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RED- Episodes

GREEN- Transitions

BLUE- Scenes/Practitioners

YELLOW- Tech

PURPLE- Inspiration

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-Ensemble

-Unison

-Viewpoints

-Tableaux

-Stillness until cue 'MOVE'

Camera shutter positions

Inspiration-

Darkrooms/villainising artistic spaces

Compromising the body

Exploitative settings

Irony of the 'safelight'

Connotations of our colour pallette

Grungy, unsettling aesthetic

Cyclical structure- forebodes the ending

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-Move boxes to USC

-Remove layer of lingerie

-Cesca lift

-Dan recite bible passage

-Nia original text

-Look into the masking of the angelic man/manipulation

-Dan takes Cesca up to the rostra, Dan 'pushes' Cesca so she falls backwards and we catch her.

Inspiration-

Liberation of the body

Breath

Revealing/Revolution

Gentleness of the body until it is exploited

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-Bloodstream instrumental audio comes on

-Unison movement piece

-Grotowskian effort, physical training

-'Poor Theatre'

-Working ourselves to exhaustion

-Have Dan as the centre point

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Tokio Myers 'Bloodstream'

Inspired by passion, determination, dynamics

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Nude base layer eg. leotard, shorts, body suit, body shaper, tights

Black lingerie eg. bra, teddy, romper, suspender belt, fishnets/stockings

Slick back mid-high ponytail

Porcelain doll face esque makeup, as similar to eachother as we can

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2x boxes (found either studio 1 or 2)

2x chairs

1x mannequin

1x paint tin

1x brush

1x desk

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Poem

Sheet?

Hands

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We have an artist friend who paints murals on buildings, walls and doors
We love the subjects of his paintings...and his colors we adore.

We were talking to him as he painted his latest mural...
a painting with palm trees, clouds and sands...
when I realized I wasn't listening to the conversation...I was staring at his hands.

I thought how his painting is so beautiful...and his brushstrokes so refined
but the hands he holds his brushes in...look similar to mine.

I thought if you placed his hands and my hands side by side...there are no definite signs
whose hands were the hands of the artist ...and whose can't color within the lines.

Our hands have the same amount of fingers and are relatively the same size...
Perhaps the magic of an artist isn't in their hands...but in their eyes.

But I'm able to see beauty...in the air...the sea...the land
yet the beauty I see and hear and feel doesn't transfer to my hands.

I know he's been to art school I know he's worked hard at his art...
but still...a casual observer couldn't tell our hands apart?

Even if I attended the best art schools...I would not be making art...
Perhaps the magic is not in their hands or eyes...perhaps it's in their heart.

But my heart understands beauty...it is stirred and it's aware
that there is beauty all around us... that you can find it everywhere.

By the time that beauty reaches my hands, however,
it becomes hazier...duller...fainter
What then is the difference between an artist and a painter?

I believe we're all born with certain gifts...a spark...a light...a flame
and, by the nature of creation, not all gifts are the same.

I was looking for an outward sign...something to help me understand...
But what if the gift is inconspicuous and lies buried in the artist's hands?

Perhaps some of the gifts we're born with are concealed
Perhaps that's why you can't tell our hands apart...
Because some gifts are never meant to be seen...
they're meant to be experienced...
their meant to stir the heart....

That's why our hands look similar...
when on them my eyes drift
Because I'm able to see the similarities...
but unable to see the gift.

That's why I cannot paint like an artist on a scale both beautiful and grand...
and why I'm happy there are people out there
who are blessed with artists hands.

Did you enjoy the the artible " An Artist's Hands" from Jim Yerman on OZOFE.COM? Do you know anyone who could enjoy it as much as you do? If so, don't hesitate to share this post to them and your other beloved ones.

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An Artist's Hands · Poem by Jim Yerman on OZoFe.Com

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Enjoy The Poem: "An Artist's Hands" by Jim Yerman on OZoFe.Com With Your Friends And Relatives.

