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I would like to know

Who they are?

The Style/ type of performance

Any controversy around their performances?

A video of the performance style

Post the information below with us feeding back next week.

Groups you CAN NOT select

Wooster group

Forced Entertainment

Punch Drunk

Areas to search for

Devising Theatre, Immersive Theatre, Live art, Performance art.

Can you find someone new, making innovative theatre work? Someone who can be seen to be pushing the boundaries of performance in some way?

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A performance that is devised based on a location, for instance a historical walk or scare event

Using pre existing text and set it in a non theatrical setting that it mentions- A midsummer nights dream being performed in a wood like in the play. Or Gecko latest performance

Using pre existing text to set it in a non theatrical setting to bring a new meaning- Punchdrunk, how they set their immersive theatre in a none standard location.

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You must pitch and present your ideas of what you are planning to produce before you undertake the devising process. This must include all elements you need to take into consideration for your production (including but not limited to, script, date of performance, aesthetic layout, and rehearsal schedule) You must include what you are using as your stimulus to create this work (this can also include pre-existing work you indeed to use as an influence.) For this you will need to evident the following

When and where you will be performing your final performance

Explain your role as a creator in the devising process and what impact you will have on the final performance

Justify selected stimuli for use in a devised piece

The rehearsal methods used within your chosen style of Theatre Performance

Evaluate the skills already posed and what you will need to develop in order to become a successful practitioner

You need to justify the choices you are making for creating your work, which devising techniques will be used and in what format, including where you gained the influence for this.

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Level 4- Working independently towards the performance 

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Level 4- Working independently towards the performance 

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You must devise, refine and perform your performance with your performance group and selected Practitioner or Performance Company as influence. You must provide evidence for the following within your creative portfolio.

The Performance and how you have worked within the constraints defined by the performance

Communication within performance and devising group

How will you ensure the audience are fully engaged throughout the performance

Reminder, you are not assessed on the effectiveness of the actor’s performance, but the way in which you engage and develop the stimulus within the performance process.

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This task will take submission in the form of a creative portfolio presented in a

format of your choice.

This portfolio should induce evidence of undertaking explorative workshops,

development and creation of the performance material, including a pitch and

a video of the final performance. This can be presented in the form of videos,

pictures annotations, meeting notes, documents. Etc.

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To help in being able to critically analyse on your practice the development, the following questions have been created.

You could use this questions within your creative portfolio, evaluation and essays.

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You will have 4 submission points on Canvas

1. The group Padlet link

2. Individual portfolio

3. Essay/ presentation

4. Evaluation

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You will have 3 submission points on Canvas

1. The group Padlet link

2. Individual portfolio

3. Essay

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20th 21st century

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Who are they?

An immersive theatre company located in London who aim to "Shatter your illusion of reality".

Style/Performance Type:

Based on what they've published their performances heavily use environmental storytelling whilst also working with people who have experienced what's attempting to be portrayed.

Examples of this is "Prison" which places audiences in cells for an evening to experience the lives of a prisoner. Which they have claimed to have based on interviews with ex-criminals and current-criminals.

I couldn't find any existing controversy but I would guess that their take on exposing these sensitive issues could be perceived as controversial. (Example: their piece "Homelessness" which aimed to share the experiences and stories of homeless people whilst migrating to Leicester square.)

Link:

https://www.colabtheatre.co.uk

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Productions — COLAB Theatre - Immersive Theatre - Action Theatre

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CoLab Theatres current and future productions.  immersive theatre london

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You should include-

The video taken in class

Forced entertainments techniques- identifying the ones you have used, Harvard reference this information

Reflection on the task and your personal thoughts, what could you use in your final performance

This could be a written document, written straight onto your Padlet, a video of you speaking, power point document, Voice over, or a combination.

Higher criteria

Looking at question 7 Technical and Artistic Skills Development and discuss

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What is Critical Thinking?

Have you ever received feedback in a piece of work saying 'be more critical' or 'not enough critical analysis' but found yourself scratching your head, wondering what that means? Dive into this bitesize workshop to discover what it is and how to do it:
Critical Thinking: What it is and how to do it (bitesize workshop)[YouTube]
University-level work requires both descriptive and critical elements. But what's the difference?

Descriptive

Being descriptive shows what you know about a topic and provides the evidence to support your arguments. It uses simpler processes like remembering, understanding and applying. You might summarise previous research, explain concepts or describe processes.

Critical

Being critical pulls evidence together to build your arguments; what does it all mean together? It uses more complex processes: analysing, evaluating and creating. You might make comparisons, consider reasons and implications, justify choices or consider strengths and weaknesses.

Bloom's Taxonomy is a useful tool to consider descriptive and critical processes:

Bloom's Taxonomy [YouTube] | Bloom's Taxonomy [Google Doc]

Find out more about critical thinking:

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Subject Guides: Academic writing: a practical guide: Criticality in academic writing

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Subject Guides: Academic writing: a practical guide: Criticality in academic writing

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You should include-

The video taken in class

You will also need to comment on as many as the following as applicable, and evaluate your role within exploring these.

Stimulation: The five senses: sight, sound, touch, taste and smell and how

this can be represented

· The role of the audience: Participation, engagement and being immersed.

· Storytelling: The role of the story – social significance and potential impact

· Location/setting: Installation Fitness for purpose Use of interactive technology Audience location and placement Flexibility Accessibility

This could be a written document, written straight onto your Padlet, a video of you speaking, power point document, Voice over, or a combination.

Higher criteria

Looking at question 7 Technical and Artistic Skills Development and discuss

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Creator Of Mona's Ladies Lounge Being Sued For Gender Discrimination

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Idea- Use scene 3 monologue- Page 12

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Select a devising theatre company

I would like to know

Who they are?

Redcape Theatre company produced by the turtle key arts since 2008. Redcape is run by artistic directors Cassie Friend and Rebecca Loukes. It came together in 2006.

The Style/ type of performance

Redcape commit to telling original stories that aim to move and entertain an audience. They tell stories that matter.

Any controversy around their performances?

I couldnt find any controversy around their peformances.

A video of the performance style

The Luminous.

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The Luminous   A story of friendship and resistance

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Who they are?

their name is "the paper bird". They are a devising theatre company based in the UK. On their website they have this statement.

"We are story collectors. We spend time in communities, listening to personal experiences. The words of the people we meet form the backbone of our shows, giving voice to the voiceless, painting powerful and very human alternative social commentaries."

The Style/ type of performance?

A lot of their performances are pieces of verbatim theatre. This is because they take inspiration from real stories and real people.

Any controversy around their performances?

There are no known controversy's around their performances.

A video of the performance style:

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The Paper Birds: QUICK-CLIPS - Playing the Same Character: 'In a Thousand Pieces'

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After each workshop session you will need to include 

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After each workshop session you will need to include 

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The video of the personal created

Any script or stimulus used

A reflection on if you explored any of the following

Stimulation: The five senses: sight, sound, touch, taste and smell

· The role of the audience

· Storytelling

· Location/setting

Technology

You should also check under each column for extra support

Higher criteria

Critically evaluate the techniques and processes that are used within this performance company/ devising group and discuss how it could be developed into creating a piece of immersive theatre

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You can use reflective writing in many aspects of your work, study and even everyday life. The activities below all contain some aspect of reflective writing and are common to many people:

1. Job applications

Both preparing for and writing job applications contain elements of reflective writing. You need to think about the experience that makes you suitable for a role and this means reflection on the skills you have developed and how they might relate to the specification. When writing your application you need to expand on what you have done and explain what you have learnt and why this matters - key elements of reflective writing.

2. Appraisals

In a similar way, undertaking an appraisal is a good time to reflect back on a certain period of time in post. You might be asked to record what went well and why as well as identifying areas for improvement.

3. Written feedback

If you have made a purchase recently you are likely to have received a request for feedback. When you leave a review of a product or service online then you need to think about the pros and cons. You may also have gone into detail about why the product was so good or the service was so bad so other people know how to judge it in the future.

Blogs are a place to offer your own opinion and can be a really good place to do some reflective writing. Blogger often take a view on something and use their site as a way to share it with the world. They will often talk about the reasons why they like/dislike something - classic reflective writing.

5. During the research process

When researchers are working on a project they will often think about they way they are working and how it could be improved as well as considering different approaches to achieve their research goal. They will often record this in some way such as in a lab book and this questioning approach is a form of reflective writing.

6. In academic writing

Many students will be asked to include some form of reflection in an academic assignment, for example when relating a topic to their real life circumstances. They are also often asked to think about their opinion on or reactions to texts and other research and write about this in their own work.

Think about ... When you reflect

Think about all of the activities you do on a daily basis. Do any of these contain elements of reflective writing? Make a list of all the times you have written something reflective over the last month - it will be longer than you think!

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LibGuides: Reflective Practice Toolkit: Reflective writing

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LibGuides: Reflective Practice Toolkit: Reflective writing

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Homework : In the summer of 2015, Frank Mihelich, at that time professor of performance in the theatre program at California Baptist University, fulfilled a long-time dream of launching a theatre company. New threads quickly became one of the cutting edge theatre companies in southern America.

the new threads theatre company specialise in physical theatre training that utilizes techniques from view points and biomechanics which the purpose is to widen actors emotional potential  of a theatre piece and express thoughts and ideas that could not be easily presented through the naturalistic theatre of the period. They also create devising theatre workshops where they spend 48 hours in intense collaboration creating several new pieces from scratch . the devising theatre start there pieces with improvisation and pick pieces or lines which they like and create short performances .The goal of the devised collaboration is too have an intensive 48hours locked in style weekend to helped to build a sense of ensemble and community between the company members and the friends of the company.

