In general I was pleased with the performance of my two short pieces. The turnout was just as I had hoped, small and invited with interest and questions ready. The weather was ideal, chilly but not freezing and with little wind (except during one point in the Forest of Arden when my hair flew into my mouth) and exceptionally clear skies. I was surprised that my nervousness was actually increased because the audience was so small, I believe t hat I would have been much more comfortable with a larger audience. However, I believe that would have detracted from their experience because the space between audience and performer in the outdoor setting became essential.

Elemental concerns were certainly the most outstanding when dealing with site-specific performance for the first time. When I first chose the locations I was assuming difference circumstances than what finally occurred. I scheduled the date for the first piece too early, thinking that the Forest of Arden would no longer be being used as a parking lot. I scheduled the time for the second work too late, not realizing that by the time late November rolled around sunset would be considerably earlier. Consequently, the first piece was delivered in one of the small corners of the Forest of Arden which had not been ripped up or parked on, and the second piece performed in quickly increasing darkness. Not to mention the fact that at both performances both the audience and myself were freezing.

I was most proud of my costume, after spending so much time with the period photographs (the dress was modeled after 1915-1925 costumes, the bodice chosen particularly because of the 1915 and 1916 May Day photos.) I received many compliments on the visual aspects of the pieces, the gestures and posture maintained were notable, but most people were primarily impressed by the costume. Again the site-specific setting and date factored in however as I had a great deal of difficulty walking through the mud.

Forest of Arden in those boots and was extremely cold all day since wearing a jacket or long underwear would have looked ridiculous and distorted the costume.

The main problem with the performances was an obvious one which I had completely overlooked: the fact that since the pieces, in particular the second on the steps of the Cocke building, were in prominent and highly trafficked locations on campus, people would quite possibly be walking by. Not only was I underestimating the amount of traffic at noon and sunset (when there are no classes and everyone is going to and from meals) but I was also quite naively expecting that if anyone did walk by they would be polite and quiet and maybe stop to watch. Instead I was caught off guard by a few louder-than-anticipated conversations of people nearby and consequently fumbled during the poem Freya during the second performance. I was extremely disappointed that I allowed that to happen, especially since the two performances were so short.

I was quite pleased with the reception of the programs. Several members of the audience asked questions before and after the performances as well as at other points during the week. They have also discussed the work with others because I have been repeatedly approached with questions from people who missed the performances. Several requests have been made to see the Special Archives collections and the old issues of The Spinster yearbooks. I have not been approached by any of the revealed members of Freya or question about the current focus, membership or rituals of the group. I have been questioned on several aspects of Hollins history which were not specifically addressed in my pieces, most often the social and political attitudes and events of fifty to one hundred years ago. The project also sparked interest in the darker history of Hollins, accidents, suicides, scandals and the practicing of witchcraft.