THE INNOCUOUSNESS OF THE ORDINARY

In single person monologues the actor is often standing relatively still; there is little by way of sweeping physicality, in that the composition of the visual image is relatively static, especially when working with unaltered physical scenographic environments, apart from lighting.  The activity of performance is one of delivery and one of leakage, of revelation and self-betrayal.  Through subject and physicality, through the mind sets, assumptions and values revealed implicitly and explicitly in monologues the audience is obliged to rely on the nuances of language and story structure as much as on the visual, with far more emphasis on verbal codifications than is the norm in contemporary cultures, where the visual dominates. Playwrights afford their characters inner-constructed narratives that audiences will buy into, or from which the characters themselves can salvage something, whether it is by way of dignity, non-accountability, and irresponsibility, fuelled by unconscious need, imperatives to procreate, drugs, or alcohol addiction or by a supreme hatred of the innocuousness of the ordinary.

Jordan, Eamonn (2006)  “Look Who’s Talking, Too: The Duplicitousness Myth of Naive Narratives”,in Wallace, Clare (Ed) MONOLOGUES:  THEATRE, PERFORMANCE AND SUBJECTIVITY.  Prague: Litteraria Pragesia, pp. 125-156