An idea that New threads want to explore :

New Threads wants to explore the issues we’re not supposed to talk about at Thanksgiving dinner - politics, religion, culture, etc. - and create a welcoming space for having hard conversations with people we might disagree with. New Threads is dedicated to building truly inclusive community around the “third-rail” social issues of our day, and we envision a day when all voices will be invited into the cultural conversation.

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Gecko devising company

The Gecko devising theatre company is a UK-based ensemble known for its innovative approach to physical theatre and storytelling. Founded in 2001 by artistic director Amit Lahav, the company focuses on creating visually striking and emotionally resonant performances that often blend movement, text, and multimedia. Gecko's work typically explores complex themes and human experiences, engaging audiences through a unique fusion of physicality and narrative. The company has gained recognition for its distinct style and has toured extensively both nationally and internationally.

Gecko devising theatre company is known for its distinctive style that combines physical theatre, movement, and multimedia elements

There hasn’t been any controversy within the gecko devising company

https://youtu.be/iW2fZ3CDWCk?si=IZ9jOsgS_z_uifmf

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Thirty years ago, they took a reckless leap into the unknown, and that bold move transformed Frantic Assembly into one of the UK's most beloved theatre companies.

Their ambition is to continue learning and stay committed to creating brave and bold theatre. Sometimes, the performances are physically dynamic and intense; at other times, they are beautifully tender and fragile.

But Frantic Assembly is about more than just the work on stage. It's about fostering collaboration, empowering voices, and a constant desire for improvement. They focus on telling stories that often go unheard and discovering talent in places that are not always explored.

Frantic Assembly's work is known for its use of the body as a primary method for storytelling, as well as the use of sound, music, and dialogue.

community

Frantic Assembly offers workshops, residencies, and talks to make theater accessible to young people and aspiring professionals. They also offer a digital subscription platform for schools called Frantic Assembly Studio, which provides teaching materials and insight into the Frantic Method.

Frantic Assembly offers a free talent development program called Ignition for young people aged 18–24. The program provides intensive training and has helped many graduates go on to successful careers in the creative industries.

OTHELLO

By William Shakespeare

METAMORPHOSIS

By Franz Kafka, adapted by Lemn Sissay

THE HOUSE PARTY

By Laura Lomas

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The Paper Birds is a devising theatre company, with a social and political agenda. They are recognised as UK leaders in devised verbatim theatre. They are artists, investigators, entrepreneurs, and educators. They pride themselves on taking complex, multi-faced subjects and making them accessible. They have an artistic programme and a creative learning programme and nurture both equally.

“Our vision is to provoke change, one encounter at a time. Our mission is to be quiet rebels, amplifying the voices of everyday people. We inspire change through the theatre we create.”

“We are story collectors. We spend time in communities, listening to personal experiences. The words of the people we meet form the backbone of our shows, giving voice to the voiceless, painting powerful and very human alternative social commentaries. Our desire to listen, to understand and then ‘give voice’ means not only making space for the under-represented and the misunderstood, but also that our shows explore voices from all walks of life. We aim to do this in breathtaking theatrical fashion.”

Formed in 2003 upon graduation from Bretton Hall, The Paper Birds was founded upon friendship and a mutual love of contemporary theatre, movement, and a desire to make work that placed female roles centre stage.

There were no controversy within this group.

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https://youtu.be/5RHdSGTeIik?si=cFQxKVZa9swtYvnB

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You need to include

The final performance video

Any material used to create the performance (voice over, script etc.)

You should the discuss

What was the starting point and how did you develop the material?

Audience feedback- what did they think about it, did they understand the performance, what were the general comments?

Did performing to an audience make a difference this time?

Higher Criteria

Focus on question 2 Artistic Choices and 5 Audience Engagement:

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You need to include

The final performance video

Any material used to create the performance (voice over, script etc.)

You should then focus and discuss

The role of the audience: Participation, engagement and being immersed.

How did the live feed impact on making the performance more immersive?

Could you use these techniques in the final performance

Higher Criteria focus on question 3 Collaboration and Communication & 5 Audience Engagement

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I would like to know

Who they are?

The Style/ type of performance

Any controversy around their performances?

A video of the performance style

Post the information below with us feeding back next week.

Groups you CAN NOT select

Wooster group

Forced Entertainment

Punch Drunk

Areas to search for

Devising Theatre, Immersive Theatre, Live art, Performance art.

Can you find someone new, making innovative theatre work? Someone who can be seen to be pushing the boundaries of performance in some way?

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Since 2000, Punchdrunk has pioneered a form of theatre in which roaming audiences experience epic storytelling inside sensory theatrical worlds.

Alongside live performance, they are curious about layering their signature theatrical elements on to other art forms, new technologies and the real world to develop the next evolution in live experience. Most recently they created The Third Day a six-part TV drama and award-winning theatrical broadcast starring Jude Law.

'Amazon taught us we don't need to go to the shops, the pandemic has taught us we don't need to go to the office, Punchdrunk taught us we don't need to sit still in a theatre, and now they are proving that you can be in the play without going to the theatre at all.'
- Alex Mahon, CEO of Channel 4

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Immersive theatre that leaves you spinning & seeing stars. Discover more about Punchdrunk: the explosive spark that ignited the immersive entertainment industry.

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Jack the Ripper was an unidentified serial killer active in and around the impoverished Whitechapel district of London, England, in 1888. In both criminal case files and the contemporaneous journalistic accounts, the killer was also called the Whitechapel Murderer and Leather Apron.

Attacks ascribed to Jack the Ripper typically involved women working as prostitutes who lived and worked in the slums of the East End of London. Their throats were cut prior to abdominal mutilations. The removal of internal organs from at least three of the victims led to speculation that their killer had some anatomical or surgical knowledge. Rumours that the murders were connected intensified in September and October 1888, and numerous letters were received by media outlets and Scotland Yard from individuals purporting to be the murderer.

The name "Jack the Ripper" originated in the " Dear Boss letter" written by an individual claiming to be the murderer, which was disseminated in the press. The letter is widely believed to have been a hoax and may have been written by journalists to heighten interest in the story and increase their newspapers' circulation. The " From Hell letter" received by George Lusk of the Whitechapel Vigilance Committee came with half of a preserved human kidney, purportedly taken from one of the victims. The public came increasingly to believe in the existence of a single serial killer known as Jack the Ripper, mainly because of both the extraordinarily brutal nature of the murders and media coverage of the crimes.

Extensive newspaper coverage bestowed widespread and enduring international notoriety on the Ripper, and the legend solidified. A police investigation into a series of eleven brutal murders committed in Whitechapel and Spitalfields between 1888 and 1891 was unable to connect all the killings conclusively to the murders of 1888. Five victims- Mary Ann Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes, and Mary Jane Kelly-are known as the "canonical five" and their murders between 31 August and 9 November 1888 are often considered the most likely to be linked. The murders were never solved, and the legends surrounding these crimes became a combination of historical research, folklore, and pseudohistory, capturing public imagination to the present day.

Background

Women and children congregate in front of one of the Whitechapel common lodging-houses close to where Jack the Ripper murdered two of his victims[1]

In the mid-19th century, England experienced an influx of Irish immigrants who swelled the populations of the major cities, including the East End of London. From 1882, Jewish refugees fleeing pogroms in the Russian Empire and other areas of Eastern Europe emigrated into the same area. The parish of Whitechapel in the East End became increasingly overcrowded, with the population increasing to approximately 80,000 inhabitants by 1888. Work and housing conditions worsened, and a significant economic underclass developed. Fifty-five per cent of children born in the East End died before they were five years old. Robbery, violence, and alcohol dependency were commonplace, and the endemic poverty drove many women to prostitution to survive on a daily basis.

In October 1888, London's Metropolitan Police Service estimated that there were 62 brothels and 1,200 women working as prostitutes in Whitechapel, with approximately 8,500 people residing in the 233 common lodging-houses within Whitechapel every night, with the nightly price for a coffin bed being fourpence and the cost of sleeping upon a "lean-to" or "hang-over" rope stretched across the dormitory being two pence per person.

The economic problems in Whitechapel were accompanied by a steady rise in social tensions. Between 1886 and 1889, frequent demonstrations led to police intervention and public unrest, such as Bloody Sunday (1887). Antisemitism, crime, nativism, racism, social disturbance, and severe deprivation influenced public perceptions that Whitechapel was a notorious den of immorality. Such perceptions were strengthened in 1888 when the series of vicious and grotesque murders attributed to "Jack the Ripper" received unprecedented coverage in the media.