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Time Out says

Bryony Kimmings's one-woman tribute to everyone she's ever slept with is as raucous and vivid as an aviary at mating season. Kimmings is a bit of an exotic bird herself - she struts through her story in nest-like hats and jewel-bright costumes. But her show works brilliantly because she's also down to earth: 'Sex Idiot' straddles the gap between show and tell and, indeed, between uninhibited exhibitionism and comic awkwardness.

It's the deranged candour of 'Sex Idiot' that makes its potentially icky subject so appealing. It starts with an STD test. Anybody who had to contact their exes to find out which one gave them chlamydia would be nervous; not everybody would channel those nerves into a song listing all the different names you can call your vagina (if you thought 'gash', 'slash' 'mackerel in a fur coat' or 'cockpit' were bad, try 'James Blunt'). A collage of drunken sex, in every position imaginable, is a blundering delight. And Kimmings delivers it all with a cross-eyed hand-crafted gusto that's two parts 'Blue Peter', one part bunny boiler.

'Sex Idiot' is theatre that takes risks for pleasure. The audience is free to join in - to share a bottle of Jack Daniels, or to donate a private, painlessly snipped body part to the eccentric climax. As Kimmings remarks, this 'isn't really about chlamydia' - more about the risks you take to express yourself, and the regrets you have when you use other people along the way.

It's a frank, bold gesture that has nothing to do with being careful. In the spirit of the one-night stands it's inspired by, it gyrates from embarrassment to lust to fumbing full-on revelry with a logic that is shambolic, shameless and irresistible.

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Bryony Kimmings's one-woman tribute to everyone she's ever slept with is as raucous and vivid as an aviary at mating season. Kimmings is a bit of an exotic bird

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She let them do whatever they wanted with her body for 6 hours -  Marina Abramović's Rhythm 0 - 1974

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Blackout, only light seen is Dan's phone light and herbal cigarette?

Pyramid- Frank Ocean transitions in from the end of the soundscape in blackout. 4.26-5.22 muffled/like outside of a club vibe?

Audio clarity improves as Dan enters stage 5.22

5.22 uplights purple?

Audio cut 7.03-8.14 to end

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Warm 'glow'

Flash when Cesca falls

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Frank Ocean Pyramids (Lyrics/Clean) 4.26- 5.22

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Frank Ocean Pyramids (Lyrics/Clean) 4.26- 5.22

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Cut 7.03-8.14

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Since the beginning of her career in Belgrade during the early 1970s, Marina Abramović has pioneered the use of performance as a visual art form. The body has always been both her subject and medium. Exploring the physical and mental limits of her being, she has withstood pain, exhaustion, and danger in the quest for...

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Sun Yuan and Peng Yu | Can't Help Myself | The Guggenheim Museums and Foundation

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Learn about this artwork by Sun Yuan and Peng Yu in the Guggenheim's Collection Online.

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Original choreography- adapted from our 'hot moment' of 'lines and stillness'

Continuation of opening sequence

Tableaux- nightmarish

Dan= manipulator/observer

Revealing/removing of lingerie

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Bodies original soundscape plays from cue line 'MOVE' (Dan)

True red light with flashes on camera shutters

Snap blackout when soundscape ends

Lucy, Frankie, Nia, Cesca move boxes off stage

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'Still a work in progress': what has #metoo done for women in theatre?

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'Still a work in progress': what has #metoo done for women in theatre?

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‘Still a work in progress’: what has #MeToo done for women in theatre?

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The Harvey Weinstein scandal was supposed to usher in a reckoning for the industry. But while some headway has been made, meaningful change has proved elusive

