Monthly Archives: November 2013

Comfort Eating.

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For me the feeder/gainer relationship is rather confusing. Firstly, as a 20 year old girl in the 21st century I find that despite my better knowledge, I judge my own appearance against the appearance of other women. At what is apparently an “average” clothing size 12 I spend a lot of my time looking at myself and wishing I could be a bit thinner here, or a bit more toned there. Why? “Advertising and media play an enormous role in perpetuating women’s obsession with thinness. The media constructs idealized images of the thin and well-toned body and also promotes consumer products that help people, especially women, achieve this well-maintained body” (Allen and Sachs, 2007, p. 3).Not only that but  “quick fix” diets, fat burning pills and exercise DVDs are forever thrown in the paths of the self conscious under the pretense that buying their product and following their schemes will guarantee a happier “you”. As Lupton points out “given the current elision of sexual attractiveness with a slim body, many individuals make efforts to conform to this ideal” (Lupton, 1996, p. 137) because while”A slender/attractive body is understood as a healthy, normal body…an obese/ugly body is understood as unhealthy and deviant” (Lupton, 1996, p. 137). Though media and fashion image has changed drastically sinse the publication of Luptons Food, the Body and the Self (1996), it is arguable that opinions on female body image have not changed much. So for me, to see people who want to be fat is a massive contradiction to the social norm.

(Barcroft TV, 2013)

The video above shows a female gainer who is striving to gain weight on a daily basis. Like many other gainer women she feels more attractive in her overweight state than she did when she was a more healthy size. Not only that but she relishes the idea of other people seeing her putting on weight and is of course reaping the financial rewards that publishing her weight gaining gives her.

In a strange way I find myself envious of women like this. Yes, they are over weight, but they are more comfortable in their own skin than many women who strive to be thin. They have pride in their bodies and the confidence to sexualize it, knowing that there are people out there attracted to their fat. They use their weight to their advantage, gaining pleasure not just from eating, but from seeing others get pleasure from their eating; from feeding and having control over it. Some of these women even turn their diet into a business, advertising themselves to the market of punters who find these grandiose women sexy.

Secondly, and indeed predominantly, I find myself somewhat disgusted. Being as obese as many of these gainers are or aim to be goes against all medical knowledge and in my personal opinion common sense. Is it not greedy and unfair that they can eat so much, to the point of gluttony and not spare a thought for the people in the world that could live off of the food they consume in a day, for months? And how is it fair that these women push their bodies to the point that they need the care of others to function on a daily basis?  Why anyone would put their life at such a risk on purpose is beyond my comprehension. Can they not see that they are diminishing both their quality and quantity of life?

I am aware that being as uneducated as I am on the subject it is easy to pass judgement in ignorance. But even if I was knowledgeable on the subject, I am very aware that as I mentioned at the beginning of this post, I am looking at the feeder/gainer phenominon through the eyes of one particular type of person. It just so happens that while we may all take different things from exploring this topic, our performance group all fit a relatively similar demographic; we are all 20 year old, white, westernized women, who have been influenced through various means over our lives to believe that to be fat is to be unattractive. To understand how gainer women feel would be rewriting a life’s worth of understanding of ourselves, our appearance, and societies views on female appearance and attractiveness.

With that in mind, I am stil grappling with the questions of whether it is better to be fat and unhealthy but happy and live a shorter life, or be thinner and insecure, but be healthier and most likely live longer?

Works Cited

Allen, P., & Sachs, C. (2007). Women and food chains: The gendered politics of food. International Journal of Sociology of Food and Agriculture.

Barcroft TV (2013) Big Women Funnel Feeder: BBW Wants To Be As Fat As Possible [Online Video] Available from http://www.youtube.com/watch?feature=player_embedded&v=jfxPWK47eLg [Accessed 21 November 2013].

Lupton, D (1996) Food, the Body and the Self. London: SAGE Publications Ltd.

Who draws the short straw? Work in Progress.

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We met as a group to discuss finalisations for our work in progress performance on the 21.11.13. The first thing we want to test with an audience is what we should be wearing. We decided each feeder and gainer will wear something different for us to see what works most effectively. Secondly, we needed to decide on the high calorie foods we will be bringing in. For our work in progress we chose a few foods known for being treats so we can get the most out of the experiment. Having already planned our set up i.e. where the table of food will be presented and audience sat, it was now time to discover who would be a feeder and who would be a gainer. We wanted to leave this decision until as late as possible, so chose the afternoon before. Below, I will place a video of the straw drawing process where we discovered our fate.

