About Intimacy Practice

Intimacy, within theatre, is defined as any moment of contact between cast members. It is a moment in which an individual may feel uncomfortable if proper precautions are not in place…a moment that they could feel vulnerable. Examples of intimacy may include (but are not limited to) :

• Kissing
• Intimate touching
• Creating chemistry
• Non-contact, through moments of extreme emotion

Intimacy practice is important in understanding what is appropriate and what is not. It gives us an idea of how actors should be treated on set, their  rights as a performer and allows actors to give their say in the work that is being created. Intimacy Director International UK (IDI-UK) is a company that specialise in networking intimacy directors and choreographers. Their pillars of safe intimacy provide a guideline of how everyone involved can stay emotionally and physically safe. This involves:

• Context – understanding the context of the story and being aware of the intimacy involved.
• Communication – frequent check ins, being open and honest in the process.
• Consent – consent MUST be given from both actors involved. It can not be given by anyone else, as this would be classed as permission.
• Choreography – scenes should be choreographed for the comfort of both actors. It should not change without consulting an intimacy choreographer first.
• Closure – a moment of leaving the character/situation. A way of recognising that this is a production, to separate the actor from the character that they are playing. 

 

“I structure and frame everything from kisses to caresses in a way that makes the actors comfortable, is repeatable, and is believable”

Wilson, L (2018)

  

Intimacy Workshop

In November 2019 I was able to take part in an intimacy workshop, at the York St John business school campus, in London. There, we were taught by an intimacy director and workshopped consent. We were able to explore the topic, both in partners and in group activities.

The workshop gave us an insight into the difference between permission and consent. Permission can be given by anyone, however only the people involved can give consent. It drew our attention to people not wanting you to touch particular parts of their body and respecting this decision. One activity in partners, allowed us to practice asking for consent, by approaching an individual and asking if you could touch a part of their body. The descriptions of what you wanted to do had to be in detail and accurate, such as “can I touch your right thumb with my left knee cap.” This was to ensure that both parties understood what was happening and nothing came as a surprise, which relates to the context and consent aspects of the the pillars.

Another similar group activity saw us going around the circle, asking to shake hands. A simple handshake is often seen as a respectful greeting, however it may make certain people uncomfortable. The task was more difficult than we previously imagined, as we had to ask for consent (“can i shake your hand”) without outstretching your hand before they have responded yes or no. This was to stop the other person feeling pressured into saying yes. 

How this experience can relate to teaching

In my chosen career with primary school children, I would use the techniques I have learnt from this topic, in order to keep up to date with the schools’ safeguarding policy. It is important in a setting to understand this document, as well as the protocol if an issue arises and who should be contacted for help and support. Children have the right to a positive education, therefore I would want to do everything I can to keep them safe. This would also include educating the students to hold a vague understanding of consent. 

When I have visited settings for my volunteer work, I have always ensured to ask before I tapped a student, or used another object to insinuate turn taking. In our ‘It’s Not OK’ workshop, we used the ’emotion ball’ which was passed to students if we wanted them to add text or emotion to their work. This allowed us to avoid tapping any of the students and making them uncomfortable. 

The same could also be said for those with particular learning disabilities. Some individuals find it extremely uncomfortable and upsetting to be touched or in close proximity to someone. Within a setting I would want all students to feel safe, therefore these are techniques that I will be able to incorporate into my day-to-day teaching.

 

Bibliography

IDI-UK (2020) Support the Industry Change. #ConsensualCreativity [Internet]. Available from  https://www.teamidi-uk.org/aboutus [Accessed 22nd April 2020].

Wilson, L (2018) Communication, context, and consent: why more Texas theaters are hiring intimacy directors. ACTX. [internet] 8th October. Available from: http://artsandculturetx.com/communication-context-and-consent-why-more-texas-theaters-are-hiring-intimacy-directors/ [accessed 25/04/2020]