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In the Polish language, an open secret is called 'a Pulcinella's mystery' (tajemnica poliszynela). Although the meaning of this commonly used expression is exactly the same as that of an open secret, the background of the Polish phrase is more sophisticated: Pulcinella is a vicious character from commedia dell'arte - he lacks dignity, takes care only of himself, preserves his high esteem and cockiness. His main objective is to disguise his goals, either by playing a fool or by pretending to have a higher competence than he actually possesses. Pulcinella's attitude resonates in the Polish phrase - despite the fact that few people use it knowing its etymology, the sinister aura lingers in it. Rarely does anyone use it without thinking of wickedness accompanying a certain secret. Pulcinella's mystery usually refers to commonly known cases of misbehaviour or misconduct which prevail in the shadow because it remains in someone's interest to keep them that way. Such meaning of the phrase resonates with the ongoing history of sexual harassment in theatre institutions in Poland, where preserving a structure that protects sexual predators in theatre, avoiding shedding light on cases of misconduct, allowing a set of practices which are harmful for people who lack power or position to come forward have constructed an institutional organism that relies on Pulcinella's mystery. Many cultural workers have been aware of malevolence present in certain institutions, but their individual acts of pushback were either easy to block by powerful venues or lacked enough evidence to enable action on a wider scale. Their testimonies and experiences would keep ending up in a jar full of Pulcinella's mysteries reflecting the darker side of theatre work. Nevertheless, in 2019 something started to change rapidly.

On the 6th of November 2019 a group of female employees from Bagatela Theatre in Cracow, Poland, came forward with a public statement in which they accused the director of the theatre, Jacek Schoen, of years of mobbing, sexual harassment, and misconduct. It was not the first time when they spoke out; a couple of weeks earlier they made a formal complaint to the President of Cracow, Jacek Majchrowski, hoping that his office would take action. Contrary to their expectations, Majchrowski has not only ignored their appeal, but he also disclosed the names of the employees to the manager of the Bagatela Theatre thus betraying their trust.

Bagatela Theatre is an institution which relies on comedy repertoire and specializes in farces, such as Ray Cooney's Mayday, Paul Pörtner's Shear Madness, Michele Riml's Sex Laundry and contemporary American classics, such as Dale Wasserman's One Flew Over a Cuckoo's Nest, and Tennessee Williams's A Streetcar Named Desire. Despite being a public institution financed by the city, it sustains its commercial profile. Among critics and audiences it has rarely been perceived as a progressive theatre, with a high awareness of working conditions or a strong political agenda. Although the discussion about preventing sexual harassment and violence in Polish theatre institutions has started a while ago, and in 2019 it was widely present in theatrical discourse (for instance, theatre journal Didaskalia published a series of texts about accusations against Jan Fabre; theatre magazine Dialog repeatedly took position concerning the cases of sexual harassment), it was mainly expected to occur in those theatres and theatre academies that are characterized by their political engagement and a social awareness. Bagatela Theatre was certainly not among the openly leftist and political artistic venues in the country. The statement coming from the employees was therefore an eye opener. It proved that the #MeToo movement has achieved certain goals, as it encouraged women, who previously were not at the center of discussions concerning misconduct and harassment in Polish theatres, to speak out and to oppose toxic and harmful institutional practices.

After the public statement from the employees of Bagatela Theatre, president Majchrowski expressed his support and solidarity with the whistleblowers and finally undertook action against the director of the theatre. Schoen took a leave of absence and his duties were taken over by his associate, Renata Derejczyk, while the prosecutor started investigating the case. Majchrowski declared that he would accept a letter of resignation from Schoen, but the director of Bagatela Theatre was not willing to immediately vacate his post. After the 7th of January 2020 his lack of readiness to leave the office became of little importance, as he was confronted with charges and the procedure of removing him from the office was initiated by the City Council. Currently Bagatela Theatre is waiting for the results of the open call for the position of artistic director.

The case of Bagatela Theatre employees is part of a wider context. On one hand, it obviously has a strong connection with the ongoing process of revealing cases of sexual misconduct on a global scale, which began with actresses coming forward with testimonies against Harvey Weinstein. On the other hand, it is strictly linked with the demand for introducing transparency in theatre institutions all around Europe, which has been formulated by artistic unions and organizations in the past years. In Poland this movement has become active especially in Warsaw, where in October 2019 the conference 'Change Now! What Have We Been Silent About at Drama Schools' took place. It was organized by the National Academy of Dramatic Art in Warsaw and came out as a result of an ongoing process of reshaping the institutional structure of the Academy, which was connected to another scandal: in 2018 a group of students complained about threats, manipulations and physical and social abuse from one of their lecturers. Former students and current employees of the Academy decided that it was high time to take the broken system in their own hands and suggested a plan of restructuring the flawed organism of institutional relationships. Although these attempts have been made in the past by individuals affiliated with the Academy, the problem was rooted much deeper than one person's capacities could reach.

