Vulnerabilty and Feminity in Monologue

Fleabag reflects upon an intimate sexual experience by asking the audience; ‘do I have a massive arsehole?’ (23). The man on the other hand, thanks her with ‘genuine earnest’. He fails to recognise that her consent is her merely ‘[letting] him’ (23). Fleabag is apathetic and detached from the act, feeling indebted to him because he was ‘nice to [her]’ (23). The monologue is utilised here as a tool to bring depth to otherwise normal experiences - how she reacts is where the entertainment lies. Monologues can be described as ‘pure a form of theatre as it gets’, in which ‘there’s no hiding place’ (Stewart, 2013). This is an intensely vulnerable form, Fleabag sits in a dark room. Femininity and this form of vulnerability seem to work in conjunction with one another. An example of this form of vulnerability is Marina Abramović’s performance art piece Rhythm 0 (1974). Here, the woman is placed into the spotlight, and then acted upon. Stripped and dehumanised. As described in the video linked, when Abramović began to move, the audience fled, suddenly made aware she was indeed a person. Marina Abramovic on performing 'Rhythm 0' 1974 

The body works as a medium in both Rhythm 0 and Fleabag. Fleabag takes nude pictures of herself, lifting her top in the bank interview and walks down the street expecting to be catcalled. There is an awareness of the body which is entirely female, which informs the text and the staging. Fleabag wears modest clothing and speaks with command and a lack of modesty; highlighting it is not her intention to be sexualised. Abramovic shows how quickly the audience will sexualise and abuse, when given the opportunity. Monologues emulate a sense of vulnerability, providing depth into Fleabags thoughts and actions, whilst also highlighting the danger for women in this space when the male audience is made uncomfortable.

Abramović, M. 1974. Rhythm 0. [Photograph]. 

Waller-Bridge, P. 2019. Fleabag. National Theatre.