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19 weeks by Emily Steel is a solo show performed by Tiffany Lyndall-Knight based on Steel’s own experience of terminating a pregnancy at nineteen weeks after a foetal diagnosis of abnormality. Drawing on interviews with Steel and Lyndall-Knight, along with my experience as an audience member of the 2018 season of 19 weeks in Adelaide, this article interrogates the embodied dramaturgy of 19 weeks with a focus on the conventions of bodily memory (Whitney) and frame of perception (Wagoner). These conventions curate the audience’s emotional proximity to the world of the play and emphasise the protagonist’s subjectivity. Through this interrogation we can better understand the embodied dramaturgy of 19 weeks and perhaps, by extension, the multifaceted languages of the body in solo performance more broadly.

Motivation is highly important for participation in musical activities and musical achievement. In the context of higher music education (HME) in Serbia, we sought to examine the relationship between students solo performance opportunities and two key components of the Determination (STD) - basic psychological needs (Competence, Relatedness and Autonomy) and motivational regulation styles (Amotivation, External, Introjected negative, Introjected positive, Identified, Intrinsic). The convenient sample of 197 HME students (performing modules; Mage = 23.88, SD = 3.4) completed two inventories: Basic Psychological Needs Satisfaction and Frustration Scale (BPNSFS; Chen et al., 2015) and Relative Autonomy Index Questionnaire (RAI-SRQ; Sheldon et al., 2017); they also provided data on the frequency of solo performances during HME. The results indicate that our participants basic psychological needs are highly met, with the need for Relatedness being significantly less satisfied and the need for Autonomy significantly more frustrated than the remaining two needs. The motivation for participation in music activities in our sample could be described as predominantly autonomous - Identified or Intrinsic. Fulfilment/frustration of basic psychological needs and motivational regulation styles predicted the likelihood of public solo performances, with Amotivation and External motivation being significant predictors. Our findings suggest that students with higher external motivation for participation in musical activities are more likely to have solo performances. In line with STDs postulates, our findings are seen as a reflection of the dominant approaches to music education in Serbia, and are discussed as such. Keywords:

The purpose of this study was to examine the effect of accompaniment quality on the evaluation of solo instrumental performance. Undergraduate instrumental music education majors (N = 71) listened to and evaluated the accuracy and expressivity of six excerpts of Haydn’s Concerto for Trumpet in E-Flat Major, which we created by synchronizing recordings of good and bad performances of a trumpet soloist with good and bad performances of a piano accompaniment (as well as a no-accompaniment condition). Participants also chose one “best aspect of the performance” and one “aspect needing most improvement” for each excerpt. Significant main effects for accompaniment condition (good, bad, or none) and solo condition (good or bad) were found, in addition to interaction effects. Results of a Solo × Accompaniment interaction signified that participants’ ratings were not independent of accompaniment condition, and this effect was moderated by the performance quality of the trumpet soloist. Additionally, participants noted different “best aspects” and “aspects needing most improvement” based on both solo performance quality and accompaniment condition.

Which works from our generation will still catch the attention of clarinetists in the next century? Works that come to mind as having firmly established themselves in clarinet culture in the past 50 years include Robert Muczynski's Time Pieces, Joan Towers Wings, Steve Reich's New York Counterpoint, Scott McAllisters Black Dog, and the John Corigliano Concerto, to name a few popular American works. [...]a series of articles will appear over the next year of The Clarinet, with one \"Master Class\" each issue in addition to feature articles that provide even more perspective on these works.

After watching Enzo Vasquez Toral's Cuir Devotion at the Memphis Fringe Festival in 2019, I was curious about the research and performance methodologies that built this humorous and moving hybrid solo piece that features a queer take on a Catholic patron-saint fiesta called the Tunantada in the Peruvian Central Andes. Creator Vasquez Toral is a performance studies scholar who researches the interplay of colonial legacies, Indigenous ways of knowing, and contemporary queer/trans epistemologies within the Tunantada through conventional ethnographic, auto-ethnographic and performance ethnographic modes. What follows is a transcript of our conversation about the creation, development, and goals of Cuir Devotion featuring Vasquez Toral and a surprise guest.

