A Reflection on Intimacy and Performance

Intimacy within performance is defined as ‘any moment which portrays intimate physical contact.’ (Teamidi-uk.org, 2019). There has been increasing accounts of sexual violence and abuse, and issues around sexual misconduct have become increasingly extensive, particularly within the film and theatre industry.  Upon completing my third year, I took part in an intimacy workshop which was conducted by Yatrit Dor, an intimacy director who works with the Intimacy Directors International (IDI).

IDI is an ‘organisation pioneering the best practices for theatrical intimacy, simulated sex and performance nudity for theatre, TV and film’. (Teamidi-uk.org, 2019).  They are an organisation that believe intimacy within theatre, TV and film should be executed in a professional manner that protects the safety and welfare of performers. The workshop taught us the vital importance and acknowledgement of safe intimacy in the arts.

Theatre often requires us as performers to work intimately with others in a theatre space. As theatre makers, we are constantly exposed to the danger of getting too lost within the experience of theatre making and performing. There have been many situations where actors have been left vulnerable within their transformation into a role, resulting in actors being exposed to certain emotions and circumstances which could be damaging to a person’s well being. There is no difference between an actor and an employee, meaning regulations against sexual violence should equally apply to actors and artists as if they were in the mainstream workplace.

  • What performers and other theatre professionals may tend to forget is that while they are artists, they are also “acting” as employees, be it of a theatre company or an individual producer. And, as employees, they have certain rights under federal, state, and sometimes city employment law. (Davis, 2017)

Within theatre and the film industry, many directors can be in a position of power which could result in ‘lot of control in a rehearsal environment, and control can occasionally lead to abuse’ (Davis, 2017). This workshop was an essential way of highlighting the importance of practising safe intimacy within theatre and the arts and highlighted the importance of intimacy and consent within performance.

There are many times where social boundaries may be challenged within my practice, and this workshop taught me how to ensure that I could meet these social boundaries in a way which would keep the emotional and social welfare of my performers safe. There may be times where I may have to choreograph an intimate scene, and this workshop was vital to teaching me how to appropriately execute intimate scenes in a safe and comfortable way.

During the workshop Yatrit Dor  highlighted the importance of consent within a rehearsal process. She explained the process of casting a performance and talked us through the appropriate way to choreograph and conduct an intimate scene on stage. She spoke about consent and how it should be given freely and how a performer could withdraw that consent at any time.

The workshop highlighted the importance of safe and effective choreography; For example, if two performers had to rehearse a scene which involved performer A placing their hand on performers B leg, and performer B or A no longer felt comfortable with this, then they have the right to refuse this moment of contact and discuss with the director an alternative more comfortable moment of contact. We also participated in an exercise which taught us how to both ask, withdraw and compromise consent. We worked in pairs, and with our partner asked if we could touch a body part, our partner would either agree, disagree, or would offer an alternative for example, if I asked my partner if I could put my hand on their arm, they would respond by saying “no, but you can put it on shoulder” etc.

This was a valuable workshop as it has prepared me for working professionally with other actors and has given me the experience to be able to conduct a safe and comfortable environment for my performers. It has taught me the necessary skills to execute intimate scenes effectively and comfortably and has given me the confidence to do this professionally. During my third year, I have taken a more directorial role within my practice and this workshop was valuable to me, as it has given me the awareness of how to safely direct future theatre projects. There may be many situations where I may be creating challenging and intimate work, and the use of this workshop was essential to helping me understand how I can make my practice respectful and safe for my cast and performers.  By Partaking in this workshop, I now feel that I have the knowledge to ensure that my practice can be made safer and more comfortable for both myself and my performers.

 

 

 

  • Betts, P. (2019). Intimacy Directors Home. [online] Teamidi-uk.org. Available at: https://www.teamidi-uk.org/ [Accessed 16 Apr. 2019].