Just Between Ourselves, a text-based happening
by John Arthur Sweet
August 15 from 6 :30 – 9 :00 pm
August 16 from 2:00 pm – 7:00 pm
August 17 from 12:00 pm – 5:00 pm, artist talk back session to follow
Capitol Centre Martini Lounge
150 Main St. E, North Bay, ON
In Just Between Ourselves, a man sits in a space and reads from his diaries, which date from 1987 to the present. Audiences are invited to come in and listen for as long or as short a time as they wish. There is no “stage”; audience members will stand or sit, lie on the floor, lurk in the doorway, sit beside the performer or stay as far away from him as possible. The text—the diaries—will be unedited. The artist won’t be going through them in advance other than to put them in chronological order. They will be discovering the texts at the same time as the audience.
Outside the door of the room where the “show” is taking place will be a box for people to put comments on what they’ve seen. Every evening, after the show, the artist will collect these comments and prepare a one-page “newspaper” that will be available the next day, reacting to the comments and also writing briefly of their own experience of the previous day. This newsletter will be a physical thing—a sheet of paper—in keeping with the tech-free character of the project.
This is a durational performance work that will progress over the course of three days. It is intended for ages 14+, and there is no admission fee.
Artist Statement:
Just Between Ourselves is an exploration of vulnerability and interpersonal connection at a time in human history when we need to come together more than ever to face the emerging climate catastrophe; and yet, paradoxically, our lives are becoming ever more individualistic and solitary thanks to social media and technological distraction.
I chose my unedited diaries as the reading material for this project because I want to avoid any kind of “performative” text. These diaries, by definition, are texts that were not written to be read aloud, or even to be shared (and I will not be editing them beforehand, or even looking at them other than to get them into chronological order). How will people react to someone sharing this type of text with them, especially without the paraphernalia of theatrical performance—lights, sound, costumes, sets, etc.? Can we still, in 2024, just be individuals sharing our lives with one another, directly, in person, in a semi-private ambience?
I believe it is essential, in 2024, that any theatrical presentation takes account of the audience. (We have enough cultural practices that are mediated through screens that permit only one-way communication.) There are three elements of potential audience participation in this piece:
- The 5-minute breaks at the end of each 25-minute reading. It will be interesting to see what audiences do during the break. Might there be an impromptu group discussion of some sort? Will everyone just leave? Will everyone hurry to check their phones?
- The comment box. A retro touch. I will probably be inspired to make a display of the comments, to showcase that beautiful, disappearing thing called handwriting.
- A daily printed newsletter, which is my way of responding to the audience’s response.
The entire event is deliberately un-technical because we live in a time of technological mania, and the first step forward involves taking our eyes off our various screens and distractions and listening to one another. In the end, all we have is our fellow beings. In this piece, I’m opening myself to those who share the space with me in the most direct, uncomplicated, unmediated, un-techy way I can think of. As I write these words, several weeks before I come to North Bay, the big unknown element is this: How will people respond? What will they bring to this “happening” in the theatre lobby?
About the artist:
John Arthur Sweet’s artistic journey has been long and non-linear. He was in his mid-forties before he found the natural form for his artistic expression: the self-written theatrical monologue.
John was born in Belleville, Ontario. At age 20, he moved to Toronto, where he studied acting at the New School of Drama. Upon graduating, he rapidly discovered he was emotionally unprepared to be a professional actor.
In 1987, he moved to London, England. There, he began to work in the publishing industry while continuing to act in various community theatres. It was in the UK that John discovered his real passion is theatre (and not cinema or television). In 1992, he quit his job to become an actor.
John has been a freelancer ever since, but his acting plans took unexpected turns. After appearing in semi-professional shows in London and Oxford, he returned to Canada in 1994, where he did some professional summer theatre and some semi-professional shows in Toronto. In 1998, he self-produced his first one-man show. In 2000, he did his first self-scripted show, at the Toronto and Ottawa Fringe Festivals.
After a foray into clown theatre, John discovered the monologue form with his show Waiting for André in 2008. Finally, John had found his natural artistic voice.
He has written and performed four more theatrical monologues, including 2023’s outside, in the laneway, under the stars, which was performed in the UK and Czech Republic before having its Canadian premiere at the ON THE EDGE Fringe.