Intimacy in Theatre and The Arts: A Reflection
To value the importance of facilitating a safe environment for all participants to work in must be endured by maintaining correct direction, choreography and coordination In order to create moments of intimacy. The necessity of this practice is reassuring a performer of their emotional safety while protecting their own rights. Intimacy in theatre and the arts includes, but is not limited to; kissing, physical contact, or touching personal or private areas on another performer’s body. The adjective ‘intimate’ is characterized by a close or warm personal relationship, which is often needed to be replicated in performance for moments of story-telling, or accompanying characters’ narratives, both holding a mass amount of impact for audiences perspectives. In my final year of university, I was involved in an ‘intimacy in the arts’ workshop that emphasized the importance of consent, whilst raising awareness of re-occuring issues that performers may endure.
INTIMACY is defined as any moment which portrays:
- Intimate physical contact – this may include, but is not restricted to:
- Kissing and intimate touch
- Creating chemistry and attraction
- Intimacy between parents and children
- Intimacy between friends
- Portrayal of sexual actions
- Portrayal of traumatic events which involve intimacy
- Portrayal of sexual violence
2.Non-contact based Intimacy – can include moments of tension between characters, attraction, chemistry or intimacy where no contact exists such as nudity.
(Intimacy Directors International UK, 2020)
Frequently in theatre, performers are asked to work intimately both on-stage and off (for example, in rehearsal), therefore it is crucial to be aware of intimacy as a process within the theatre. An understanding of intimacy ensures all members of creative teams are aware of and therefore can create security for an individual’s personal boundaries. Consent must only be given by the person(s) directly involved to avoid emotional or physical exposure and avoid disrespecting their personal boundaries. An example of this could be a director has granted permission for two actors to kiss in a scene, however, that does not mean that the actors themselves have given permission for this to happen. If consent from either actor is not given, there should be a creative alternative in order to progress the intimacy of the scene that is comfortable for everyone involved. Despite the fact that I have given the example of kissing, it should be made clear that consent should be given for any form of contact.
Another example could involve actor A being directed to place a hand on actor B’s shoulder, both actors must have given consent to touch, or to be touched. This gesture may not seem as intimate as kissing or embracing, yet consent is still needed to do so, as both participants must be comfortable with the involvement of their own bodies. The IDI-UK workshop I participated in was a safe space in which we were allowed to ask questions in a free-flowing environment; one activity included asking permission to place a part of our body on someone else’s, and encouraging the response of either a yes or no. Having the freedom to respond however you chose highlights the importance of consent and that it is ok to say no. If a participant said no to a touch during the activity, one would not proceed with the action and mutual respect is exhibited. Throughout the workshop we continuously discussed our personal boundaries, for example prior to an exercise involving close working alongside a partner. This was done to avoid contact on any areas on our bodies that could potentially make us feel uncomfortable if touched. This confidential understanding of each other’s boundaries allowed us to communicate honestly and positively which is a significant aspect in ensuring that everyone feels safe and secure.
We talked about how Intimacy Directors International high-lighted the ‘pillars of safe intimacy’: context, communication, consent, choreography, and closure. Explaining in detail how to tackle actions with caution allowed us to understand that even when everyone involved has good intentions – if an intimate scene is not properly choreographed, performers can feel embarassed, hurt or disorientated.
Context: Within the first rehearsals it is vital to have discussions surrounding the story, scene or any ideas with the director or chorographer. You should agree on an objective of the story among the cast and crew: specific elements such as the context of the play itself, set, costume, music and especially the use of lighting if intimacy is involved.
Consent: Consent must never be assumed when it comes to physical contact and it is always within the actors right to say no. Before beginning an intimate scene with someone the actors should speak to their fellow cast and intimacy director to set their boundaries on being touched. When rehearsing the actors must give consent before starting, this consent can be taken away at any time and the touching must stop.
Communication: Communication is key to creating a safe space for actors, stage managers and directors as I.D.I want people to refrain from using diverse, judgemental or exclusive langue when rehearsing or performing scenes along with other actors. As well as this there will be no offensive or inappropriate jokes being made while working and people should be sensitive to triggering terms regarding intimacy such as “rape scene” or “orgy” and instead keep this neutral such as “scene 4”. As well as this when an intimacy director gives you permission to touch another performer, you must communicate consent prior to the physical contact. Remember to check in with your fellow actors and do not take silence as a yes. If a fellow actor does retract their consent and it is the intimacy directors job to adjust the choreography and no moves may be added or taken away without express permission of the intimacy director. At the audition stage if any characters are required to be nude or simulate sex then it must be detailed and to what extent described. Auditions should not include nudity unless it is a recall, and therefore 24 hours’ notice must be given, in this circumstance the actor may bring a third person to the audition. When accepting a role that includes intimacy, expectations and boundaries should be discussed in a transparent manner before the rehearsals begin.
Chorography: Intimate scenes should never be rehearsed by the actors by themselves as his could lead to emotional and/or physical danger. IDI establishes certain rules to make sure there is safety and wellbeing precautions involved for those who take part in the intimacy choreography. This involves having a third party, who is not an actor or intimacy director in the room while rehearsing the intimacy choreography as having an outside eye helps ensure the safety of both the actors and intimacy directors. There may be scenarios where the intimacy director needs to demonstrate blocking but this must be done in the same way as it would with an actor by asking for consent first.
Closure: Closure is the final measure of safety. IDI suggest that in order to separate the real(actor) relationships from imaginary (character) relationships rehearsals should end with a closing moment that established the intimate contact has ended. Intimacy directors are encouraged to introduce some way of disengaging from the intimate scenes for all the people involved. This can carry on into self-care rituals for actors etc as they take adjust from their previous intimate mind set.
Moving forward with my practice, I will continue to be respectful of actors in my care and can confidently approach the issues of consent. My safety and the safety of every member of the team involved is my main priority and I feel that I have full understanding of the importance of performing intimacy in a safe, protected environment. I understand the importance of making everyone in the production aware of the process for reporting harassment or abuse, and will continue to reinforce the standards of behaviour that is acceptable. Maintaining dignity in a workplace should always be assured, whether that is ensuring protected characteristics are dealt with sensitively, or protecting and supporting those who may witness or be involved in the intimate action. However it is approached, I will aim to ensure consent is always received from all members involved.
Teamidi-uk.org. 2020. Intimacy Directors International UK. [online] Available at: <https://www.teamidi-uk.org/> [Accessed 18 April 2020].
Gabler, J., 2020. Consenting Choreography: How Intimacy Consultants Keep A Safe Stage | City Pages. [online] City Pages. Available at: <http://www.citypages.com/arts/consenting-choreography-how-intimacy-consultants-keep-a-safe-stage/567563031> [Accessed 18 April 2020].
Morey, E., 2020. The 5 Cs Of Intimacy: In Conversation With Siobhan Richardson. [online] TheatreArtLife. Available at: <https://www.theatreartlife.com/one-and-done/5-cs-intimacy-conversation-siobhan-richardson/> [Accessed 18 April 2020].