After establishing the roles we will take tomorrow and planning our experiment, hopefully now with an audience to test we can discover what elements to our performance will work most effectively.

Last Words, Last Suppers.

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Reckless Sleepers “share the agenda of Forced Entertainment in their rejection of the processes of ‘proper theatre’ or ‘big theatre’ that attempts to present ‘realism in an unrealistic way” (Tomlin 2008, p.361), and their piece Last Supper does just that; mixing real life final words, with those which can be imagined to be true, while all over a last supper. Sat at an elaborate dinner table themselves, “the Last Supper is a performance piece where we invite our audience to dinner, to eat and drink with us” (Reckless Sleepers n/a, online), creating an unconventional performance space within which we currently think of theatre.

http://vimeo.com/64879300

Interestingly, “it…gives voice to the voiceless” (Gardner 2004, online), despite the fact that the performers then go on to eat their own last words. These last words exist in a liminal space; taken and then imitated on stage from actors for whom the words will not be their last, and then being eaten, digested, as though they had never been there in the first place.

“While you might wonder why it’s worth doing, I am inclined towards the view of Timothy Leary who, staring death in the face in 1996, reportedly declared: “Why not?” ” (Gardner 2004, online)

Our performative experiment is dealing with food and eating, so to disregard Reckless Sleepers’ performance of The Last Supper would be unwise. Their intimate setting mimics that which we are hoping to create. Generally you don’t invite a large number of people round for tea, let alone strangers, and this becomes less likely when the topic of conversation is something highly personal. To reveal the last words of those who have died, either factual, fictional or imagined is something highly personal. Often those words are only said to loved ones, or to themselves, and not broadcast for the wider population to hear.

The notion of hosting a dinner party is not something private, and is indeed considered a social event. So to mix a private and public medium within their performance is interesting and thought provoking. The juxtaposition of the private and public is something which we are hoping to showcase within our performance of Feeder. The Feeder/Gainer fetish is a highly personal and private engagement when enacted within couples, so to host it in a similar style to The Last Supper, and framing it for an audience is unusual and adds another dynamic to the established task of the performance. With a contrast to The Last Supper, whose performance came alive by the use of words and language, our performance will have none.

Chewing.

Gagging.

Clinking.

Crunching.

The ominous and deafening silence will have its own underscore. However, this will not be from anything prepared, but from organic noises created by the piece itself. With the silence, the audience will be unwilling forced to focus more on the sounds and noises which occur naturally, therefore drawing them further into the performance. Though this might make some audience members uncomfortable, I personally feel that any other addition of sound would detract from the live performance, thereby giving the audience some form of escape; but when a performance is as intimate and personal as ours aims to be, the option of escape or distraction should be minimal. Our performance wants to push not just the performers’ limits, but the audiences’ too.

Works Cited
Gardner, Lynn (2004) ‘The Last Supper’, The Guardian, 19 November:
Online: http://www.theguardian.com/stage/2004/nov/19/theatre1 (accessed 27 November 2013).
Reckless Sleepers (n/a) The Last Supper, Online: http://www.reckless-sleepers.co.uk/project.php?id=7 (accessed 27 November 2013).
Tomlin, Liz (2008) ‘Beyond Cynicism: The Special Imperative and (Future) Contemporary Performance’, Contemporary Theatre Review, XVIII (3) August: pp. 355-369.

Man vs Food

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Food is the main energy supply for growth, movement and repairing the body. From birth, living things start growing, gaining weight and changing.  (BBC, 2013)

But what happens when we challenge our bodies into eating large quantities of food or even the food that our bodies/taste-buds disagree with? This experiment is not only physically demanding its experimenting with the concept of ‘mind over matter’. Pushing our bodies until we physically cannot eat anymore, this may be shown through gagging, being sick or to the point where we cannot physically eat anymore.

