Crimp Her Life Analysis

Before examining Crimp´s work and the role of audience in it, it is worth mentioning that Attempts on Her Life was destined by its author to be set for performance in the theatre (Zimmermann 2002: 105). This brief insight brings us back to Jerzy Grotowski´s vision of theatre as “what takes place between spectator and actor” (qtd. Freshwater 2009: 24).
However, let us remember that looking, especially in the case of such an imaginative and visually flavorful play as Attempts, is not a necessarily passive activity. Instead, the audience participation is in many cases mandatory. Such powerful strategies as “subtle and creative uses of smell, touch, and taste in performance, as well as sight and hearing” (2009: 19) were used in numerous productions
Besides, the actors are performing in a very close proximity to the audience. As one of the spectators notes, “at many points during the show, I realized I could reach out and touch the cast, which isn’t something I am used to” (Chelsea 2015).
Interestingly enough, even the taste factor is included. As Sierz observes, “in the final scenario, which looked like a dinner party, the actors appeared not in character but as themselves, in their ordinary clothes: with the play over, the cast enjoy a meal; wine has been poured and the smokers have lit their cigarettes.” (2006: 51). Numerous anonymous spectators also note that on certain productions of Attempts they were encouraged to bring canned food and drinks with them.
That all invites the audience of Attempts to be anything but a group of mere observers. What we can talk about is something which is meant to be a powerful identification of spectators with the dramatic events. Spectators are forced to emotionally “immerse themselves into the performance´s “here-and-now”s” (Lehmann 2006: 87) even if this can be very uncomfortable, unfamiliar,
However, each hypostasis is important and assign a spectator a particular role for that particular moment. They are not the bare viewers anymore, but art gallery visitors encouraged to FAVOR (OR NOT) the art critics’ OPINIONS; they are the potential customers of a new car, a consumerist role which is most definitely familiar to most of them;they are scrupulous film-previewers, they are passionate admirers of a megastar, to mention but a few.

To put in other words, “the spectators are no longer just filling in the predictable gaps in a dramatic narrative but are asked to become active witnesses who reflect on their own meaning-making and who are also willing to tolerate gaps and suspend the assignment of meaning.” (Lehmann 2002: 6).
I would like to point out several ways of audience´s active spectatorship
Going back to the POINT OF caring, empathy seems to be a powerful device in the play. The audience empathizes with Anya, her entire world being destroyed. as the author puts it,
- And that is why we sympathize.
- Of course we sympathize.
- Not just sympathize, but empathize. (Crimp 1997: