Intimate Inter-actions: Returning to the Body in One to One
                        Performance

Zerihan, Rachel

doi:10.16995/bst.174

Cited by 2 publications

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“…Drawing on the work of the British human geographer Julian Brigstocke and anthropologist Tehseen Noorani, who discern four traditions of attunement ( 2016), I suggest that various types of attunement exist. Attunement in the work of John and Oosterlinck not only coincides with harmonious modes of interconnectedness and synchronisation through similarity -as has been particularly popular in writings on participatory performance (Zerihan, 2006;Machon, 2013;Crois, 2015;Heddon and Johnson, 2016). As I argued on a previous occasion, the work of Katrien Oosterlinck also incites an experience of attunement through difference (Crois, 2019).…”

Section: Mis-/dis-/attunementmentioning

confidence: 94%

A Queer Curation of Audience Participation

Crois¹

2022

Peripeti

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Section: Mis-/dis-/attunementmentioning

confidence: 94%

A Queer Curation of Audience Participation

Crois¹

2022

Peripeti

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Reflections on Intimacy and Narcissism in Ontroerend Goed’s Personal Trilogy

Alston¹

2012

Performing Ethos: International Journal of Ethics in Theatre &Amp; Performance

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This article looks at the functioning of intimate experience in three one-on-one performances by the Belgian theatre company Ontroerend Goed, grouped together as the Personal Trilogy: The Smile off Your Face (2003), Internal (2007 and A Game of You (2010). It will be argued that 'the experience' is rendered a site of aesthetic engagement in these performances and that this rendering encourages the participant to reflect on the terms of intimate interaction. Some potentially productive discrepancies in these performances will be discussed in addressing the production of experience, such as belief and belief under false pretences, control and being controlled, and a desire for self-fulfilment in relation to its being undermined. These discrepancies will be theorized with reference to Ovid's myth of Narcissus and Echo and Richard Sennett's comments on narcissism inThe Fall of Public Man (1974), where a provocative model of 'narcissistic participation' will be proposed as being relevant to this kind of work. Perhaps the deliberate undermining of intimate experience may open up space to formulate a politics of participation premised not on a balance of power between performer and participant, but, rather, on an affective revealing of its elusiveness.This article looks at how the aesthetic rendering of intimate experiences in Ontroerend Goed's Personal Trilogy might impact on how we theorize a politics of participation in one-on-one theatre. Broadly speaking, one-on-one theatre is usually designed to be experienced by individual audience members in isolation from anyone other than a performer, or performers. While the term 'one-to-one encounter' is also being used in this edition of Performing Ethos, I find that there tends to be an important element of

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Intimate Inter-actions: Returning to the Body in One to One Performance

Cited by 2 publications

References 0 publications

A Queer Curation of Audience Participation

A Queer Curation of Audience Participation

Reflections on Intimacy and Narcissism in Ontroerend Goed’s Personal Trilogy

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