Audiences and Ensemble

September 20, 2010 at 9:14 am | Posted in creative process, creativity, Ensemble, improvisation, Physical Theatre, pleasure, Psychophysical Training, Theatre | Leave a comment
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The second week of performances start today. Six shows in six days. A couple are sold out, a couple will be relatively quiet I suspect.

I wrote sometime ago on this blog about the role of improvisation in the performance, how I aspired to a production where each performance was different in tone, pace, intensity to every other performance. It was part of an idea that every performance should be a unique live event, bringing together the work we have created over the last months with the particular audience who have turned up to watch on a particular night. In other words, the performance is not a fixed thing that we ”do” regardless of who is watching, rather that the performance is a living entity that we create, live and un-repeatably, every time we do it. Of course this puts particular demands on the performers, for they can never ‘coast’, never do a show (god how I despise this phrase) ‘on automatic’.

One of the questions that came up at the symposium last week was whether the audience were, however temporarily, part of the ensemble. My answer is that they might be. For the duration of each performance, if that performance is being made uniquely for a specific audience, then the composition of that audience – both its size and the quality of attention each audience member pays, will alter the nature of the performance. As such the audience is contributing to the making of the unique event that is unfolding in front of them. The audience is not made up of consumers but of collaborators – co-creators even.

Does this make them part of the ensemble? It depends of course on how exactly you choose to define ensemble, but it does make them a significant factor in the work. If they are not part of the ensemble as such, then certainly the audience are part of the community that is forged within the theatre for the duration of the performance, and that community is underpinned by the same ethics, courtesies and languages that underpin communication within the performance ensemble. As such, perhaps we can see the audience as part of an extended-ensemble.

This became very clear in the performances at the end of last week. On Friday we had a tiny audience – only five people. I spend enough of my time making and watching experimental and unconventional art to know that it can be very uncomfortable for both audience and cast when the event seems to ‘fail’ because hardly anyone has turned up. This especially possible when there is an ensemble of nine working at high physical intenstiy to an audience of about half that number!

Yet Friday was a wonderful performance. The cast performed the show entirely appropriately – they did everything the show required of them but at a level of intensity and engagement that allowed the small (and therefore exposed and vulnerable) audience to  feel as if they were being talked with rather than shouted at. It did not feel as if the audience was too small, rather that the scale of the audience and the scale of the performance matched. In the moments after the show, the five members of the audience all began to talk with each other, to discuss, enthusiastically the experience they had just shared. They were comfortable being in the theatre and felt able to remain there, to own the space, after the performance had ended. Temporarily it was their home.

The next night we had a bigger audience. So the cast made the show bigger. It was more intense, more forceful. In the moments after the show, no one spoke. The audience sat in silence and experienced the performance space and the echoes in the room after what was an intense and powerful experience. They too felt that they belonged and were able to sit quietly until they were ready to leave.

Two audiences. Two different shows, underpinned by a common way of human individuals choosing to be with one another. The audience may or may not be part of the ensemble, but they are integral to the community that is forged by an ensemble performing. Not because we give TO them, not because they take FROM us, but because we pay attention to one another and find a way of sharing our stories. We work together.


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