The sites of the first seven Whitechapel murders - Osborn Street (centre right), George Yard (centre left), Hanbury Street (top), Buck's Row (far right), Berner Street (bottom right), Mitre Square (bottom left), and Dorset Street (middle left)

The large number of attacks against women in the East End during this time adds uncertainty to how many victims were murdered by the same individual. Eleven separate murders, stretching from 3 April 1888 to 13 February 1891, were included in a Metropolitan Police investigation and were known collectively in the police docket as the "Whitechapel murders". Opinions vary as to whether these murders should be linked to the same culprit, but five of the eleven Whitechapel murders, known as the "canonical five", are widely believed to be the work of the Ripper. Most experts point to deep slash wounds to the throat, followed by extensive abdominal and genital-area mutilation, the removal of internal organs, and progressive facial mutilations as the distinctive features of the Ripper's modus operandi. The first two cases in the Whitechapel murders file, those of Emma Elizabeth Smith and Martha Tabram, are not included in the canonical five.

Smith was robbed and sexually assaulted in Osborn Street, Whitechapel, at approximately 1:30 a.m. on 3 April 1888. She had been bludgeoned about the face and received a cut to her ear. A blunt object was also inserted into her vagina, rupturing her peritoneum. She developed peritonitis and died the following day at London Hospital. Smith stated that she had been attacked by two or three men, one of whom she described as a teenager. This attack was linked to the later murders by the press, but most authors attribute Smith's murder to general East End gang violence unrelated to the Ripper case.

Tabram was murdered on a staircase landing in George Yard, Whitechapel, on 7 August 1888; she had suffered 39 stab wounds to her throat, lungs, heart, liver, spleen, stomach, and abdomen, with additional knife wounds inflicted to her breasts and vagina. All but one of Tabram's wounds had been inflicted with a bladed instrument such as a penknife, and with one possible exception, all the wounds had been inflicted by a right-handed individual. Tabram had not been raped.

The savagery of the Tabram murder, the lack of an obvious motive, and the closeness of the location and date to the later canonical Ripper murders led police to link this murder to those later committed by Jack the Ripper. However, this murder differs from the later canonical murders because although Tabram had been repeatedly stabbed, she had not suffered any slash wounds to her throat or abdomen. Many experts do not connect Tabram's murder with the later murders because of this difference in the wound pattern.

Canonical five

The canonical five Ripper victims are Mary Ann Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes, and Mary Jane Kelly.

The body of Mary Ann Nichols was discovered at about 3:40 a.m. on Friday 31 August 1888 in Buck's Row (now Durward Street), Whitechapel. Nichols had last been seen alive approximately one hour before the discovery of her body by a Mrs Emily Holland, with whom she had previously shared a bed at a common lodging-house in Thrawl Street, Spitalfields, walking in the direction of Whitechapel Road. Her throat was severed by two deep cuts, one of which completely severed all the tissue down to the vertebrae. Her vagina had been stabbed twice, and the lower part of her abdomen was partly ripped open by a deep, jagged wound, causing her bowels to protrude. Several other incisions inflicted to both sides of her abdomen had also been caused by the same knife; each of these wounds had been inflicted in a downward thrusting manner.

29 Hanbury Street. The door through which Annie Chapman and her murderer walked to the yard where her body was discovered is beneath the numerals of the property sign.

One week later, on Saturday 8 September 1888, the body of Annie Chapman was discovered at approximately 6 a.m. near the steps to the doorway of the back yard of 29 Hanbury Street, Spitalfields. As in the case of Nichols, the throat was severed by two deep cuts. Her abdomen had been cut entirely open, with a section of the flesh from her stomach being placed upon her left shoulder and another section of skin and flesh-plus her small intestines-being removed and placed above her right shoulder. Chapman's autopsy also revealed that her uterus and sections of her bladder and vagina had been removed.

At the inquest into Chapman's murder, Elizabeth Long described having seen Chapman standing outside 29 Hanbury Street at about 5:30 a.m. in the company of a dark-haired man wearing a brown deer-stalker hat and dark overcoat, and of a "shabby- genteel" appearance. According to this eyewitness, the man had asked Chapman, "Will you?" to which Chapman had replied, "Yes."

Elizabeth Stride and Catherine Eddowes were both killed in the early morning hours of Sunday 30 September 1888. Stride's body was discovered at approximately 1 a.m. in Dutfield's Yard, off Berner Street (now Henriques Street) in Whitechapel. The cause of death was a single clear-cut incision, measuring six inches across her neck which had severed her left carotid artery and her trachea before terminating beneath her right jaw. The absence of any further mutilations to her body has led to uncertainty as to whether Stride's murder was committed by the Ripper, or whether he was interrupted during the attack. Several witnesses later informed police they had seen Stride in the company of a man in or close to Berner Street on the evening of 29 September and in the early hours of 30 September, but each gave differing descriptions: some said that her companion was fair, others dark; some said that he was shabbily dressed, others well-dressed.

Contemporaneous police drawing of the body of Catherine Eddowes, as discovered in Mitre Square

Eddowes's body was found in a corner of Mitre Square in the City of London, three-quarters of an hour after the discovery of the body of Elizabeth Stride. Her throat was severed from ear to ear and her abdomen ripped open by a long, deep and jagged wound before her intestines had been placed over her right shoulder, with a section of intestine being completely detached and placed between her body and left arm.

The left kidney and the major part of Eddowes's uterus had been removed, and her face had been disfigured, with her nose severed, her cheek slashed, and cuts measuring a quarter of an inch and a half an inch respectively vertically incised through each of her eyelids. A triangular incision-the apex of which pointed towards Eddowes's eye-had also been carved upon each of her cheeks, and a section of the auricle and lobe of her right ear was later recovered from her clothing. The police surgeon who conducted the post mortem upon Eddowes's body stated his opinion these mutilations would have taken "at least five minutes" to complete.

A local cigarette salesman named Joseph Lawende had passed by a narrow walkway to Mitre Square named Church Passage with two friends shortly before the murder; he later described seeing a fair-haired man of medium build with a shabby appearance with a woman who may have been Eddowes. Lawende's companions were unable to confirm his description. The murders of Stride and Eddowes ultimately became known as the "double event".

A section of Eddowes's bloodied apron was found at the entrance to a tenement in Goulston Street, Whitechapel, at 2:55 a.m. A chalk inscription upon the wall directly above this piece of apron read: "The Juwes are The men That Will not be Blamed for nothing." This graffito became known as the Goulston Street graffito. The message appeared to imply that a Jew or Jews in general were responsible for the series of murders, but it is unclear whether the graffito was written by the murderer on dropping the section of apron, or was merely incidental and nothing to do with the case. Such graffiti were commonplace in Whitechapel. Police Commissioner Charles Warren feared that the graffito might spark antisemitic riots and ordered the writing washed away before dawn.

The extensively mutilated and disembowelled body of Mary Jane Kelly was discovered lying on the bed in the single room where she lived at 13 Miller's Court, off Dorset Street, Spitalfields, at 10:45 a.m. on Friday 9 November 1888. Her face had been "hacked beyond all recognition", with her throat severed down to the spine, and the abdomen almost emptied of its organs. Her uterus, kidneys and one breast had been placed beneath her head, and other viscera from her body placed beside her foot, about the bed and sections of her abdomen and thighs upon a bedside table. The heart was missing from the crime scene.

Multiple ashes found within the fireplace at 13 Miller's Court suggested Kelly's murderer had burned several combustible items to illuminate the single room as he mutilated her body. A recent fire had been severe enough to melt the solder between a kettle and its spout, which had fallen into the grate of the fireplace.

Official police photograph of the body of Mary Jane Kelly as discovered in 13 Miller's Court, Spitalfields, 9 November 1888

Each of the canonical five murders was perpetrated at night, on or close to a weekend, either at the end of a month or a week (or so) after. The mutilations became increasingly severe as the series of murders proceeded, except for that of Stride, whose attacker may have been interrupted. Nichols was not missing any organs; Chapman's uterus and sections of her bladder and vagina were taken; Eddowes had her uterus and left kidney removed and her face mutilated; and Kelly's body was extensively eviscerated, with her face "gashed in all directions" and the tissue of her neck being severed to the bone, although the heart was the sole body organ missing from this crime scene.

Historically, the belief these five canonical murders were committed by the same perpetrator is derived from contemporaneous documents which link them together to the exclusion of others. In 1894, Sir Melville Macnaghten, Assistant Chief Constable of the Metropolitan Police Service and Head of the Criminal Investigation Department (CID), wrote a report that stated: "the Whitechapel murderer had 5 victims-& 5 victims only". Similarly, the canonical five victims were linked together in a letter written by police surgeon Thomas Bond to Robert Anderson, head of the London CID, on 10 November 1888.

Some researchers have posited that some of the murders were undoubtedly the work of a single killer, but an unknown larger number of killers acting independently were responsible for the other crimes. Authors Stewart P. Evans and Donald Rumbelow argue that the canonical five is a "Ripper myth" and that three cases (Nichols, Chapman, and Eddowes) can be definitely linked to the same perpetrator, but that less certainty exists as to whether Stride and Kelly were also murdered by the same individual. Conversely, others suppose that the six murders between Tabram and Kelly were the work of a single killer. Dr Percy Clark, assistant to the examining pathologist George Bagster Phillips, linked only three of the murders and thought that the others were perpetrated by "weak-minded individual[s] ... induced to emulate the crime". Macnaghten did not join the police force until the year after the murders, and his memorandum contains serious factual errors about possible suspects.

