Regrets I’ve Got a Few


Debra Batton at the Butterfly Club 2011

Photographer: Trevor Streader

About Regrets I’ve got a Few.
Regrets I’ve got a few began in 2008, as a solo work –originally performed at Under the Radar, Brisbane in 2008. It was performed again as a second work in progress performance at the Butterfly Club in Melbourne in 2011. In making this work I have not been certain of its purpose / outcome and I think it will remain in development for another 8 years, at 60 one might be ready to perform one’s memoir! It is unquestionably a mid life crisis piece, made due to the need to make it not as a strategic career choice.
Regrets I’ve Go a Few remains fluid, it is in progress but yet it exists as a 30 min piece. It is a physical theatre performance, it traverses circus, dance, theatre, performance art and clown. During the devising process I was surprised by the amount of text generated despite the physically based tasks. This work began as an investigation into the history embedded in the body, body memory as a literal place to structure a performative memoir. Without having a particular obligation in terms of outcome, I was able to follow this desire to use my voice – both as texture and text. It is my first solo show and the closest I have come to creating a script. The central set element, the Scaffold tree inspired in part by French visual artist / sculptor Louise Bourgoise) is like a family tree, a medical stand, a sailing mast and a circus apparatus. The choreography examines time, the body, the perpendicular (the intersecting point of horizontal and vertical planes), the text is first person and intimate. It also has middle aged, mid career attitude and while personal it is also touches on universal themes of evolutionary biology, the aging body, and medical interventions, sexuality and resilience. In many ways this work is physical theatre as both form and content.


About Debra Batton

Debra is a highly revered independent artist working across multiple art forms. As a performer and a director, Debra is interested in experiments with theatrical form and mining her life experience, often subverting common philosophies in search of a more human performance.

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