Topic 4

Attempts on her Life (1997) is Martin Crimp's most famous play. It is a piece of experimental theatre in which there is no indication of which characters are meant to deliver which lines or even how many actors should be on stage at once.  There are no stage directions.  

Crimp has described the play as consisting of ‘17 scenarios for the theatre’. Although there are narrative elements to each of these scenarios, the play does not have an overall linear narrative. There is an implied character, Anne, who never appears on stage and by implication all of the scenarios are attacks on her individuality.

The dialogue consists mainly of short fragments in contrasting styles and voices. The actors/director have the responsibility for completing the gaps in the drama to produce a finished work, which means that each staging of the play is likely to be quite different.

This performance consists of a group of six candidates, who perform three sections of the play (1, 11 and 12)

The maximum group size allowed by the syllabus is five. However, in this case the centre was given permission to perform in a group of six as a result of circumstances affected by Covid 19.

Please note that a number of obscene words have been cut out to suit an audience watching in a school.

The piece lasts approximately 17 minutes.  The syllabus states that the scripted piece should be between 10 and 25 minutes.  However, since this is an ensemble piece, the candidates have suitable exposure time, nevertheless. 

There are no stage directions in the script. The candidates have staged the performance creatively using inventive lighting, space and physicality. There is a solid sense of ensemble throughout and each candidate has sufficient exposure time.

Section 1

The opening stage picture has the key character at the front, explores different levels and is effectively lit. The candidate with the opening monologue, Candidate 3, scores the highest mark. She uses exaggerated movement and vocalisation and sets the tone of the piece from the outset. The scene unfolds with flexible ensemble groupings and good use of space.

There is a lengthy blackout lasting 26 seconds, which stops the flow of the piece.

However, the following section picks up energy as the candidates move purposefully around the stage and physicalise the dialogue. They do this while the second monologue is presented in an effective story-telling way by Candidate 1 (second highest mark).

There is another blackout, a feature of the performance. The group has decided to insert long blackouts before the lengthier monologues and this affects the energy. However, they do pick up the pace each time following the blackouts.

The use of spotlights is effective to highlight each candidate when they perform the shorter answer phone messages.  These are subsequently interjected between the full-group montages to add contrast. 

Another creative feature of the performance is when the ensemble hum to underscore a monologue.

The pace quickens and the dynamic increases as the dialogue becomes more offensive and threatening. The candidates have replaced some dialogue, but the choice of words has a similar effect. Combined with the creative staging decisions, this is successful.

The ensemble lift Candidate 2 (the lowest marked candidate)

Section 11

Candidate 3 (top candidate) starts this scene communicating well with the other actors as well as with the audience.

There is more unison movement in this scene with a continued physicalisation of the dialogue by the ensemble. The script has been divided up between the candidates and they engage effectively with the more narrative style of this scene.

The ensemble repeats the chanting of individual words with suitable gestures and a range of levels.

A red cloth is bought out to symbolise the punishment of the artist who is creating ‘degenerate art’, a term used by the Nazi Party. The cloth is then thrown away in a dynamic fashion when they say the words, ‘Isn’t that the true meaning of these attempts on her life?’, re-calling the play’s title. This is an inventive way to visualise the historical reference to degenerate art in the script.

The scene is then cut at this point, and the performance moves immediately to section 12 which starts following a long blackout.

Section 12

A lighting change signifies the start of this scene. A sense of urgency is created by a strong ensemble approach, reinforced by choral speaking. Although the ensemble perform only one page of this scene, the cuts are logical, and the piece is well-structured. There is a sense of conclusion at the end.