Bonney suggests that “Solo performance, in its naked presentation of a single person(a), is very much a product and reflection of a century that has given rise to the hedonism of the twenties, the radical individualism and activism of the sixties and the so-called “me decade” of the eighties.” (2000, p.xiv). If solo performance is a reflection of these decades, then it clearly must be reacting against an idea or concept that has happened previously. Perhaps this may have been the collaborative devised work of many theatre groups who work specifically as companies to generate new work.

What is clear is that solo performance work is “boundary-breaking” (Bonney, 2000, p.xi), original and has a diverse range of different work.

“There is often a “phenomenal” quality to the live shows, seemingly infused with the infections, raw energy of spontaneous storytelling.” (Bonney, 2000, p.xiii).

This spontaneity and live feel to performance is a notion I could perhaps explore during my work in solo performance. This would mean that a degree of flexibility would need to be strategically left within a performance, so that the work appears to be unfinished and also allows for unexpected ideas to happen in the space. As a result of this, the audience will watch the performance even closer, trying to determine moments that seem spontaneous and others that ‘seem planned’; “In presenting their personal observations, conviction and fears, share an intimacy with their audience, built purely from their live presence and their words.” (Bonney, 2000, p.xii). This intimacy that is shared with the audience allows for a performer-to-audience rapport that can build. The audience are not only responding and relating to what they see, but they have a direct involvement with the performer and their actions directly affect the outcome of the performance.

Since the audience is such an important feature of solo performance, it therefore is clear that the performer must be acutely aware of this: “Without the buffer of an ensemble of actors and the need to deliver lines on cue, the performer is free to follow the rhythms and dimensions of each particular audience and locale.” (Bonney, 2000, p.xiv).

Reacting to the audience and being aware of their presence is something that I will be very aware of as I begin to create my own solo performance. I will also embrace the freedom I have to create a unique piece of solo performance like no other, as Bonney says “The potential for expression is limitless.” (Bonney, 2000, p.xiv).

Works Cited

Bonney, Jo (ed.) (2000) Extreme Exposure: an anthology of solo performance texts from the twentieth century. New York: Theatre Communications Group.