Posted in Evaluation

After the Experiment….

Two sections of the piece contrasted dramatically and had differing levels of effectiveness in achieving our aim:  to explore and decontextualize taboo words. The song mash up, which consisted of classic melodies (Eye of the Tiger, Girls Just Want To Have Fun, YMCA), didn’t work as well as the breakdown of the phonetically spelt profanities.

Although we liked the songs, the response of the audience was not as positive. During the first performance the audience found the humour and laughed along with the ridiculousness of the well-known song lyrics being replace by profanities. The majority of this audience were a similar age range as us. Maybe the absurdity and stupidity of this section appeals to the humour of people in their late- teens and early 20. From the second performance, which consisted of a wider age range of people, this section received negative reactions. Some of the older members of the audience either didn’t respond or made clear the disapproval by refusing eye contact. This mash up came after a section which placed the profanities in a DADA- like soundscape which distorted the words and their context. The previous section worked well in achieving our aim but the song potentially ruined the progress we had made. Although we enjoyed the song section, it became a very self-indulgent section of the experiment as our enjoyment was the reasoning of its place within the experiment.

Before the experiment we should have thought more about the wide range of people attending the piece and done further research in to their ideas of what and what isn’t taboo. It became clear to us, during the experiment, that different people have differing ideas of taboos and what are acceptable topics of discussion in public places. Our research had not accommodated for this and was very one dimensional as we placed emphasise on the words and phrases that we though were taboo.

The phonetically spelt taboo words, which were introduced in a way which a teacher would speak to their students, worked favourably towards our aim. The break down of the words in to their most basic form worked but the context in which we placed it, the reference to children, maybe let this section down. The piece as a whole enveloped the idea of teaching and children but the DADA-like section, which was most effective, had no links to children. Having carried out the experiment, we have learnt that the child-like setting and the sections placed in child-like contexts didn’t work as well as those that explored the words and the words only. If we were to perform this experiment again, a change of stance to a more natural and mature setting may enhance the results felt by many participants.

We potentially overthought our experiment and tried to add in extra strands which added interest to the piece. Instead we should have stuck to the basic exploration of taboo words and focused on experiment in a simpler, less complex manner.

The experiment also used a wide range of taboos; from common swear words (fuck, cunt) to racial and sexuality slurs (nigger, muff diver) to taboo subjects (cancer, Madeleine MacCann). In order for this experiment to be more effective, we need to reduce the wide range of topics we address and focus on the words and their decontextualization, rather than the taboo topics.

We received mixed feedback from both the experiments. This was to be expected. However, if we were to carry this out again, we would need to simplify our idea, reduce the amount of material we aim to cover and research more widely to gain understanding of taboos in communities other than our own.

Posted in Performance, Rehearsal Process

Beauty of Imtimacy

To be intimate with someone takes time and trust and we often find that we are only intimate with the people closest to us.

Why do performance artists strive for a strand of intimacy in performance?

After being given the task of creating a one to one performance, I decided that I wanted to develop the concept of a ‘safe space’ which will be used in our performance. I wanted to draw all the components I associated with being safe and put these in to a space which could be transformed in to an intimate space. It is here that I would create a friendly bubble for me and one audience member/ participant to simply enjoy being with another person. This is also what we aim to create in our final experiment, although the space will be shared between 14 people rather that just 2.  I find being in the presence of another, without feeling the need to make meaningless conversation, exciting and interesting and, personally, this creates a  form of intimacy that only you and the other can experience. A sense of enclosure, for me, gives a sense of safety and intimacy as it create a world only the people present can participate in and enjoy.

Performance art, especially one to one, one on one and audience of one performances, have seen a ‘shift in the traditional performer/spectator divide [which] can reallocate… the audiences’ role into one that receives and responds’ (Heddon, 2012, p.120). This is an aspect of intimacy that will find itself in to out final piece/ experiment. We aim to create a place where the audience’s response drives the piece. We are fortunate to be able to do two performances (each to 10 audience members) allowing us to gain a wider reaction than we had originally hoped. It will be their questions and (un)willingness to explore the taboos with our guidance that will decide which course the performance takes. A group of participants that are engaged and involved will create a very different path to one which feels exploited or disconnected with the piece.

To enable us to engage with our audience from the moment of registration we will have them sign up through twitter (See Profile https://twitter.com/TabooLincoln ).This will allow us to form a relationship with them through virtual media which will contrast the performance and the ‘real’ interactions.  Intimacy naturally occurs when people share time and space, although as the Information Age is developing ‘we have come to accept the virtual as real, online as social and Facebook as face-to-face’ (Hulsey, 2011, p.23). The relationships formed virtually through twitter will form the foundation of the relation we will develop with in the performance. These contrasting forms adding to the jarring of content and context of the piece.

Can we create intimate relationships through social media?

The creation of relationships can most defiantly occur through social media, whether they are intimate poses a different question. To be with someone, to share the same air, to see the same things and experience the same atmosphere create the conditions required for me to obtain an intimate and close relationship. I believe that with the development of technologies and the diminishing efforts put in my members of the human race, the beauty of intimacy has the potential to become lost in a world of social media and virtual lives. As Hulsey states ‘more time living virtually seems to result in poorer functioning in the real interpersonal world. (2011, p.23).

Works Cited

Heddon, Deirdre, Iball, Helen, Zerihan, Rachel (2012) Come Closer: Confessions if Intimate Spectators in One to One Performances. Contemporary Theatre Review, 22 (1) 120-133.