This study demonstrates contribution to the field of knowledge and practice of applied theatre. Over a ten-year period, Ava Hunt researched, co-wrote, performed and toured three solo productions: I’m No Hero (2009, 2010), The Kites Are Flying (2013) and Acting Alone (2014–2018). The productions experimented with form, integrating film, immersive participation, and verbatim/autobiographical storytelling techniques to explore the intractable Israeli–Palestinian conflict, asking: How is solo performance able to engage diverse communities in difficult questions about social justice, and support the development of critical thinking skills to empower bystanders and to make a difference to marginalised communities?Hunt, an artist, researcher and teacher, utilised a/r/tography, a practice-based research methodology (Springgay, Irwin, Leggo and Gouzouasis, 2008), to propel the development of the three productions and the published work. I’m No Hero (INH) interwove the heroic acts of two women: Irena Sendler (who saved 2,500 Jewish children from the Warsaw Ghetto under Nazi occupation) and Rachel Corrie (who was killed by Israeli Defence Forces while protecting Palestinian children). The Kites Are Flying (TKAF) was adapted from Michael Morpurgo’s book for children. Set in Palestine, TKAF explored the pedagogy of hope in oppressed and incarcerated communities. Acting Alone utilised verbatim and autobiographical accounts of field research conducted in Palestine, together with participatory elements, to transform the hierarchical relationship between spectator and performer. These works led to the published article ‘Acting Alone: exploring bystander engagement through performer/audience relationship’ (Hunt, 2019), which is submitted alongside the three performances as a coherent body of four published works.The article coined the term tritagonist audience to empower bystander audiences through offering a rehearsal of agency in relation to an intractable international conflict. This critical appraisal frames and traces the development of Tritagonist Theatre through the four submitted works and proposes a toolkit that can be used in further research, pedagogic practice and applied theatre. The toolkit could be developed further and/or extrapolated to other conflicts. Using the active tritagonist model, the toolkit is intended to contribute to spectator empowerment.

In this article, the author focuses on the solo performance “Words in the Sand” (Žodžiai smėlyje, based on Samuel Beckett’s play Happy Days, premiere in 1998) by Birutė Mar, one of the most prominent creators of solo performances in Lithuania, with the aim of defining the originality in the interpretation of this representative drama of the absurd, produced by the actor. The creative principles of the Japanese theatre noh and butoh are observed in this performance, which makes it possible to talk about an original intersection of the ideas of Western existentialism and Eastern philosophy and aesthetics. Emphasis is placed on the specific performativity of the solo performer. The author suggests that while creating her personal “holy” theatre (a notion introduced by Peter Brook), Birutė Mar renews the “traditional” metaphysical thinking in Lithuanian theatre, which she combines with original and contemporary ways of artistic expression.

In Renaissance and Restoration England, many popular plays functioned as “voyage dramas,” offering opportunities for vicarious tourism to their audiences (McInnis 2012). The theatre became one site in which to receive and negotiate information about elsewhere, at a time before mass access to travel was available. The tagline of London’s Young Vic theatre – “It’s a big world in here” – suggests that something of this spirit survives in twenty-first-century performance. It is a sentiment that we find also in the festival director Mark Ball’s assertion that “theatre is my map of the world.” But the version of the world created here is necessarily skewed by a politics of mobility (Cresswell 2010): the uneven frictions, routes, speeds, levels of comfort, and power relations affecting how theatre-makers and productions move around the world. And contemporary audiences are themselves likely to come to the theatre with multiple and unequal experiences of travel. This article asks what function contemporary voyage dramas serve in a context of the widespread mobility of people, finance, goods and ideas, and what might be the political challenges of representing travel in the theatre. It investigates the claim to authenticity, the negotiation of privilege and remoteness, and the role of the performer as mediator in theatrical travel narratives. In particular, it focuses on Simon McBurney’s solo performance (2015), arguing that its virtuosity served in part to tame – rather than to confront the challenge of – the world it sought to represent.

To assist solo practitioners in navigating the one-person show wilderness, we borrowed a seven-step structure from Dolly Garza's 1993 Alaskan Marine Safety Education Association manual, \"Outdoor Survival Training for Alaskan Youth.\" Prompted by NCA's \"Communication for Survival\" theme, we utilized these seven steps of recognition, inventoiy, shelter, signals, play, food, and water as malleable metaphors for key stages in the often-stressful solo performance expedition. The first step of solo performance survival, recognition, is the honest acknowledgement of production goals, vision, scope, ethics, tensions, risks, and potential challenges. The second step, inventory, addresses the resources available and potential show needs, ranging from skills, methodology, environment, selfreflexivity, technology, production roles, crew needs, checklists and calendars, and what still needs knowing.