuine side of communication and the performance. We discussed feeling personal towards him on some level, we had someone to relate to however on the other hand was the acting side, the side that had to be performative. That in turn was an interesting style to use for his piece.

We have also discussed Solo Performer Amy Taubin. Her work focuses on the exploration of the relationship between the actor and the spectator. By dealing with the long process, her work is not necessarily about character but about observations, questioning should every Solo Performance be personal or can they be objective? Her solo’s are about “the representation of self” (Carroll 1979, p.51) and by conveying herself as an object of attention, she achieves unusual performances.

‘Pimping for herself’ in 1975 explores the experience of being seen, “it is the performer who is the object of the audiences scrutiny and not visa versa” (Carroll 1979, p.52). In a section of the performance, there is a video of her naked body projected for all to see, however by zooming in too close to define what part of her body you were viewing, this sets up expectation and then quickly denies it. “Acutely proffering the actress as something we desire to see” (Carroll 1979, p.52) this therefore leads to frustration within the spectators as our sight is becoming restricted.

I would like my Solo Performance to engage an audience and leave them wanting more. I want them to delve into their own past and feelings, showing an empathy towards mine.  Learning that audience is an important part of Solo Performance makes me want to draw attention to them even more.

 

WORKS CITED:

Carroll, Noel (1979) Amy Taubin: The Solo Self. Vol 23 (1) March: pp. 51-58.

Stelarc (2007) The Body is Obsolete – Contemporary Arts Media, Online: http://www.youtube.com/watch?v=OKEfJRe4uys (accessed 03 February 2013).