Two tiny plays on the essence of theatre

Bone (1993) and Kiss Me (1994)

by Nadia Ross

Photo: Franciska Heinze

Bone (1993) and Kiss Me (1994) emerged at a moment when late-20th-century theatre and performance were increasingly questioning the traditional separation between performer and spectator. Rather than treating the audience as passive observers, many artists were exploring theatre as an encounter whose outcome could be changed by the people in the room.

These two tiny plays reduce that idea to its most elemental form. In both, desire becomes the transformational force that carries action across the fourth wall.

In Bone, a dog’s desire for a bone draws the performance off the stage and into the audience. In Kiss Me, desire travels in both directions: the performer calls out to the audience, and the performance remains incomplete until someone answers by crossing onto the stage.

The boundary between performer and spectator is not simply broken; it is transformed through an exchange of desire. The two works ask how little is needed for theatre to happen — and suggest that theatre begins with wanting something from someone who is there.

1. Bone

1993

Written and performed by Nadia Ross
With Zoot in the original role of the dog
Presented at BANG (Da Da Kamera) at The Theatre Centre, Toronto

Lights up.

Performer and dog on leash stand centre stage against the upstage wall. The dog pulls the performer forward, toward the audience. Just beyond the edge of the stage, in the audience area, lies a large dog bone. The performer somewhat resists being pulled forward. Finally, the dog breaks through the fourth wall and gets the bone.

Lights out.

2. Kiss Me

1994

Written and performed by Nadia Ross
Presented at Buddies in Bad Times, Toronto

Lights up.

Performer sits centre stage on a stool.

PERFORMER (to the audience): Kiss me.

The performer repeats “Kiss me” until someone from the audience breaks through the fourth wall, crosses onto the stage, and kisses the performer.

Lights out.