When the former deputy dean of the Academy, Marta Miłoszewska, decided to take action and create a shield that would guarantee that complaints made by students could reach the right person and give them protection, she faced the systemic obstacle that interfered with introducing a successful system of security. This obstacle was the lack of procedures. 'For years, "the lack of procedures" has been a convenient excuse for not taking any action to improve the situation. People's decency, and the belief that 'decent people act decently,' are not enough,' she said during the conference. The complaint filed in 2018 has also not been the first one in the recent years - already in 2016, a group of students filed a similar complaint, but the case was closed by the Disciplinary Advocate. The feeling of operating with insufficient procedures, which results in engaging oneself with counterproductive solutions, became so omnipresent and alarming that Agata Adamiecka-Sitek (now in a newly established post of Student Rights Advocate at the Academy of Dramatic Art), Agata Koszulińska, Małgorzata Wdowik, and Weronika Szczawińska (former students of Directing Department of Academy of Dramatic Art), Marta Miłoszewska (former deputy dean of Academy), and Beata Szczucińska (the head of Academy's administrative staff) and a group of other former students decided to fill in the blank spaces left by their predecessors in writing down the procedures. It has been widely acknowledged that a change within the relationships in theatre cannot be possible unless a revolutionary blast enters the academies - and maybe this is the moment when theatre schools in Poland start to reinvent themselves so that their mistakes will not be reproduced by next generations of lecturers and students, theatre practitioners and theoreticians, future directors, and upcoming actors.

Undeniably, the systemic solutions which begin their new life in Polish theatre institutions are also a result of wide-spread discussions and acts of courage that have dominated European theatre for the past couple of years. Some of these acts remain unnoticed, some of them are condemned by long-lasting and excruciating juridical procedures. However, if it were not for a group of former collaborators of Jan Fabre who decided to speak out against a narrative promoted by their former guru, we would not have been able to believe that single voices are capable of rewriting the manipulated story of theatre institutions and violence hidden in their corridors. Single voices sharing their anger, dissent, and indignation concerning unacceptable ways of working in theatres all over Europe have created a network of support and strength that enabled other people to express their objections and protest.

In 2019 together with performers Jaśmina Polak, Jan Sobolewski, set designer and dramaturg Mateusz Atman, and composer Kuba Ziołek, we produced a performance nosexnosolo deriving from the case of Troubleyn - Jan Fabre's artistic company - and the open letter published by his former collaborators. In 2018 Fabre publicly expressed his concerns connected with #MeToo movement and underlined that sexual harassment has never been present in his company. Fabre claimed that investigating this matter within theatre companies may be dangerous 'because the relationship, the secret bond between director/choreographer and actor/dancer.... you will in fact also destroy and harm it incredibly'. It was his assuming statement that prompted a group of his former associates to come forward with a detailed description of working relationships that Fabre himself introduced in Troubleyn and that were, according to the testimony of his collaborators, far from safe and respectful. They wrote: 'Humiliation is daily bread in and around the rehearsal space of Troubleyn. Women's bodies in particular are the target of painful, often bluntly sexist criticism - regardless of their actual physical condition'. One and a half year after their statement, Fabre is being invited to all major theatre festivals, such as ImPuls Tanz and Romaeuropa Festival, runs a course in Croatian Cultural Alliance, and he is supported by such stars of performance art as Marina Abramović. It seems that the impact of the open letter of his former employees has evaporated in theatre milieu and did not lead to any structural change.
Therefore, we decided to take a closer look at the language used to justify malevolent practice and investigate the process in which the counterarguments diminish the power of a testimony expressed by those who were hurt, offended, and betrayed by sexual harassment and mobbing. In nosexnosolo we illustrate two situations of misconduct in a series of repetitions: Jan Sobolewski and Jaśmina Polak are reenacting the moment when, according to the description delivered by former collaborators of Fabre, the company's director was attacking one of the dancers because of her weight gain and the situation when he would invite the dancers for a nude photo shoot. The narrative varies according to the subject of the account, so that a wide set of examples of abusing power is presented. Repetition is a mechanism that characterizes a 'Pulcinella's mystery' - an open secret stays alive because it is passed on, multiplied, reproduced, and still remains part of a non-official narrative. What would happen, if the European theatre network was in fact a platform for revealing open secrets? How could we reveal them so that they become a valid point of institutional reference?

