Personal Reflection Of GET In The Bak Of The Van

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Lucy McCormick, of ‘GET IN THE BACK OF THE VAN’ (GITBOTV), influenced my practice through her solo workshop and subsequent conversations because I found her style and attitude towards creative work particularly stimulating and we share an enthusiasm for pushing theatrical boundaries. Her approach demonstrates that, “the question of boundaries and extremes is always in the room” (McCormick, 2014). In our workshop on ‘The Importance of Being Ernest’ Lucy got one of my classmates, Laura, to chew up cucumber and then spit it into bread. I was aware of the process involved and, of course, ate the cucumber sandwiches, to the vocal displeasure of the audience. Laurence was unwilling to eat but was encouraged to by my response. Jess, who had been …show more content…
With McCormick, anything is a possibility. She floats on the present moment, and there’s no knowing how far she’ll go” (Trueman, 2014). My willingness to go too far found me accepting the offer of sandwiches containing saliva-coated cucumber. In my Composition exam I chose to soak myself with a bucket of water and spit out jam, representing blood, whilst naked. My journal records “I present the audience with my naked form mostly because I am certain that none wish to see” (Jancis, 2014). During my presentation I stated, “You might cry, ‘What are you trying to prove?’ and I, like Ginsberg, will scream ‘nakedness’ and strip and offer you the chance to do the same“ (Jancis, 2014). Ginsberg claimed that his response to heckling resulted in his best performance of Howl (Nally, 2013). Before my show one of my peers commented “first I am going to look at your penis and then I 'm going to look at your mind” (Carrack, 2014). So far the purpose behind my nudity has not been for shock value but I am aware it risks overshadowing the content of the work in the minds of members of the …show more content…
Why was I prepared to be naked or drenched or stained with ‘blood’? It was not only to shock. I might be the first in my year to be naked for an examination but I am hardly breaking new ground. My examiners even asked me not to actually cut my tongue out. I hadn’t been considering it. Self-mutilation during performance is a boundary I am not tempted to breach. While Lucy believed that being willing to take one’s clothes off during a performance was not particularly radical, she asked if I would be willing “to draw blood? Are you going to kill yourself? Presumably not” (McCormick, 2014).
I consider consent to be vital in my work for both performer and audience and am interested in the active participation of willing audience members. In my piece ‘La Beauté est dans la Rue’ I hand a volunteer a script and use them to explore the idea of the predetermined nature of the work.

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