Later Whitechapel murders

Mary Jane Kelly is generally considered to be the Ripper's final victim, and it is assumed that the crimes ended because of the culprit's death, imprisonment, institutionalisation, or emigration. The Whitechapel murders file details another four murders that occurred after the canonical five: those of Rose Mylett, Alice McKenzie, the Pinchin Street torso, and Frances Coles.

The strangled body of 26-year-old Rose Mylett was found in Clarke's Yard, High Street, Poplar on 20 December 1888. There was no sign of a struggle, and the police believed that she had either accidentally hanged herself with her collar while in a drunken stupor or committed suicide. However, faint markings left by a cord on one side of her neck suggested Mylett had been strangled. At the inquest into Mylett's death, the jury returned a verdict of murder.

Alice McKenzie was murdered shortly after midnight on 17 July 1889 in Castle Alley, Whitechapel. She had suffered two stab wounds to her neck, and her left carotid artery had been severed. Several minor bruises and cuts were found on her body, which also bore a seven-inch long superficial wound extending from her left breast to her navel. One of the examining pathologists, Thomas Bond, believed this to be a Ripper murder, though his colleague George Bagster Phillips, who had examined the bodies of three previous victims, disagreed. Opinions among writers are also divided between those who suspect McKenzie's murderer copied the modus operandi of Jack the Ripper to deflect suspicion from himself, and those who ascribe this murder to Jack the Ripper.

"The Pinchin Street torso" was a decomposing headless and legless torso of an unidentified woman aged between 30 and 40 discovered beneath a railway arch in Pinchin Street, Whitechapel, on 10 September 1889. Bruising about the victim's back, hip, and arm indicated the decedent had been extensively beaten shortly before her death. The victim's abdomen was also extensively mutilated, although her genitals had not been wounded. She appeared to have been killed approximately one day prior to the discovery of her torso. The dismembered sections of the body are believed to have been transported to the railway arch, hidden under an old chemise.

Frances Coles was found with her throat cut under a railway arch in Whitechapel on 13 February 1891.[96]

At 2:15 a.m. on 13 February 1891, PC Ernest Thompson discovered a 25-year-old prostitute named Frances Coles lying beneath a railway arch at Swallow Gardens, Whitechapel. Her throat had been deeply cut but her body was not mutilated, leading some to believe Thompson had disturbed her assailant. Coles was still alive, although she died before medical help could arrive. A 53-year-old stoker, James Thomas Sadler, had earlier been seen drinking with Coles, and the two are known to have argued approximately three hours before her death. Sadler was arrested by the police and charged with her murder. He was briefly thought to be the Ripper, but was later discharged from court for lack of evidence on 3 March 1891.

Other alleged victims

In addition to the eleven Whitechapel murders, commentators have linked other attacks to the Ripper. In the case of "Fairy Fay", it is unclear whether this attack was real or fabricated as a part of Ripper lore. "Fairy Fay" was a nickname given to an unidentified woman whose body was allegedly found in a doorway close to Commercial Road on 26 December 1887 "after a stake had been thrust through her abdomen", but there were no recorded murders in Whitechapel at or around Christmas 1887. "Fairy Fay" seems to have been created through a confused press report of the murder of Emma Elizabeth Smith, who had a stick or other blunt object shoved into her vagina. Most authors agree that the victim "Fairy Fay" never existed.

A 38-year-old widow named Annie Millwood was admitted to the Whitechapel Workhouse Infirmary with numerous stab wounds to her legs and lower torso on 25 February 1888, informing staff she had been attacked with a clasp knife by an unknown man. She was later discharged, but died from apparently natural causes on 31 March. Millwood was later postulated to be the Ripper's first victim, although this attack cannot be definitively linked to the perpetrator.

Another suspected precanonical victim was a young dressmaker named Ada Wilson, who reportedly survived being stabbed twice in the neck with a clasp knife upon the doorstep of her home in Bow on 28 March 1888 by a man who had demanded money from her. A further possible victim, 40-year-old Annie Farmer, resided at the same lodging house as Martha Tabram and reported an attack on 21 November 1888. She had received a superficial cut to her throat. Although an unknown man with blood on his mouth and hands had run out of this lodging house, shouting, "Look at what she has done!" before two eyewitnesses heard Farmer scream, her wound was light, and possibly self-inflicted.

"The Whitehall Mystery" was a term coined for the discovery of a headless torso of a woman on 2 October 1888 in the basement of the new Metropolitan Police headquarters being built in Whitehall. An arm and shoulder belonging to the body were previously discovered floating in the River Thames near Pimlico on 11 September, and the left leg was subsequently discovered buried near where the torso was found on 17 October. The other limbs and head were never recovered and the body was never identified. The mutilations were similar to those in the Pinchin Street torso case, where the legs and head were severed but not the arms.

"The Whitehall Mystery" of October 1888

Both the Whitehall Mystery and the Pinchin Street case may have been part of a series of murders known as the " Thames Mysteries", committed by a single serial killer dubbed the "Torso killer". It is debatable whether Jack the Ripper and the "Torso killer" were the same person or separate serial killers active in the same area. The modus operandi of the Torso killer differed from that of the Ripper, and police at the time discounted any connection between the two. Only one of the four victims linked to the Torso killer, Elizabeth Jackson, was ever identified. Jackson was a 24-year-old prostitute from Chelsea whose various body parts were collected from the River Thames over a three-week period between 31 May and 25 June 1889.

On 29 December 1888, the body of a seven-year-old boy named John Gill was found in a stable block in Manningham, Bradford. Gill had been missing since 27 December. His legs had been severed, his abdomen opened, his intestines partly drawn out, and his heart and one ear removed. Similarities with the Ripper murders led to press speculation that the Ripper had killed him. The boy's employer, 23-year-old milkman William Barrett, was twice arrested for the murder but was released due to insufficient evidence. No-one was ever prosecuted.

Carrie Brown (nicknamed " Shakespeare", reportedly for her habit of quoting Shakespeare's sonnets) was strangled with clothing and then mutilated with a knife on 24 April 1891 in New York City. Her body was found with a large tear through her groin area and superficial cuts on her legs and back. No organs were removed from the scene, though an ovary was found upon the bed, either purposely removed or unintentionally dislodged. At the time, the murder was compared to those in Whitechapel, though the Metropolitan Police eventually ruled out any connection.

Investigation

Inspector Frederick Abberline

The vast majority of the City of London Police files relating to their investigation into the Whitechapel murders were destroyed in the Blitz. The surviving Metropolitan Police files allow a detailed view of investigative procedures in the Victorian era. A large team of policemen conducted house-to-house inquiries throughout Whitechapel. Forensic material was collected and examined. Suspects were identified, traced, and either examined more closely or eliminated from the inquiry. Modern police work follows the same pattern. More than 2,000 people were interviewed, "upwards of 300" people were investigated, and 80 people were detained. Following the murders of Stride and Eddowes, the Commissioner of the City Police, Sir James Fraser, offered a reward of £500 for the arrest of the Ripper.

The investigation was initially conducted by the Metropolitan Police Whitechapel (H) Division Criminal Investigation Department (CID) headed by Detective Inspector Edmund Reid. After the murder of Nichols, Detective Inspectors Frederick Abberline, Henry Moore, and Walter Andrews were sent from Central Office at Scotland Yard to assist. The City of London Police were involved under Detective Inspector James McWilliam after the Eddowes murder, which occurred within the City of London. The overall direction of the murder enquiries was hampered by the fact that the newly appointed head of the CID Robert Anderson was on leave in Switzerland between 7 September and 6 October, during the time when Chapman, Stride, and Eddowes were killed. This prompted Metropolitan Police Commissioner Sir Charles Warren to appoint Chief Inspector Donald Swanson to coordinate the enquiry from Scotland Yard.

Butchers, slaughterers, surgeons, and physicians were suspected because of the manner of the mutilations. A surviving note from Major Henry Smith, Acting Commissioner of the City Police, indicates that the alibis of local butchers and slaughterers were investigated, with the result that they were eliminated from the inquiry. A report from Inspector Swanson to the Home Office confirms that 76 butchers and slaughterers were visited, and that the inquiry encompassed all their employees for the previous six months. Some contemporaneous figures, including Queen Victoria, thought the pattern of the murders indicated that the culprit was a butcher or cattle drover on one of the cattle boats that plied between London and mainland Europe. Whitechapel was close to the London Docks, and usually such boats docked on Thursday or Friday and departed on Saturday or Sunday. The cattle boats were examined but the dates of the murders did not coincide with a single boat's movements and the transfer of a crewman between boats was also ruled out.

"Blind man's buff": Punch cartoon by John Tenniel (22 September 1888) criticising the police's alleged incompetence. The failure of the police to capture the killer reinforced the attitude held by radicals that the police were inept and mismanaged.[139]

Whitechapel Vigilance Committee

In September 1888, a group of volunteer citizens in London's East End formed the Whitechapel Vigilance Committee. They patrolled the streets looking for suspicious characters, partly because of dissatisfaction with the failure of police to apprehend the perpetrator, and also because some members were concerned that the murders were affecting businesses in the area. The Committee petitioned the government to raise a reward for information leading to the arrest of the killer, offered their own reward of £50 (the equivalent of between £5,900 and £86,000 in 2021) for information leading to his capture, and hired private detectives to question witnesses independently.