I want to believe that the most crucial change that is happening in Polish theatre institutions concerns the awareness that political agenda needs to go together with a structural remodeling of conventional - and often harmful - relations in institutional organisms. As the case of accusations against Kevin Spacey in Old Vic, London, has proven, the response from theatre institutions to cases of misconduct may be connected with creating and sustaining a widespread network of support and raising awareness, such as introducing UK Theatre's handbook - Encouraging Safer and More Supportive Practices in Theatre, and opening the Theatre Helpline, thus changing the procedures that seemed impossible to change before. According to the study carried out by The Stage, one year after the #MeToo 84% of theatre institutions in the UK have upgraded, adjusted, or changed their procedures against harassment and misconduct.
Polish theatre institutions are starting to realise that their reputation depends directly on how their inner structure is organized and arranged. The first institution that decided to analyse and implement an alternative mode of internal distribution of power in Warsaw was Powszechny Theatre whose directors - Paweł Łysak and Paweł Sztarbowski - opened the impenetrable gates of a theatre institution to a group of three theatre researchers, curators, and theoreticians: Adamiecka-Sitek, Marta Keil, and Igor Stokfiszewski. In 2018 and 2019 the intermediators, as they themselves like to be called, conducted dozens of interviews with Powszechny's employees and organized discussions with directors working in the theatre. Their main objective was to reshape Powszechny Theatre into a feminist cultural institution, where the principles of care and mutual respect remain the structural priority. The objectives of the program were inspired by the Code of Practice published by tranzit.cz in 2017, in which the authors are reclaiming feminist postulates and using them as tools to revolutionize institutional critique and systemic thinking. They underline the connection between social context and the structural organization of a public institution, the importance of diminishing barriers on an ideological and practical level, and they aim at practicing equality and care. Following the postulates of Feminist Art Institution, intermediators in Powszechny Theatre came up with contracts between the theatre management and their employees that are an outcome of mapping problems and difficulties encountered by both sides in the past. Forthcoming seasons are to show whether this newly implemented code fulfils its role; however, what is crucial for now is that at least one step has been taken to reveal a Pulcinella's mystery.

During one of the meetings around the project 'Agreement' in Powszechny a group of theatre directors invited to contribute to the discussion, together with employees and employers from the theatre, were arguing about the need to come clean about the salaries and make them public. One of the most worn-out arguments was relying on the principle of maintaining transparency that was, supposedly, a universally positive assumption. At one point, Igor Stokfiszewski said: 'It is not transparency itself that remains the target in this case - transparency is only a means to achieve other goals, such as reducing inequality.' This approach should define our thinking about reshaping institutions in the era of #MeToo movement to allow for an intensified institutional critique and emancipatory gestures. Although institutional transparency, participation or critique might not always be enough, they still create a platform to accomplish a microsociety that is organized in such a way that guarantees safety, equality, and recognition for all of its members. This is how an open secret is transformed into common knowledge that serves everyone and enables avoiding past mistakes in the future.

