Extreme Exposure: An Anthology of Solo Performance Texts From the Twentieth Century (review)

Extreme Exposure: An Anthology of Solo Performance Texts from the Twentieth Century. Edited by Jo Bonney. New York Theatre Communications Group, 2000; pp. iii + 425. $18.95.

In Extreme Exposure: An Anthology of Solo Performance Texts from the Twentieth Century, editor Jo Bonney taps the unique voices of forty-two artists whose works are rarely seen in print. This book samples the theatrical form of solo performance from its days in vaudeville comedy with Beatrice Hereford and Jackie "Moms" Mabley in the early 1900s to the contemporary scene with such artists as Dael Orlandersmith, Marga Gomez, and Roger Guenveur Smith. Here are Brother Theodore at Carnegie Hall in 1959, and Lenny Bruce in a 1962 performance at Off Broadway in San Francisco. In Extreme Exposure, Lily Tomlin searches for Signs of Intelligent Life in the Universe, Andy Kaufman plays Carnegie Hall, Laurie Anderson tells Stories from the Nerve Bible, and Whoopi Goldberg is the "Girl with the Long, Blond Hair." It is a distinguishing characteristic of the artists in this book that, though they make forays into other areas of theatre and film, they have always returned to the solo performance stage. Bonney is herself an insider in this world, having directed the work of Eric Bogosian since the early 1980s; as a result, she has come into contact with and included in this collection also many lesser-known, but exceptionally creative artists.

In her introduction, Bonney clearly states her criteria for selection of texts and authors: "What was the genesis of the solo form I was witnessing? . . . Who were the originators and role models? Who had contributed a genuinely fresh voice over the decades? In the absence of the performer's presence, do his or her words disappear or can the written text function as literature or as a script for others" (xiii)? These are not idle questions. The world of solo performance is one in which the spoken word is wedded to the energy and action of a performer who is intimately connected with his or her audience. At times, capturing the fluidity of such work on the printed page seems an impossible task. Another consideration is the intensely personal nature of the material many of the artists produce and the impact this has on the out-of-context accessibility of the material. As Bonney says, "Although a piece may have originated with improvised ranting in a club or as a highly interactive diatribe or as a quietly autobiographical narrative, the printed words now proffer the possibility of being appreciated in a different medium. Perhaps another performer, in a new context, for a new generation, maybe in another language, will rediscover the performing life of the words" (xv).

Each artist was asked for his or her personal choice of introductory writer and these elements of the book are themselves most illuminating. The writers range from close friends and collaborators to critics and scholars. Without exception, these introductions vibrate with excitement about their subjects, often including personal anecdotes and descriptions of performances that greatly enhance the reader's appreciation of the works that follow. Black and white photos of the performers in action are well chosen and full of the energy of the theatrical moment. While the texts are arranged chronologically "to create a sense of their historical progression" (xix), Bonney has included an alphabetically ordered section of Artist Biographies and Bibliographies (399-419) for ready access.

In her introduction, Bonney makes the point that "In solo work, the contemporary cultural moment is quickly assimilated and fed back to us" (xiv). Current events, television shows, and films are often used as points of ready recognition between audience and performer. Danny Hoch's street-smart Blanca fights with her boyfriend over wearing "Boricua and Proud" T-shirts for the Puerto Rican Day Parade (357). Deb Margolin inhabits the mind and body of Monica Lewinsky in Bill Me Later (325). Reno Once Removed...