Criminal profiling

At the end of October, Robert Anderson asked police surgeon Thomas Bond to give his opinion on the extent of the murderer's surgical skill and knowledge. The opinion offered by Bond on the character of the "Whitechapel murderer" is the earliest surviving offender profile. Bond's assessment was based on his own examination of the most extensively mutilated victim and the post mortem notes from the four previous canonical murders. He wrote:

All five murders no doubt were committed by the same hand. In the first four the throats appear to have been cut from left to right, in the last case owing to the extensive mutilation it is impossible to say in what direction the fatal cut was made, but arterial blood was found on the wall in splashes close to where the woman's head must have been lying.

All the circumstances surrounding the murders lead me to form the opinion that the women must have been lying down when murdered and in every case the throat was first cut.

Bond was strongly opposed to the idea that the murderer possessed any kind of scientific or anatomical knowledge, or even "the technical knowledge of a butcher or horse slaughterer". In his opinion, the killer must have been a man of solitary habits, subject to "periodical attacks of homicidal and erotic mania", with the character of the mutilations possibly indicating " satyriasis". Bond also stated that "the homicidal impulse may have developed from a revengeful or brooding condition of the mind, or that religious mania may have been the original disease but I do not think either hypothesis is likely".

There is no evidence the perpetrator engaged in sexual activity with any of the victims, yet psychologists suppose that the penetration of the victims with a knife and "leaving them on display in sexually degrading positions with the wounds exposed" indicates that the perpetrator derived sexual pleasure from the attacks. This view is challenged by others, who dismiss such hypotheses as insupportable supposition.

In addition to the contradictions and unreliability of contemporaneous accounts, attempts to identify the murderer are hampered by the lack of any surviving forensic evidence. DNA analysis on extant letters is inconclusive; the available material has been handled many times and is too contaminated to provide meaningful results. There have been mutually incompatible claims that DNA evidence points conclusively to two different suspects: Aaron Kosminski (a Whitechapel barber) and artist Walter Sickert. The scientific methodology used to advance both of these claims by their proponents has also been criticised.

Speculation as to the identity of Jack the Ripper: cover of the 21 September 1889 issue of Puck magazine, by cartoonist Tom Merry

The concentration of the killings around weekends and public holidays and within a short distance of each other has indicated to many that the Ripper was in regular employment and lived locally. Others have opined that the killer was an educated upper-class man, possibly a doctor or an aristocrat who ventured into Whitechapel from a more well-to-do area. Such theories draw on cultural perceptions such as fear of the medical profession, a mistrust of modern science, or the exploitation of the poor by the rich. The term "Ripperology" was coined to describe the study and analysis of the Ripper case in an effort to determine his identity, and the murders have inspired numerous works of fiction.

Suspects proposed years after the murders include virtually anyone remotely connected to the case by contemporaneous documents, as well as many famous names who were never considered in the police investigation, including Prince Albert Victor, artist Walter Sickert, and author Lewis Carroll. Everyone alive at the time is now long dead, and modern authors are free to accuse anyone "without any need for any supporting historical evidence". Suspects named in contemporaneous police documents include three in Sir Melville Macnaghten's 1894 memorandum, but the evidence against each of these individuals is, at best, circumstantial.

There are many, varied theories about the actual identity and profession of Jack the Ripper, but authorities are not agreed upon any of them, and the number of named suspects reaches over one hundred. Despite continued interest in the case, the Ripper's identity remains unknown.

Over the course of the Whitechapel murders, the police, newspapers, and other individuals received hundreds of letters regarding the case. Some letters were well-intentioned offers of advice as to how to catch the killer, but the vast majority were either hoaxes or generally useless.

Hundreds of letters claimed to have been written by the killer himself, and three of these in particular are prominent: the "Dear Boss" letter, the "Saucy Jacky" postcard and the "From Hell" letter.

The "Dear Boss" letter, dated 25 September and postmarked 27 September 1888, was received that day by the Central News Agency, and was forwarded to Scotland Yard on 29 September. Initially, it was considered a hoax, but when Eddowes was found three days after the letter's postmark with a section of one ear obliquely cut from her body, the promise of the author to "clip the ladys ( sic) ears off" gained attention. Eddowes's ear appears to have been nicked by the killer incidentally during his attack, and the letter writer's threat to send the ears to the police was never carried out. The name "Jack the Ripper" was first used in this letter by the signatory and gained worldwide notoriety after its publication. Most of the letters that followed copied this letter's tone, with some authors adopting pseudonyms such as "George of the High Rip Gang" and "Jack Sheridan, the Ripper." Some sources claim that another letter dated 17 September 1888 was the first to use the name "Jack the Ripper", but most experts believe that this was a fake inserted into police records in the 20th century.

The "From Hell" letter

The "Saucy Jacky" postcard was postmarked 1 October 1888 and was received the same day by the Central News Agency. The handwriting was similar to the "Dear Boss" letter, and mentioned the canonical murders committed on 30 September, which the author refers to by writing "double event this time". It has been argued that the postcard was posted before the murders were publicised, making it unlikely that a crank would hold such knowledge of the crime. However, it was postmarked more than 24 hours after the killings occurred, long after details of the murders were known and publicised by journalists, and had become general community gossip by the residents of Whitechapel.

The "From Hell" letter was received by George Lusk, leader of the Whitechapel Vigilance Committee, on 16 October 1888. The handwriting and style is unlike that of the "Dear Boss" letter and "Saucy Jacky" postcard. The letter came with a small box in which Lusk discovered half of a human kidney, preserved in "spirits of wine" ( ethanol). Eddowes's left kidney had been removed by the killer. The writer claimed that he "fried and ate" the missing kidney half. There is disagreement over the kidney; some contend that it belonged to Eddowes, while others argue that it was a macabre practical joke. The kidney was examined by Dr Thomas Openshaw of the London Hospital, who determined that it was human and from the left side, but (contrary to false newspaper reports) he could not determine any other biological characteristics. Openshaw subsequently also received a letter signed "Jack the Ripper".

Scotland Yard published facsimiles of the "Dear Boss" letter and the postcard on 3 October, in the ultimately vain hope that a member of the public would recognise the handwriting. Charles Warren explained in a letter to Godfrey Lushington, Permanent Under-Secretary of State for the Home Department: "I think the whole thing a hoax but of course we are bound to try & ascertain the writer in any case." On 7 October 1888, George R. Sims in the Sunday newspaper implied scathingly that the letter was written by a journalist "to hurl the circulation of a newspaper sky high". Police officials later claimed to have identified a specific journalist as the author of both the "Dear Boss" letter and the postcard. The journalist was identified as Tom Bullen in a letter from Chief Inspector John Littlechild to George R. Sims dated 23 September 1913. A journalist named Fred Best reportedly confessed in 1931 that he and a colleague at had written the letters signed "Jack the Ripper" to heighten interest in the murders and "keep the business alive".

8 September 1888 edition of the Penny Illustrated Paper depicting the discovery of the body of the first canonical Ripper victim, Mary Ann Nichols

The Ripper murders mark an important watershed in the treatment of crime by journalists. Jack the Ripper was not the first serial killer, but his case was the first to create a worldwide media frenzy. The Elementary Education Act 1880 (which had extended upon a previous Act) made school attendance compulsory regardless of class. As such, by 1888, more working-class people in England and Wales were literate.

Tax reforms in the 1850s had enabled the publication of inexpensive newspapers with a wider circulation. These mushroomed in the later Victorian era to include mass-circulation newspapers costing as little as a halfpenny, along with popular magazines such as The Illustrated Police News which made the Ripper the beneficiary of previously unparalleled publicity. Consequently, at the height of the investigation, over one million copies of newspapers with extensive coverage devoted to the Whitechapel murders were sold each day. However, many of the articles were sensationalistic and speculative, and false information was regularly printed as fact. In addition, several articles speculating as to the identity of the Ripper alluded to local xenophobic rumours that the perpetrator was either Jewish or foreign.

In early September, six days after the murder of Mary Ann Nichols, The Manchester Guardian reported: "Whatever information may be in the possession of the police they deem it necessary to keep secret ... It is believed their attention is particularly directed to ... a notorious character known as 'Leather Apron'." Journalists were frustrated by the unwillingness of the CID to reveal details of their investigation to the public, and so resorted to writing reports of questionable veracity. Imaginative descriptions of "Leather Apron" appeared in the press, but rival journalists dismissed these as "a mythical outgrowth of the reporter's fancy". John Pizer, a local Jew who made footwear from leather, was known by the name "Leather Apron" and was arrested, even though the investigating inspector reported that "at present there is no evidence whatsoever against him". He was soon released after the confirmation of his alibis.

After the publication of the "Dear Boss" letter, "Jack the Ripper" supplanted "Leather Apron" as the name adopted by the press and public to describe the killer. The name "Jack" was already used to describe another fabled London attacker: " Spring-heeled Jack", who supposedly leapt over walls to strike at his victims and escape as quickly as he came. The invention and adoption of a nickname for a particular killer became standard media practice with examples such as the Axeman of New Orleans, the Boston Strangler, and the Beltway Sniper. Examples derived from Jack the Ripper include the French Ripper, the Düsseldorf Ripper, the Camden Ripper, the Blackout Ripper, Jack the Stripper, the Yorkshire Ripper, and the Rostov Ripper. Sensational press reports combined with the fact that no one was ever convicted of the murders have confused scholarly analysis and created a legend that casts a shadow over later serial killers.

