As always, this blog covers morsels of my research, and today that research is split in to two parts. Part one is what I learned from reading Staging Sex by Chelsea Pace. Part two reflects on a small study (Vukadinović and Marković, 2017) that looks at how audiences and performers rate the aesthetic value of live theatre in comparison to the digital version of the same work.

Staging Sex

After making a case as to why current techniques, concerning boundaries and consent, are not sufficient, Pace offers Staging Sex, a book for theatre practitioners who are looking to make the direction, inclusion, and performance of sex scenes a little bit less awkward for all parties involved. Although I have not staged sex in my work, and do not intend to, I have certainly played on sexual suggestion, BDSM, and masturbation. Thus, I found it intriguing to think about how I might apply some of the suggested methodology to my practices. The use of language, for instance, can desexualise a process and Pace suggests erotic scenes are much better dictated in a basic, not a sensual language, — “hand on the side of your partners body with a light pressure, take the hand up the side of the body in around 4 counts, then pause”. This suggested vernacular can be adopted by any member of the creative team, including the peers who come to feedback on what they see. I have experimented with this technique when teaching sensual workshops and I can confirm that it not only makes the participants feel more at ease, but it made me feel more at ease too. The use of vanilla language removed the need to “perform” my role as a teacher, which resulted in less pressure to be an erotic wordsmith. Two other things to consider when directing performers in sexual scenes is consent and choreography, both of which recognise the power dynamic between director and performer.

Consent

The area of consent is sticky because actors and dancers have been conditioned and trained to say yes and to handle whatever is thrown at them. Moreover, there is a power dynamic between performer and director, which means the director has a responsibility to fully direct the scene (unless they have work with the performers a lot and already knows their limits). Simply saying “kiss” or “simulate” sex, is not enough. If a performer is uncomfortable with something, the director should be able to tell the same story in another way.

Choreograph it

Choreography protects boundaries and it ensures that performers are not becoming too handsy. Choreographing the scene, down to the exertion and speed of breath, also ensures the aesthetic of intimacy will remain, even if the “spark” is lost between the performers. This phrase of steps will also aid the basic language discussed earlier.

I highly recommend this text if you are considering directing a scene of this nature.

Aesthetic Value of Live V Digital Theatre

Vukadinović and Marković (2017) investigated the nature of perceived aesthetic of dance from the viewpoint of both the audience and the dancers. Audiences watched three live and video recorded performances and judged the visual elements of the dance and their experience of the work. The six dancers who performed the live work then watched the video recording back. When dancers were asked to watch the video material of their own performance, they stated that their experience of the aesthetic was similar to how it felt to perform. The authors state this could be down to their dance training, knowledge of their body in performance, motor functions and the proprioceptive advantage these skills generate. The audience, however, were much more sensitive to the live performance, meaning the aesthetic of live performance was judged more highly — audiences were more sensitive to elements of lighting, connection with the dancers, sound, and scenography etc, all of which increased their sensitivity to the performance on all accounts. This is interesting considering how theatre practitioners and venues are moving to both digital and live performance even when theatres open again. This text then, asks us to consider how the digital version of the performance can maintain a level of detail that emotionally connects the audience to the performer in the same way that live theatre does.

I have a few announcements coming up so be sure to sign up to my mailing list here to be the first to know about new projects.

Other than that, I am still working on my thesis…

Rowena x

Pace, C. (2020) Staging Sex: Best Practices, Tools, and Techniques for Theatrical Intimacy.

Vukadinović, M. S. and Marković, S. (2017) The Relationship Between the Dancers’ and the Audience’s Aesthetic Experience, PSIHOLOGIJA