Final Performance

The feedback from our first showing helped us stucture our inal show.

We were told to capitalise more upon the idea of GAZE, and so we added mirrors to my scene with Marco, shifting their positioning at intervals, to capitalise upon my vulnerability and the idea of voyuerism. We removed our backstage opening, and used the mirrors as a fourth wall to create a sense of “backstage”. We also added the deconstruction to the end, removing our chiasmatic structure and going more for a slow DECLINE/REMOVAL of persona. This led to quite an emotional final scene, leaving Nick Wood to state that he was worried for our emotional safety.



Post Show Discussion

Notes #12 – Emotional Safety

“To discover the person behind the persona.” 

Critique of perfomance. Inside view to the perfomers’ lives.



We asked:

How much of our vulnerability do we want to show and discussed personal fears/what we found difficult about our process, which included:

  • exploring drag
  • the idea of being “truly sexy” – sexualisation
  • wanting to be liked
  • hiding via overexposing
  • watching self perform
  • not wanting to be emotional
  • being on the outside

discussion of removing our own masks.

Ultimately leaning into these led to our movement phrases, and poetry and monologues at the end of the play. “Little Miss”


Notes #11 – Manifesto

We spent two days writing ALL the elements we were using – i.e. gaze, lights, dance, disembodied voice, burlesque, madonna, etc – over 51! – and cut them down by choosing what to eliminate and what we wanted to keep.

We also asked ourselves:

What do you want to say within the company?

Where could the work be taken? – marco encouraged us to think as a COMPANY, not as a student piece-


From our individual responses, the manifesto was FINALLY birthed:

Through evoking and manipulating the senses, Stationist Macquillage aim to explore what lies beneath the surface and give a voice to those who are struggling to find it. We challenge normalised approaches to living and stand for the outsider. We seek to find beauty in darkness and darkness in beauty, whilst keeping playfulness a priority. 

^ This rehearsal was a giant breakthrough as we were now on the same page and I feel that ensuing rehearsals were more fluid and productive. Would use this method again!

Notes #10 – Showing


We had a session – callie’s – in which we experimented with camera, shadow, mirrors and fairy lights.



This idea of the camera as a ‘mirror’ fed into our next showing, and the mirrors themselves, bled into our next showing, in which we performed a deconstucted Like a Virgin dance,- marco warped the music, the fabulous human!-  and also showed a Butoh exercise, which felt uncomfortable and voyueristic. We were encouraged to lean into what makes us feel uncomfotable, and into this idea of sexy gaze/voyuerism, and once again commended for our cohesion as a group.

-see showing below-


After said showing, audiences commented on my body as ‘sexy’ or ‘the perfect figure’ which raised interesting questions around the topic of gaze.

Notes #9 – CHARACTER

Blaze Starr (born Fannie Belle Fleming; April 10, 1932 – June 15, 2015) was an American stripper and burlesque comedian. Her vivacious presence and inventive use of stage props earned her the nickname “The Hottest Blaze in Burlesque”.

I was 15 and working as a waitress at the Mayflower Donut Shop in Washington, D.C., when a man named Red Snyder told me I was pretty and ought to be in show business. I said I had been raised to believe it was sinful to dance, but I could play the guitar. “Good,” he said. “I’m going to make you a star.” Red said he wanted me to dress up as a cowgirl, play the guitar a little and then strip. I had never heard of striptease before.

But Red sweet-talked me and said the girls who did all had to be really beautiful. When you have never even shown your belly button, the thought of stripping is scary. So when I went onstage for the first time in my red-and-white cowgirl outfit, I used my hat to cover myself. After the show I threw up. It wasn’t that I thought there was anything wrong with stripping. I was just overwhelmed by the emotion of getting into show business.[5]

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