The 'Nemesis of Neglect': Jack the Ripper depicted as a phantom stalking Whitechapel, and as an embodiment of social neglect, in a Punch cartoon of 1888

The nature of the Ripper murders and the impoverished lifestyle of the victims drew attention to the poor living conditions in the East End and galvanised public opinion against the overcrowded, insanitary slums. In the two decades after the murders, the worst of the slums were cleared and demolished, but the streets and some buildings survive, and the legend of the Ripper is still promoted by various guided tours of the murder sites and other locations pertaining to the case. For many years, the Ten Bells public house in Commercial Street (which had been frequented by at least one of the canonical Ripper victims) was the focus of such tours.

In the immediate aftermath of the murders and later, "Jack the Ripper became the children's bogey man." Depictions were often phantasmic or monstrous. In the 1920s and 1930s, he was depicted in film dressed in everyday clothes as a man with a hidden secret, preying on his unsuspecting victims; atmosphere and evil were suggested through lighting effects and shadowplay. By the 1960s, the Ripper had become "the symbol of a predatory aristocracy", and was more often portrayed in a top hat dressed as a gentleman. The Establishment as a whole became the villain, with the Ripper acting as a manifestation of upper-class exploitation. The image of the Ripper merged with or borrowed symbols from horror stories, such as Dracula's cloak or Victor Frankenstein's organ harvest. The fictional world of the Ripper can fuse with multiple genres, ranging from Sherlock Holmes to Japanese erotic horror.

Jack the Ripper features in hundreds of works of fiction and works which straddle the boundaries between fact and fiction, including the Ripper letters and a hoax diary: The Diary of Jack the Ripper. The Ripper appears in novels, short stories, poems, comic books, games, songs, plays, operas, television programmes, and films. More than 100 non-fiction works deal exclusively with the Jack the Ripper murders, making this case one of the most written-about in the true-crime genre. The term "ripperology" was coined by Colin Wilson in the 1970s to describe the study of the case by professionals and amateurs. The periodicals Ripperana, Ripperologist, and Ripper Notes publish their research.

In 2006, a BBC History magazine poll selected Jack the Ripper as the worst Briton in history.

In 2015, the Jack the Ripper Museum opened in east London. It attracted criticism from both Tower Hamlets mayor John Biggs and protestors. Similar protests occurred in 2021 when the second of two "Jack The Chipper" fish and chip shops opened in Greenwich, with some patrons threatening to boycott the premises.

References

1. ^ Life and Labour of the People in London (London: Macmillan, 1902-1903) Archived 3 February 2011 at the Wayback Machine (The Charles Booth on-line archive) retrieved 5 August 2008

2. ^ Keppel, Robert D.; Weis, Joseph G.; Brown, Katherine M.; Welch, Kristen (2005), "The Jack the Ripper murders: a modus operandi and signature analysis of the 1888-1891 Whitechapel murders", Journal of Investigative Psychology and Offender Profiling, 2 (1): 1-21, doi:10.1002/jip.22

3. e.g. , 8 September 1888, quoted in Begg, ^ Jack the Ripper: The Definitive History, pp. 155-156 and Cook, p. 62

4. ^ Davenport-Hines, Richard (2004). "Jack the Ripper (fl. 1888)" Archived 25 July 2015 at the Wayback Machine, Oxford Dictionary of National Biography. Oxford University Press. Subscription required for online version.

5. Begg, Jack the Ripper: The Definitive History, pp. 193-194; Chief Inspector Swanson's report, 6 November 1888, HO 144/221/A49301C, quoted in Evans and Skinner, pp. 185-188

6. Letter from Charles Warren to Godfrey Lushington, Permanent ^ Under-Secretary of State for the Home Department, 6 November 1888, HO 144/221/A49301C, quoted in Evans and Skinner, The Ultimate Jack the Ripper Sourcebook, pp. 183-184

7. ^ Letter from Thomas Bond to Robert Anderson, 10 November 1888, HO 144/221/A49301C, quoted in Evans and Skinner, The Ultimate Jack the Ripper Sourcebook, pp. 360-362 and Rumbelow, pp. 145-147

8. Interview in the ^ East London Observer, 14 May 1910, quoted in Cook, pp. 179-180 and Evans and Rumbelow, p. 239

9. Evans and Rumbelow, pp. 245-246; Evans and Skinner, The Ultimate Jack the Ripper Sourcebook, pp. 422-439

10. Evans and Rumbelow, pp. 218-222; Evans and Skinner, The Ultimate Jack the Ripper Sourcebook, pp. 551-568

11. The name "Fairy Fay" was first used by Terrence Robinson in ^ Reynold's News, 29 October 1950, "for want of a better name".

12. Canter, David (1994). Criminal Shadows: Inside the Mind of the Serial Killer. London, England: HarperCollins. pp. 12-13. ISBN 0-00-255215-9.

13. Inspector ^ Donald Swanson's report to the Home Office, 19 October 1888, HO 144/221/A49301C, quoted in Begg, Jack the Ripper: The Definitive History, p. 205; Evans and Rumbelow, p. 113; Evans and Skinner, The Ultimate Jack the Ripper Sourcebook, p. 125

14. Inspector Donald Swanson's report to the ^ Home Office, 19 October 1888, HO 144/221/A49301C, quoted in Begg, Jack the Ripper: The Definitive History, p. 206 and Evans and Skinner, The Ultimate Jack the Ripper Sourcebook, p. 125

15. Robert Anderson to Home Office, 10 January 1889, 144/221/A49301C ff. 235-6, quoted in Evans and Skinner, ^ The Ultimate Jack the Ripper Sourcebook, p. 399

16. See also later contemporary editions of ^ Richard von Krafft-Ebing's Psychopathia Sexualis, quoted in Woods and Baddeley, p. 111

17. Marks, Kathy (18 May 2006). ^ "Was Jack the Ripper a Woman?" Archived 12 December 2020 at the Wayback Machine The Independent, retrieved 5 May 2009

18. e.g. ^ Frederick Abberline in the Pall Mall Gazette, 31 March 1903, quoted in Begg, Jack the Ripper: The Definitive History, p. 264

19. Whiteway, Ken (2004). "A Guide to the Literature of Jack the Ripper", Canadian Law Library Review, vol. 29 pp. 219-229

20. ^ Donald McCormick estimated "probably at least 2000" (quoted in Evans and Skinner, Jack the Ripper: Letters from Hell, p. 180). The Illustrated Police News of 20 October 1888 said that around 700 letters had been investigated by police (quoted in Evans and Skinner, Jack the Ripper: Letters from Hell, p. 199). Over 300 are preserved at the Corporation of London Records Office (Evans and Skinner, Jack the Ripper: Letters from Hell, p. 149).

21. ^ Wolf, Gunter (2008), "A kidney from hell? A nephrological view of the Whitechapel murders in 1888", Nephrology Dialysis Transplantation, 23 (10): 3343-3349, doi:10.1093/ndt/gfn198, PMID 18408073

22. ^ Jack the Ripper 'Letter' Made Public Archived 1 August 2017 at the Wayback Machine, BBC, 19 April 2001, retrieved 2 January 2010

23. Letter from Charles Warren to Godfrey Lushington, 10 October 1888, Metropolitan Police Archive MEPO 1/48, quoted in Cook, p. 78; Evans and Rumbelow, p. 140 and Evans and Skinner, ^ Jack the Ripper: Letters from Hell, p. 43

24. e.g. ^ Manchester Guardian, 10 September 1888, and Austin Statesman, 5 September 1888, quoted in Begg, Jack the Ripper: The Definitive History, pp. 98-99; The Star, 5 September 1888, quoted in Evans and Rumbelow, p. 80

25. ^ Ackroyd, Peter, "Introduction", in Werner, p. 10; Rivett and Whitehead, p. 11

26. ^ Dew, Walter (1938). I Caught Crippen. London: Blackie and Son. p. 126, quoted in Begg, Jack the Ripper: The Definitive History, p. 198

27. Evans, Stewart P. (April 2003). "Ripperology, A Term Coined By ...", ^ Ripper Notes, copies at Wayback and Casebook Archived 16 October 2011 at the Wayback Machine

28. ^ "Jack the Ripper is 'Worst Briton'" Archived 3 February 2009 at the Wayback Machine, 31 January 2006, BBC, retrieved 4 December 2009

29. ^ Khomami, Nadia (5 August 2015). "Jack the Ripper Museum Architect Says He was 'Duped' Over Change of Plans". The Guardian. ISSN 0261-3077.

30. ^ Bennett-Ness, Jamie (17 August 2021). "Locals Boycott Greenwich Chippy Named 'Jack the Chipper'". News Shopper.

External links

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Jack the Ripper was an unidentified serial killer active in and around the impoverished Whitechapel district of London, England, in 1888. In both criminal case files and the contemporaneous journalistic accounts, the killer was also called the Whitechapel Murderer and Leather Apron.

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This task will take submission in the form of a creative portfolio presented in a

format of your choice.

This portfolio should induce evidence of undertaking explorative workshops,

development and creation of the performance material, including a pitch and

a video of the final performance. This can be presented in the form of videos,

pictures annotations, meeting notes, documents. Etc.

