SELF-ESTEEM

Touch // DryWrite

I myself have never been able to find out precisely what feminism is: I only know that people call me a feminist whenever I express sentiments that differentiate me from a doormat.

- Rebecca West

In her new play Touch, Vicky Jones explores what the fruits of feminism are, and questions who has the real power in a relationship. Dee, a 33-year-old single woman, has left a failed relationship in Wales to establish herself and make a life in London. She tries to connect with herself and build meaningful connections through a variety of online dating sites, but each liaison widens the gap between her expectations and reality.

Dee confronts Miles, an older man who is part of a group involved with S&M, and argues that he is trying to make her weak. ‘It’s no fun for me if you are weak’ he responds, because that is the game. We pretend we are strong to be mastered by another. Although Dee talks as if she is in control of each relationship, she is actually a victim of what her partners want from her. Eddie, the first man we meet on stage, tells her that ‘there are woman out there who are doing better than you at being a woman. Who enjoy being a woman. And who have their fucking shit together’. But getting her shit together is the very reason Dee rented her tiny bedsit in London.

The big question becomes one of what being a woman is supposed to be in this liberal, forward-thinking twenty-first century. As Elf Lyons writes:

You can’t use multiple relationships to fill the void and give you the gratification that you should be able to give yourself. More love doesn’t mean better love. If you are dating multiple people in order to enhance your self-worth, you end up feeling like out-of-date hummus, feeling jealous anytime anyone chooses to spend time with anyone else, resulting in you treating your partners badly and without respect. 

And this is exactly what happens not just to Dee, but to far too many single thirty-something women, with their biological clock ticking, their hormones buzzing and constant reminders that they are not cohabiting, reproducing, or being what they thought they would be at this stage of their lives. 

Some of the confusion rests with the new generation of men who support the concepts of feminism and yet do not know what is expected of them as partners. As Mark White writes in Psychology Today 

It is difficult for men, especially those of us who appreciate and embrace the importance of being respectful and considerate toward women, to balance those attitudes with the animalistic, non-rational expressions of passion and desire that women want from us.

That is the dilemma faced by singles today. We have commercialized sex to the point where partners are touted as objects to shop for on sites like Tinder or in pornography for momentary excitement and passion, but when it comes to the long haul we are at a loss. No one knows how to react. Just where is the line between subservience and co-operation, dominance and abusive control? 

-       Lynn Ruth Miller

Touch is at the Soho Theatre, London until August 26th 2017. A new production of DryWrite's  Fleabag is at Underbelly, George Square during the Fringe from 21st-27th August.

 

Links relevant to this diagnosis:

Touch - Soho Theatre

Fleabag - Underbelly George Square

Why Men Find It So Hard to Understand What Women Want - Psychology Today

Women’s Attitudes Toward Sex - Huffington Post

Has Feminism Worked? - Telegraph

Elf Lyons - Polyamory: A New Way to Love

THREE JUMPERS // Unearthed Theatre

A council worker watches on as a young man takes a running jump to throw himself off a bridge. He pulls back at the last moment. The young man, elegantly dressed, starts to converse with the dry witted street sweeper and the tone shifts. Things are revealed to be more complicated, as things often are.

Soon we are joined by two others and a queue forms at the bridge. A queue of suicides. They start to squabble and confer and details start to drip down to form a patchwork of connections. Unemployment, childlessness, the absence or death of love. The mutual connection through one female character.

Three Jumpers treats suicide as something more than just a one-off kind of ultimate madness, or a sudden burst towards self-annihilation. It shows the sometimes farcical, even grimly humorous faces of self-loathing and depression. It’s all in the conversation- after all, isn’t the absence of dialogue, the feeling that internal suffering is something to be born stoically and alone, that one of the biggest factors in suicide being the biggest killer of young men. It’s not that the conversations are flawless. They are often stilted and spiteful, yet strangely fluent in the way that desperate peoples conversations often are.

The play unfurls like a morality play without a moralising streak. Through its humor and subtlety it shows suicidal tendencies not as aberrations, but part of the complexity that constitutes being human.

- FG

Three Jumpers played at Greenside @ Infirmary Street - https://tickets.edfringe.com/whats-on/three-jumpers

Self-Determination: A Buffer Against Suicide Ideation- http://selfdeterminationtheory.org/SDT/documents/2012-Bureau_SaLTB.pdf

From Beckett to Stoppard: Existentialism, Death, and Absurdity- http://home.sprintmail.com/~lifeform/beckstop.html

An Essay on Influence in Waiting for Godot- http://www.samuel-beckett.net/Penelope/influences_resonances.html

Campaign Against Living Miserably- https://www.thecalmzone.net/

TRIGGER // Christeene

Christeene comes riding in on an inner pony, an imaginary animal representing self-esteem and unapologetic sexuality. Each night, working whilst a shedload of explosives erupt from Edinburgh castle above her, Christeene is at work to create the ambience of the kind of sex disco that you always wished you were invited to but are not quite convinced you’d know what to do at if you were. The inner-pony is a my-little metaphor of freedom, a call to abandon proprieties and niceties in favour of a new kind of holistic sexual transcendence.

The music is really good, and the audience shuffle their feet if nothing else. But the sections of funkenstein’s monster hallucinations are also accompanied by quiet monologues on Christine’s surreal version of mindfulness training. That’s when she declaims like a motivational speaker that we accept ourselves and each other. Christeene’s sex-positive pro-dirty celebration reminds me of the work of other incredible artists creating similarly dishevelled celebrations of sexual politics. It shares a joyous aesthetic and enjoyable seriousness with Annie Sprinkle and Beth Steven’s work on ‘ecosexuality’, and a messianic zeal with David Hoyle’s recent activism around mental health and political engagement. Like The Famous Lauren Barri Holstein’s work, and Lucy McCormick’s, it is unflinching in the bodily nature of its political undertow.

Christeene’s aesthetic and language is uncompromising, but its generosity is apparent – if you found your way into the room then you’re part of the tribe. The irresistibly catchy rap is one part of it, but it comes with a call to self-care and self-pleasure.

- Lewis Church

Trigger played Underbelly, Cowgate through August 28 - https://tickets.edfringe.com/whats-on/christeene-trigger

Christeene - http://christeenemusic.com

Christeene ‘Tears from My Pussy’ Video - https://vimeo.com/32751567

What’s Sex got to do with Mindfulness? - http://www.mindful.org/whats-sex-got-to-do-with-mindfulness/

Annie Sprinkle and Beth Stevens’ Ecosexuality - http://www.feministtimes.com/feminism-has-not-happened-yet-an-interview-with-annie-sprinkle/

David Hoyle Interview with Chelsea Theatre - http://www.chelseatheatre.org.uk/interview-david-hoyle/

The Famous Lauren Barri Holstein - http://www.thefamousomg.com

Lucy McCormick ‘Fringe Messiah’ - https://www.theguardian.com/stage/2016/sep/01/lucy-mccormick-triple-threat-comedy-autumn-arts-preview