Hulsey, Timothy L (2011) Empathy 2.0: Virtual Intimacy. Phi Kappa Phi Forum, 91 (1) 22-23.

Posted in Concept, Rehearsal Process

Taboo or not taboo?…. that is the question

Dildo

Cunt

Nigger

Cum

Spazdick

Paki

Coon

Fuck

Chink

Retard

Nazi/ Hitler

Madeleine MacCann

Muslim

Monkey

Anal Rimming

Golly Wog

Mong (mongrel)

Mongaloid

Cancer Aids

Fish lips

Muff diver

Satan

Burn in hell

Optimus Mong

Blackie

Prostate tickling

Shit stabber

Rapist

Paedophile

Do you think any of these word as taboos?

Do any of them offend you?

When do these stop being JUST words and become taboos?

What is taboo?

Taboo words are all around us in the 21st century. People of all ages, genders and social classes use swear words to help them express feelings which cannot be expressed by nontaboo words. When one uses these words it can lead to a sense of catharsis and ‘emotional satisfaction’ which cannot be obtained with the use of euphemisms (Jay, 2009, 154).

In the English language, taboos words and phrases come from 8 of catagories:

  • Sexual references (cunt, dick, fuck)
  • Disgusting objects (shit)
  • Blasphemy (oh my god, jesus christ)
  • Animal names (bitch, pig, cow)
  • Ethical – racial – sexuality – gender slurs (faggot, nigger, blackie)
  • Physiological or social deviations (retard, spazdick, whimp)
  • Ancestral allusions (son of a bitch)
  • Substandard vulgar terms (fart face)

(Jay, 2009, 145).

When taboo words are used, the speaker has carefully analysed the social situation and the company they find themselves in to assess which words are suitable in the given circumstances. Pinker (2007) cited in Vingerhoets et al. (2013, p.289) ‘distinguishes at least five different ways of swearing (1) descriptively (Let’s fuck), (2) idiomatically (It’s fucked up.), (3) abusively (Fuck you, you motherfucker!!), (4) emphatically (This is fucking amazing!), and (5) cathartically (Fuck!!)’.

Some words are seen as ‘more taboo’ that others. Shit is heard regularly in everyday life to express a sense of shock or anger but cunt is rarely uttered in a public space.  There is therefore, a scale of taboo words with phrases like oh my god, wank and shit and one ends and nigger, spazdick and cunt at the other.

Swearing and the use of taboos can also be placed on ‘a continuum from unconscious/ automatic to fully conscious/ controlled’ (Jay, 2009a in Vingerhoets at al., 2013, p.289). When stress is released or pain is felt an automatic response is uttered which can give a sense of catharsis. A conscious and controlled use of taboos and swearing may give a negative (or positive) response from those around the swearer. Swearing often reflects negatively on the swearer and is associated with lower status and lower classes. In contrast to this, swearing can, in some social groups, elevate the swearers reputation and  create a sense of solidarity within these groups.

We use swear words for a number of reasons. We can express feelings; we can offend; we feel a release after using them; we can tell jokes and make self-derogatory comments in order to level a playing field in a social situation and we can use profanities in passing comment (that hat is so fucking cool). The ways in which we use taboo words have positive, inconsequential and negative outcomes (Jay, 2009, 155).

We aim for our performance to be neither, positive, negative or inconsequential. But as medium to decontextualize the words seen as taboo by society.

Can these words ever be decontextualized?

In order to remove these words from the taboo context, we want to create a space that is safe and allows these words, and their meanings, to be relearnt. To do this we will be using a space similar to that of a children’s play area which is colourful, friendly and inviting. When we are children ‘we learn not to use [taboos] when we are punished by caregivers’ (Jay,2009, 153). Our performance is juxtaposing this idea as we encourage our audience to say these words and to experiment with their sound. We want to create a space which is judgement free and allows everyone in the space to play with these words.

The performance space and content will feel fragmented because the social-setting of the piece contrasts with the subject matter. This is purposeful as it develops the concept of these words being constructed form the innocent letters of the alphabet.

In order to test our performance and concept we have shown a small snippet of the performance to members of our class. We received mixed feedback; which was to be expected. Some people really enjoyed the performance and the intimacy of it, whereas others didn’t enjoy it and found the whole situation uncomfortable. The contrasting reactions to the piece emphasis the personal relation we have to taboo words and how each individual views their offensiveness.

 The verbalisation of these words feel more taboo that the visual of them being written down. When written they do not offend me as I view them as a collection of letters, just like any other word which can be skimmed passed. When spoken they have a different effect altogether and have the ability to shock and take people by surprise. They can, when verbalized, be forced upon a person, but when written, an individual can choose to ignore them. Through this performance I aim to challenge my perception, along with the audiences perception, of taboo words and what they mean.

‘We grew up in a culture where we quickly learned that swear words are the words we have to know,  but we cannot say them (Jay,2009, 157). This performance will allow these words to be said and experimented with in a safe and friendly environment.

Works cited

Jay, T. (2009) The Utility and Ubiquity of Taboo Words. Perspectives on Psychological Science, 4(2) 153-161.

Vingerhoets, J.J.M., Bylsma, L.M., De Vlam, C. (2013) Swearing: A Biopsychosocial Perspective.  Psychological Topics, 22 (2) 287-304.