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The Time of Your Life | Full Show | Gecko

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You need to include

The final performance video

Any material used to create the performance (note scripts, ideas)

Discuss the following points-

How did having the audience moving around add to the performance?

What were the negatives of having the audience move around

If you were to do this for the final performance what would you change/ improve?

Audience feedback

Higher Criteria focus on question, Communication & 5 Audience Engagement

# data[].attributes.body
You need to include

The final performance video

Any material used to create the performance (note scripts, ideas)

Discuss the following points-

How did having the audience moving around make the performance more Immersive?

What were the negatives impacts of having the audience move around

If you were to do this for the final performance what would you change/ improve?

Higher Criteria focus on question 5 Audience Engagement

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Gecko- most recent performance (in train stations exploring refugees.)

Punchdrunk- showcasing their Immersive theatre in a location (think about the examples looked at)

The Wooster group- performed who's your Dada in an art gallery (note Dada is an anti-establishment art movement that developed in 1915)

https://thewoostergroup.org/whos-your-dada

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WHO'S YOUR DADA?!

Production Credits

Developed by and featuring The Wooster Group
with special guests Z. Pierre Aab, Alvin Epstein, Norman Heidinger, and Mel Jurdem

Directed by Elizabeth LeCompte

Designed in collaboration with Diller, Scofidio + Renfro

For this project, The Wooster Group included:
Jim Dawson, Hayley Eber (coordinator for DS + R), Joby Emmons, Reid Farrington, Ari Fliakos, Yvan Greenberg, Anne Gridley, Clay Hapaz, Teresa Hartmann, Cynthia Hedstrom, Bozkurt Karasu, Elizabeth LeCompte, Gabe Maxson, Dan Pettrow, Kaneza Schaal, Matt Schloss, Scott Shepherd, Matt Tierney, Jennifer Tipton, and Kate Valk

Tune (In))) technology developed by Free 103point9: transmission arts
Special thanks to Big Apple Lights

This event was created by The Wooster Group in partnership with the Departments of Education and Painting & Sculpture at The Museum of Modern Art.

Special thanks to the following MoMA staff: Laure Beiles, Gwen Farrelly, Betty Fischer, Zoe Jackson, Charlie Kalinowski, Marika Knowles, David Little, Michael Margitich, Elizabeth Margulies, Marc Mayer, Melanie Monios, Pete Omlor, Jennifer Russell, Adrian Sudhalter, Mark Swartz, Anne Umland, MoMA audio-visual, MoMA engineers, MoMA security, MoMA Visitor Services Staff, MoMA volunteers

Educational programs accompanying the Dada exhibition were made possible by BNP Paribas. The Wooster Group performance was made possible, in part, by a gift from The Harold & Mimi Steinberg Charitable Trust. Special thanks also for support provided by Mimi Saltzman.

Production History

2006 September 6-7 & 9: WHO'S YOUR DADA?! performances at The Museum of Modern Art in The Agnes Gund Garden Lobby

Articles & Reviews

Preview by Linda Yablonsky for Bloomberg

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Developed by and featuring The Wooster Group
with special guests Z. Pierre Aab, Alvin Epstein, Norman Heidinger, and Mel Jurdem

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Macbeth - Entire Play | Folger Shakespeare Library

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In 1603, James VI of Scotland ascended the English throne, becoming James I of England. London was alive with an interest in all things Scottish, and Shakespeare turned to Scottish history for material. He found a spectacle of violence and stories of traitors…

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Site-specific theatre is a theatrical production that is performed at a unique, specially adapted location other than a standard theatre. This unique site may have been built without any intention of serving theatrical purposes (for example, a hotel, courtyard, or converted building). It may also simply be an unconventional space for theatre (for example, a forest). Site-specific theatre seeks to use the properties of a unique site's landscape, rather than a typical theatre stage, to add depth to a theatrical production. Sites are selected based on their ability to amplify storytelling and form a more vivid backdrop for the actors in a theatrical production. A performance in a traditional theatre venue that has been transformed to resemble a specific space (for example, a junkyard), can also be considered as site-specific, as long as it no longer has the functionality (i.e. seats, stages) that a traditional theatre would have.

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Task to create a site specific performance. 

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Task to create a site specific performance. 

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You may select from one of the following scripts to create a site specific performance.

You may edit and adapt the script, pull it apart (think how the Wooster group work)

You must work as a group

You can film off site, more than one site, where ever is free!

Pull together elements you have worked on for the last few weeks

It needs to be filmed and uploaded to this Padlet.

THINK about the location, where are you going and how will that impact on the final performance

I don't want you sat in the canteen reading off a script, I want a performance concept. How has this location informed the final performance.

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Checklist of what you should have completed (or need to before half term)

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Checklist of what you should have completed (or need to before half term)

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Creative portfolio- both levels use the checklist under each practitioners

Forced Entertainment

Independent research task

The Wooster group

Punchdrunk

Gecko (research)

Site specific performance

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Moving towards the Pitch (on 8th November)

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Moving towards the Pitch (on 8th November)

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You will work as a whole group and decide on what you actually want to do for the final performance! you should think about the following

Will it focus on a practitioner?

What technology with you use?

How do you want this performance to look and take shape?

How are you going to make it Immersive?

Would you like to have job roles

Level 5- you know this process and what is needed to make the performance work.

Once you have delivered the pitch, you can amend the material, it is not set in stone. It's a development process.

The Pitch information is set below

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Level 4- Research task to add to creative portfolio 

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Level 4- Research task to add to creative portfolio 

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Answer the following question and Harvard reference the information

What are Geckos performance and devising techniques

How do they have an impact on the audience?

Higher criteria question

Assess how the techniques and creative process used in a devised piece can impact on the performance and the audienc

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Level 5 Research task to add to the creative portfolio 

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Level 5 Research task to add to the creative portfolio 

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Research (including Harvard reference the following information)

How does the use of language impact on the audience

Can Gecko performances be called immersive?

What different performances spaces have they used?

Higher criteria question - Evaluate how a wide range of techniques and processes could be developed into immersing an audience in a production

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You must pitch and present your ideas of what you are planning to produce before you

undertake the devising process. This must include all elements you need to take into

consideration for your production (including but not limited to, script, date of

performance, aesthetic layout, and rehearsal schedule) You must include what you are

using as your stimulus to create this work (this can also include pre-existing work you

indeed to use as an influence.)

For this task you will need to evidence the following

When and where you will be performing your final performance

Explain your role as a creator in the devising process and what impact you will have on the final performance

Evaluate the skills already posed and what you will need to develop in order to become a successful practitioner -

You need to justify the choices you are making for creating your work, which devising techniques will be used and in what format, including where you gained the influence for this and the senses you will be using (audience)

Critically evaluate a wide and diverse range of techniques and processes that could be developed into creating a piece of immersive theatre.

How the selected performance space will immerse the audience throughout the production

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Level 4- Analyse the way devised theatre can be used to explore current societal issues

Level 5- Critically evaluate a wide and diverse range of techniques and processes that could be developed into creating a piece of immersive theatre

How are you ensuring the piece explores current societal issues?

How will you ensure it doesn't become a gimmick! As it is not slapstick comedy (The Play That Goes Wrong style) It should be innovative theatre.

Research- Has this style been performed before? Will it link to a practitioners techniques?

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As a group you will then create an Immersive Theatre performance. During this development you will need to explore and consider the following areas;

Collaborative working in development: Allocation of roles, Time management, Communication tools, Collective decision-making, Creative engagement in practice, Common themes and vision, Setting aims and objectives

Performance space: Fit for purpose, Health and Safety considerations, Accessibility Flexibility, Audience placement, The role of the space in storytelling

Workshop ideas: Utilising and developing existing techniques for the purpose of immersing the audience, e.g. improvisation and devised theatre techniques, Storytelling and working with a narrative in immersive theatre practice, developing ideas for engaging and stimulating the audience through the use of the five senses, performance space

Within your creative portfolio you should - Critically analyse how the developed piece will affect ‘the fourth wall’ during the performance. - Critically evaluate a wide and diverse range of techniques and processes that could be developed into creating a piece of immersive theatre

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Start each session with a voice clip stating the aims for the session

End each session with a recap

Keep and eye on the dates and the time left to create the material

Delegate and discuss who is responsible for producing what

Make sure you log everything in your creative portfolio.

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Creative Portfolio- Practitioners/ Workshops 

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Creative Portfolio- Practitioners/ Workshops 

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Practitioners/ Workshops-

You search research and answer the questions on each column for the following practitioners;

Forced Entertainment

Independent research task

The Wooster group

Punchdrunk

Gecko (research)

Site specific performance

Ensure you are checking the level 4 or the level 5 information on each column.

If you try the higher criteria and do not achieve it you may still be rewarded, so its worth trying where you can.

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A copy of the final pitch (The final presentation)

Research you undertook for the Pitch

Higher criteria

Include research on the chosen practitioner and their performance style/ techniques

Harvard reference this information

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After each workshop session you will need to include 

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After each workshop session you will need to include 

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The video of the performance created

Any script or stimulus used

A reflection on this practitioners style of work

You should also check under each column for extra support

Higher criteria

Further research the Company and use Harvard reference to discuss their techniques and assess how the techniques and creative process used in a devised piece could be within your final performance.

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You need to continue to produce your creative portfolio throughout the devising process.