Agnieszka Jakimiak (1987) is a PhD student at the Department of Drama, Theatre and Dance at Royal Holloway, University of London. She works as a theatre director (nosexnosolo, 2019; Gala of '68. Freedom is Luxury, 2018; Fear Eats the Soul, 2017), an essayist and a playwright, and she has been working as a dramaturg with Polish and international theatre directors, such as Oliver Frljić (The Curse, 2017; Un-divine Comedy. Remains, 2013), Anja Susa (Blood on the Cat's Neck, 2015; The Republic, 2019) and Weronika Szczawińska. Her research focuses on traces of censorship and self-censorship in theatre and performing arts. Her current work combines self-referential analysis and institutional critique; it interrogates forms of power distribution and ways of challenging hegemonic practices in theatre.

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Theatre After #MeToo: Sexual Abuse and Institutional Change in Poland - Contemporary Theatre Review

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In the Polish language, an open secret is called 'a Pulcinella's mystery' (tajemnica poliszynela). Although the meaning of this commonly used expression is exactly the same as that of an open secret, the background of the Polish phrase is more sophisticated: Pulcinella is a vicious character from commedia dell'arte - he lacks dignity, takes care only of himself, preserves his high esteem and cockiness.

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By Helen Clifton & Livvy Haydock

Film and TV workers who suffered alleged bullying and sexual harassment in the industry say they feared being blacklisted if they reported abuse.

More than 1,400 members of the entertainment workers' union, Bectu, have revealed their experiences.

Some 73% said they lacked confidence any action would be taken over claims, while others feared losing their jobs.

Campaigners have called for an independent body to deal with claims of abuse in the creative industries.

'You must report this'

Hannah*, a TV producer, told the BBC's File on 4 programme how she was sexually assaulted by a senior male colleague at work.

"He started trying to pull my clothes off. And I pushed him away." She said the man then told her he would send someone to her house and threatened her with rape if she told anyone.

"I spoke to a producer and they said, 'you absolutely must report this'. But when I spoke to other women in the company they all advised me not to, and said I'll be the one that will be fired."

Beth*, an actor, told the programme she was sexually assaulted at an audition. She says there needs to be better reporting mechanisms within the industry.

"It's great to have guidelines and to be signposted somewhere, but unless there's action, I don't think it's enough." She added: "If you're reporting to someone within the industry, they may know the person."

A voluntary questionnaire, sent to 14,000 Bectu members, asked workers about their experience in the TV and film industry. Of the 1,400 people who responded, just over 70% said they had experienced bullying, sexual harassment or abuse.

Two thirds of those did not report the abuse, with more than half saying feared being blacklisted or were scared of losing their jobs. The majority of those who responded were freelance workers.

Philippa Childs, head of Bectu, said some of her members felt "very vulnerable". She said: "They worry about how reporting allegations of bullying and harassment will impact on their careers. The power imbalances are quite huge."

She said called for a single reporting mechanism to monitor serial abusers, as well as safeguarding officers on every set.

'Deeply concerning'

Campaign group Time's Up UK has called for an independent body to bring in a standardised approach to historic and recent complaints of abuse and harassment, across the industry.

Paul Fleming, general secretary of actors' union Equity, said he supports such a proposal. "A lot of people don't know about their rights as they exist now."

And Labour MP Alex Davies-Jones, a member of the Digital, Culture, Media and Sport Select Committee, called for independent body to oversee the industry and report back to the government. "We need that regulation. It's essential that it happens quickly so that we can save potential victims."

Culture minister Caroline Dinenage said the issue of bullying and harassment within the creative industries was "deeply concerning". She said an "ongoing cross-industry plan of action will help improve support for those facing these issues".

*Some of the names in this piece have been changed to protect their identities

File on 4 is on BBC Radio 4 at 20:00 on Tuesday, July 6th, and is then available on BBC Sounds.

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Film and TV workers feared being blacklisted over abuse claims

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Workers say they feared losing their jobs if they reported alleged bullying, harassment and abuse.

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Darkroom

Eating cherries

Puts 'lipstick' (cherry juice)

Could we play Amy's flute (Hypnosis) for each cherries scene?

