The ******* Project

So…I’ve been thinking a lot about Failure at the moment (what else?!) Particularly, the word Failure. I’m starting to question my use of this word in reference to this project. When in doubt, I turn to the dictionary:

fail·ure

1. an act or instance of failing or proving unsuccessful; lack of success: His effort ended in failure. The campaign was a failure.

2. nonperformance of something due, required, or expected: a failure to do what one has promised; a failure to appear.

3. a subnormal quantity or quality; an insufficiency: the failure of crops.

4. deterioration or decay, esp. of vigor, strength, etc.: The failure of her health made retirement necessary.

5. a condition of being bankrupt by reason of insolvency.

6. a becoming insolvent or bankrupt: the failure of a bank.

7. a person or thing that proves unsuccessful: He is a failure in his career. The cake is a failure.

When looking at these definitions, I can see links between them and my own ideas, which feature various failures that can take place in the performing body (particularly in definitions 1-4). They are broad enough for failure to be what the subject makes of it. However, when thinking about the various responses to my project, perhaps the definition of failure is still an issue in my work. Perhaps it is too negative a word to use – when I use it, some people immediately prescribe value judgements to it, assuming that I am talking about ‘good’ or ’bad’ performance and ‘good’ or ‘bad’ performers. This couldn’t be further from the truth.

The Failure Project is NOT a negative one, it is not about telling performers there is something wrong with, that they are rubbish, it is not about judging the value of things. It is about honesty – being honest about one’s own physical limits, quirks and foibles, confronting them, and then utilising them in performance. I’m reminded of Jon Davison’s clown workshop, in which the performers were encouraged to confront the emotions they were really feeling, in the moment of performing, particularly if their improvisations were ‘failing’ (i.e. not funny), and to use these emotions in their performances. It was in recognising, confronting, and utilising this ‘truth’ that their scenes and improvisations came alive.

Maybe the whole enterprise should be renamed ‘The Honesty Project’?