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Any footage of rehearsals or meeting meeting or discussion

Pictures/ posters created (even if not used)

All the finalised adverts

All the footage taken for the adverts (even if not used)

The sacrifice video

The song proposed

The songs used

The questions used for the interviews

The theme tune used

Any theme tunes created

Include any material created if if not used in the final performance

Audience feedback

I will upload the footage we took from the performance

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Formative Feedback

You have demonstrated a strong understanding of the devising process and have effectively explored a wide range of stimuli to develop your ideas (P3). The connections you made between your chosen stimuli and your creative vision are clear and well thought out, showing a good grasp of how to develop these elements into a coherent performance (P5). Additionally, you’ve explored various devising techniques and processes in your approach, reflecting a solid engagement with the criteria (P4).

However, to further strengthen your work and achieve the full potential of this task, there is room for improvement in your group communication skills. While your individual contributions are evident, fostering a more collaborative and cohesive approach during discussions and rehearsals will elevate the quality of your devised piece. Clearer communication and active listening will help you make collective decisions more effectively, ensuring every group member’s ideas are considered and integrated.

To move forward:

Focus on building trust and communication within your group through team-building exercises and structured discussions.

Assign clear roles and responsibilities during rehearsals to streamline collaboration.

Practice giving constructive feedback to one another to encourage open dialogue and shared ownership of the creative process.

Overall, you are on the right track with your ideas and approaches; refining your communication as a team will help you achieve even greater success in your final performance. Keep up the great work!

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Formative Feedback

You have made excellent progress in meeting the criteria for this task, with clear evidence of achieving P3, P4, P5, and P6:

P3: Your exploration of methods to immerse the audience using sensory engagement is well-developed. You have successfully incorporated elements that will captivate and stimulate the audience, effectively utilizing at least one of the five senses.

P4: The range of performance spaces you explored demonstrates a strong understanding of how space impacts audience immersion, with thoughtful consideration of the potential each location offers for creating an engaging experience.

P5: Your collaborative efforts have resulted in a devised piece that successfully stimulates the audience, with creative ideas and clear planning evident throughout the process.

P6: You have effectively justified how your selected performance space will immerse the audience, with strong links to your creative choices and their intended impact on the audience's experience.

To progress further and achieve M2 and M3, consider the following:

1. M2: While you explored a good range of techniques, you need to evaluate them more critically. Reflect on why certain methods work better than others and how these techniques could be adapted or refined to enhance the immersive experience. Think about the strengths and limitations of your chosen methods and how they align with your creative vision.

2. M3: To critically analyse the impact on "the fourth wall," delve deeper into how your piece will engage or disrupt the traditional audience-performer dynamic. Explore how breaking the fourth wall will influence audience immersion and emotional engagement. Discuss how this interaction aligns with the themes and intentions of your devised work.

Suggestions for Improvement:

Spend time analysing how each sensory element impacts the audience and consider how to combine multiple senses for a richer immersive experience.

Reflect as a group on how your current techniques could be further enhanced. For example, could technology, movement, or soundscapes be used in more dynamic ways?

Experiment with rehearsal techniques that focus on audience interaction, allowing you to test and refine how the fourth wall is approached.

Your work so far demonstrates strong foundational ideas and creativity. By focusing more critically on your techniques and their impact, you will elevate your piece to the next level. Keep up the hard work!

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Questions to foster critical analysis of exploration projects for reflections

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Questions to foster critical analysis of exploration projects for reflections

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1. Conceptualisation and Vision:

How did you develop the initial concept for the project?

What inspired the artistic and conceptual choices made in the project?

How did you ensure that the project aligned with your artistic vision?

2. Artistic Choices:

Can you elaborate on the aesthetic and stylistic choices made in the project?

How did you integrate different performing arts elements into the project?

What role did cultural or historical influences play in shaping the artistic direction?

3. Collaboration and Communication:

How did you facilitate effective communication and collaboration within the team?

Were there any challenges in working with others, and how were they overcome?

How did the collaborative process impact the final outcome?

4. Creative Problem-Solving:

Can you share examples of challenges faced during the project and how you addressed them creatively?

In what ways did you experiment with unconventional solutions in your project?

How did you balance creativity with practical constraints?

5. Audience Engagement:

How did you gauge and respond to audience reactions during the development process?

Were there any unexpected audience responses, and how did they influence the project?

What considerations were made to ensure the project resonated with the intended audience?

6. Cultural and Social Relevance:

How did the project address or respond to current cultural or social issues?

Were there intentional efforts to make the project culturally inclusive and diverse?

In what ways did the project contribute to conversations within the performing arts community?

7. Technical and Artistic Skill Development:

How did the project contribute to the development of your technical and artistic skills?

Were there specific challenges that pushed you to expand your skill set?

Reflect on any new techniques or technologies incorporated into the project.

8. Evaluation of Performances:

How did final performances / creations compare to the initial vision and planning?

Were there any unexpected nuances or moments during live performances that stood out?

Was there any social or cultural commentary embedded in the performance?

How did the performance engage with contemporary issues or themes?

Discuss the significance of cultural references or influences in the performance.

9. Critical Analysis:

How does your project respond to or challenge existing norms within your field?

What theoretical frameworks or academic concepts influenced your project, if any?

Reflect on any critical reviews or feedback received and its impact on your perspective.

Were there any notable insights gained during the post-performance discussions?

10. Legacy and Future Development:

In what ways do you envision your project leaving a lasting impact in the performing arts community?

How might the project inspire or influence future projects, either yours or others'?

If given the opportunity, how would you continue to develop or expand upon this project?

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You must pitch and present your ideas of what you are planning to produce before you undertake the devising process. This must include all elements you need to take into consideration for your production (including but not limited to, script, date of performance, aesthetic layout, and rehearsal schedule)

You must include what you are using as your stimulus to create this work (this can also include pre-existing work you indeed to use as an influence.)

For this you will need to evident the following

When and where you will be performing your final performance

Explain your role as a creator in the devising process and what impact you will have on the final performance

Justify selected stimuli for use in a devised piece · The rehearsal methods used within your chosen style of Theatre Performance

Evaluate the skills already posed and what you will need to develop in order to become a successful practitioner

You need to justify the choices you are making for creating your work, which devising techniques will be used and in what format, including where you gained the influence for this.

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Any footage of rehearsals or meeting meeting or discussion

Pictures/ posters created (even if not used)

All the finalised adverts

All the footage taken for the adverts (even if not used)

The sacrifice video

The song proposed

The songs used

The questions used for the interviews

The theme tune used

Any theme tunes created

Include any material created if if not used in the final performance

Audience feedback

I will upload the footage we took from the performance

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Practitioners/ Workshops-

You search research and answer the questions on each column for the following practitioners;

Forced Entertainment

Independent research task

The Wooster group

Punchdrunk

Gecko (research)

Site specific performance

Ensure you are checking the level 4 or the level 5 information on each column.

If you try the higher criteria and do not achieve it you may still be rewarded, so its worth trying where you can.

A copy of the final pitch (The final presentation)

Research you undertook for the Pitch

Higher criteria

Include research on the chosen practitioner and their performance style/ techniques

Harvard reference this information

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Practitioners/ Workshops-

You search research and answer the questions on each column for the following practitioners;

Forced Entertainment

Independent research task

The Wooster group

Punchdrunk

Gecko (research)

Site specific performance

Ensure you are checking the level 4 or the level 5 information on each column.

If you try the higher criteria and do not achieve it you may still be rewarded, so its worth trying where you can.

A copy of the final pitch (The final presentation)

Research you undertook for the Pitch

Higher criteria

Include research on the chosen practitioner and their performance style/ techniques

Harvard reference this information

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There are two options of submission for this assignment.

Submission is in the form of a presentation and must be between 15 and 20 minutes long.

You can use presentation software; a script or pre-recorded video content and you can also mix elements to complete your submission if required. The submission must be supported with research and use of the Harvard referencing system. You will need to film this independently and upload.

OR

Submission is in the form of a written document and must be between 1500 and 2000 words in total. You are required to use headings, paragraphs, capitalisation and subsections. All work must be supported with use of the Harvard referencing system.

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There are two options of submission for this assignment.

Submission is in the form of a presentation and must be between 10 and 15 minutes long.

You can use presentation software; a script or pre-recorded video content and you can also mix elements to complete your submission if required. The submission must be supported with research and use of the Harvard referencing system.

OR

Submission is in the form of a written document with a recommended word count 1500 words in total. You are required to use headings, paragraphs, capitalisation and subsections. All work must be supported with use of the Harvard referencing system.

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Level 4- Research task to add to creative portfolio 

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Level 4- Research task to add to creative portfolio 

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Answer the following question and Harvard reference the information

What are Geckos performance and devising techniques

How do they have an impact on the audience?

Higher criteria question

Assess how the techniques and creative process used in a devised piece can impact on the performance and the audienc

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Check the following;

Costume

Set

props

Videos- edited and completed? watch to check?

TECH REQUIREMENTS!!!

Think about set up time tomorrow morning

Questionnaires for after the performance- level 4s you need this for the evaluation

Filming- we may need phones on FS011 to record the action in there. Possibly one in FS014 too?

A dummy run of the performance (maybe a few) with Ace being different contestants.

We can only use this room- so set up around it

Run a dummy run with