Our initial was to experiment with was foods we didn’t like. This involved foods such as sardines, soup, tomatoes, bananas (these things were things which each individual brought to the experiment)  We started with putting foods out on a table, non of the foods weren’t particularly presented in the way you would usually eat them, this made me question the effect in which the presentation of the food effects us individually.  A item of food I brought to the experimental was soup which was in a tin this was then poured into a bowl in front of us and the sound which it made being poured in a bowl, was quite deafening, which  heightened the effect of the experimental  making it an intimate experience for myself. The use of hearing the food, crunching, slopping, popping, chewing draws people to watch and engage with that particular food, which is something we are looking at to explore in our future experimental.

Once we had established the different types of food, all of us waited nervously awaiting to see if we would get the food which we didn’t like. This particular part of the experimental was challenging as we were anticipating what was to come, not knowing the unknown was a big part of this experimental. A member of third year drama assisted us in our experimental, who made the decision to what each of us should eat, and this was to experiment with the audience and our interaction with one another. The use of having assistance allowed us to not have any influence in picking foods that people like or dislike.  The highlight of this experimental for all of us was to challenge our bodies to eat sardines. This personally was very challenging as I was nearly sick, this concept of pushing my body to eat something that I do not enjoy and necessary created a response. Although the concept of this experimental was not to be sick, but to push ourselves the awfulness of this experimental creates impact when something bad is happening. Most people associate food as pleasure, something we enjoy doing and when someone is not enjoying or reacting in a way that doesn’t seem the ‘norm’ people tend to be interested and engage with the content, how much is too much?

Work Cited

-BBC – Learning Zone Class Clips – Why do we need to eat? – Science Video. 2013. BBC – Learning Zone Class Clips – Why do we need to eat? – Science Video. [ONLINE] Available at: http://www.bbc.co.uk/learningzone/clips/why-do-we-need-to-eat/2288.html. [Accessed 22 October 2013].

Feederism: What it means to be a female.

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Having looked into the concept of the audience picking out foods for us to try, we began to think about the idea of having no control. This then sparked a few thoughts about ‘feederism’. It seems this sexual fetish is all about one person having control over another, as you can see in the video below.

Within the sexual fetish it is often ‘the man preparing food and caring for the woman’ (Richardson, 2010, p.113.), but is this really care? As an all-female group it seems we all strive to look a certain way, and the idea of putting on weight would completely take away how confident we feel about ourselves sexually. Therefore, for our performance we began to question whether it would make sense for us to be dressed provocatively, or whether we should be dressed as ourselves as personally we would not find anything sexual about the experience at all. Also, during a day our bodies will not realistically show much change so instead it would be more testing how we handle loss of control over something so personal.

The idea of being fed and having no control for us seems daunting and not knowing what has been put into the calorific meals that have been created. If for our performance we decide last minute who will become the ‘feeders’ and who will be fed, this will ensure even more loss of control and test ourselves. We are looking at having the three chosen feeders to cook calorific meals the night before. The entire process will be filmed so audiences will be able to see what has been put into the food that the other group members will be consuming. If the film is silent and the people being fed have their back to the projection, they will yet again be giving complete control to their feeder.

‘Digital media is wonderful because it can be endlessly duplicated and/or presented without fear of the tiniest change or degradation. But, it is this very quality that is antithetical to the fluid and ever changing nature of live performance’ (Carder and Beardon, 2004)

With our piece, however, the idea of changing performance will only be strengthened. As time goes on and more food is consumed, the film showing what has been put into the food will become more grotesque for audiences as they can see how the quantity is affecting the gainers. Time is another crucial element with this piece. How far do you take it? We have been considering either keeping the feeding process going until all the food has been demolished, or continuing the experiment until the person can literally consume no more. If this is the case it may make for a more interesting piece as depending on who randomly gets chosen to be fed, different reactions and different amounts of consumption will occur. It seems this experiment will be more about pushing ourselves and testing our own limits. The feeders will have to deal with potentially pushing someone else too far, where as those being fed will have to push past personal boundaries of how they feel about their bodies and how much they can consume. In the video below we began to practise giving up control with a few foods we enjoy. As our experiments continue, we will slowly build up the intensity of giving over control.

Works Cited

Carver, G. and Beardon, C. (2005) New Visions in Performance: The Impact of Digital Technologies. Lisse: Tayler and Francis e-Library.

Richardson, N. (2010) Transgressive Bodies: Representations in Film and Popular Culture. Surrey: Ashgate Publishing Limited.