By T. Maguire
This publication explores the best way the modern proliferation of different types of storytelling perform in foreign theatre has created a particular set of functionality practices. Texts and performers mentioned comprise cut up Britches, Billy Connolly, Anna Deavere Smith's allow Me Down effortless, Spalding grey, David Hare's through Dolorosa
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Extra info for Performing Story on the Contemporary Stage
Example text
Characters may of course describe themselves, where their self-presentation within a narrative frame might be considered as a kind of extended descriptive performance. The work of Smith and Goldberg may well be seen as extended and concentrated forms of such autocharacterisation. Every time each performs a character telling a story, the story reveals as much about the speaker as it does about the storyworld, even where it is not specifically autobiographical in focus. In Stones, Charlie and Jake swap backstories.
Entering as Fontaine, she wore a dark green scarf tied around her head – she’ll use a black and white bandana and sunglasses in the later performance; she uses a cream shirt over her head as the six-year-old African-American girl who wants to have blond hair; with a knitted hat, she voices the Jamaican woman. In the later production she wore a short-sleeved black shirt with a pink stripe down the front, a white long-sleeved top visible beneath, with faded denim jeans and purple shoes. Her glasses perch on the end of her nose and her hair is in beaded cornrows.
In each, the teller is likely to be sparing in the details provided, giving enough information to activate the spectator’s imagination, to complete the metonymic process. In Stones, the representation of the character of Aisling exemplifies how storytellers might describe 48 Performing Story on the Contemporary Stage their characters. In his first speech, the character, Mickey Riordain, describes her thus, ‘thon one has a gob on her would turn milk’ (2000, 18). Mickey’s description is particularly effective since it gives a very clear impression of Aisling’s manner and her physicalisation and locates Mickey within his own particular society, through his turn of speech and accent.