The Use of the Pavis Questionnaire in the Process of Analysis

Patrice Pavis devised his questionnaire as a tool to deconstruct performance into its component parts to give focus for close analysis. It takes the form of questions, on the most part divided into more specific subsections, about artistic and technical decisions and the performances relationship to text.

The questionnaire itself is broad in its scope, in that every production system is included. By including the seemingly obvious, e.g. where does the performance take place? It allows the analysist to find signs and meaning in otherwise overlooked or forgotten aspects of the performance.

"Tropicana' is an unusual performance, with little dialogue, and even less story line, yet it created very strong reactions amongst the audience. As two questions (9+10) are directly linked to text and storyline, this may impact on the questionnaires effectiveness, as may the inclusion of only one question about the performance as a whole, as the impact of 'Tropicana' is based around the bombardment of the audiences senses. The Shunt theatre company are site-specific artists, and whilst the questionnaire is detailed in its reference to staging, it asks just one question about the venue (11(a)), which is of course central to all other aspects of analysis.

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Question 2 (b) and (d), are closely related to "Tropicana's' impact. Particularly in the first half, there were no distinctions between acting and audience space nor on or off stage As we entered the first area, a small, seemingly exit-less room, containing a member of what appeared to be railway staff, a great sense of confusion was created by immediately being trapped within in the 'acting space'. This was then contrasted during the interval, when essentially the entire vault became audience space; we were free to wonder through designed set sections and explore the props.

The technical staff were not hidden during the section performed in the vaults, indeed we were led past the control desk, which was illuminated with the same blue lights that had led us to our seats. Opposite the desk was a section of stereotypical 'theatre' seating, from which several of the technical staff were watching us intently. I found this made me feel as if I were part of the performance rather than a passive audience member. This lack of an off stage re-enforced the theme of being trapped, and also linked to the idea of subversion of theatre going conventions which runs throughout the piece.

The use of stage properties (question 4) within the piece is incredibly important. Within the vault space itself very few props were actually used, that which were central to explaining the story. Le, The Lift Operator, travelling through the central archway in a wire cage, followed by a white car painted with red crosses, which I read as being an ambulance. After a black out, a hearse was pushed in the opposite direction, indicating The Lift Operator had died. This description could also work as a cross reference to question 9 (a)

In the section preceding this the objects used in the sketches each demonstrated an idea; the smashing of the pineapple by the scientists represents their repression and the 'rivalry between them and the exotic dancers. The fluffy toy dogs link with the ethereal voice's commentary in the lobby area, and also becomes part of the recurring reference to bestiality (the male scientist's fondness for rabbits is discussed, as well as a dancer referring to the scientists as "Dog fuckers")

This last point leads us neatly to the relevance of question 13 (a); what did not make sense in your interpretation of the production? For me, many aspects of the play puzzled me. Why, for example, was there a heavy metal guitarist and black clad girls dancing provocatively during the funeral of The Lift Operator? I believe that Shunt introduce elements to their performance that have the sole purpose to confuse. The choice of d in the lobby area had, in my opinion, little to do with the main drama of the piece; however, it did serve to increase the audience surprise at having arrived via a locker, by being a complete contrast to the initial room.

The most information about the piece can be gleaned from question 11, Audience, with (a) being the key to understanding the context of the piece. The performance has no programme, and no particularly detailed publicity. The company have staged no previous production in this venue, therefore, we arrive at the venue with few expectations (11(a)) Those we do arrive with are basic theatre going conventions e.g. sitting in a comfortable chair, a readily available exit, refreshments at the interval ect. These conventions are played with by the company throughout the piece; retaining an interval, complete with a bar and sandwiches despite the venue not being conducive to a relaxing mood.

Due to the structure of 'Tropicana' the spectator is key to creating meaning (11(d). We were divided into small groups as we entered, and introduced to the story by different characters. This gave moments throughout the play different significance for each starting group. When I first attended "Tropicana', the male scientist briefed me. This allowed me to recognise his rabbit reference in the second half, which other audiences may have missed. During my second visit, the dancers, who were warm and friendly, led me in. This made me identify and "root" for them, whereas previously, they seemed remote, frightening and animalistic.

The Pavis Questionnaire has allowed me to effectively find and analyse some of the main themes and ideas within Tropicana". However, I believe my initial concerns to be valid. The lack of reference to the way elements were combined is detrimental to our understanding of the overwhelming and oppressive nature of the piece. The relevance of text to this particular performance is over represented, which may skew any further analysis on the completed questionnaire. It is also crucial to the context of the piece to discuss the nature of the venue in more depth than is prompted, indeed it is hard to understand how the disparate themes and motifs e.g. dancing girls, death and The Lift Controller produce a cohesive performance out of the context of either comparing or contrasting with the vaults. Although it could be argued that the final two questions could be used to cover these concerns, their lack of specificity would not provide adequate stimulus for analysis.

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