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Aspiring model

Audition

Tape measures

Breathiness

Solo choreography

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Child actor

Child mannequin

'The Her Show'

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Piano tutor

Keywords- Again, Sorry

Petals (symbolise virginity)

Everyone else enters and takes a petal

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Dan flicking through photos of us in past/present

Is this on a laptop and projected onto the cyc? Or should we print pictures off and Dan meticulously lay them around him like a mosaic/collage of us. Can he pick some photos off the string that is there for the entire performance? Can he spell something/create a shape with the photos?

Giggling audio?

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Projection of statistics and images of those who have died etc?

Could we have a slide dedicated to the charity?

Could we record ourselves saying it or will that be cringe?

Recreation of opening scene (pose 4)

Clump of us in mannequins in the centre

Could we all be holding a prop from our scene eg. tape measure, paper, petals?

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-Sophie, Lily, Nia, Frankie and Dan

-Could they be writing/drawing with cherry juice? (artist)

-Could they use the white material Lucy and Sophie have at home? It could be used as a tablecloth in the first cherries scene then it gets used as a canvas?

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-All members involved

-Crushing/mushing cherries? (demander)

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Looking at fusing struggling student and mother together

Dimly lit stage (probably just the single lightbulb

10 tin cans will be wrapped in a grey blanket. I will hold it like a baby.

I will hold an empty plastic bag in my other hand.

When I reach centre stage, I will drop the blanket to reveal the empty tin cans and they will make noise as they hit the floor. This is a less obvious way to represent financial struggle than through speech. The audience will be shocked that the 'baby' is in fact an array of tin cans dropped to the floor with no care.

A pre-recorded voiceover will start playing. It will be a 1 sided conversation between myself and a parent/guardian/loved one but you only hear my answers. The monologue will have subtle hints to financial struggles with a reassuring tone to the recipient of the phone call.

During the recording, I will be organising the tin cans into concentric circles, each time setting them closer and closer into where I am standing. I will start off slowly then gradually increase tempo to mirror panic and desperation for help.

Once the circle gets too small, I will begin to stack the tins into a pyramid. Everytime I complete a pyramid I will take it down and rebuild it to symbolise the fact that people have to go days/weeks/months without satisfactory food/heating because of the cost of living.

4 cans will have the letters H E L P punched through them. I will place an LED candle (blu tacked underneath so they don't fall out in each of these cans so the audience can see the light shining through.

I will build up the pyramid so the cans spell HELP down the side.

Using the blanket, I will 'extinguish' the candles by dropping it over the top causing them to fall.

I will pick up the blanket and place it over a mannequin to reinforce their significance as other women who have gone through the same as my character.

As I do this, a letterbox sound effect and a flash of a sidelight will happen and a crumpled piece of paper (advert) will roll on stage. I will pick it up, walk to centre stage, unfold it, gasp, fill the plastic bag with the cans and run off stage.

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Actress

Dan is producer/director

Rehearsal space

Dan's voice reading out the stats of women not speaking out about harassment in the workplace

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https://pin.it/aW4uUuV1S

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This photo represents one of the tableaux from our relationship.

My character was in a relationship with Dan. Our relationship was toxic with Dan controlling me.

My emotions were up and down through the relationship as I did love him however, he was manipulative as well as controlling.

I've decided to project messages between us two from our relationship on the screen on stage.

The messages between him and I represent our past we had together.

While the messages are being projected on stage, I'm still unsure what I'm going to be doing, TBC.

Dan then enters on stage, I'm feeling panicked and anxious as it was unexpected.

I try to escape, there will be a sudden sound and then Dan will blindfold me.

The second after he blindfolds me, there will be three separate tableaux with a blackout after each one.

Each tableaux will represent flashes from the past relationship we had.

After this has happened, the music will start with mine and Dan's choreography.

# data[].attributes.attachment_link.readable_text
Title: Man and Woman - Control!?
Year: 1980
Size: 30 x 21 cm
Technique: Different pencil thicknesses on paper, pressed extra hard to work the wavy structure in the picture

Description: This work shows on the one hand that sweet and caring feeling of protection and security between man and woman, on the other hand it suggests a negative feeling of oppression and control of the woman. A flow of waves can be seen around the subjects, suggesting this recurring swing between love and oppression.

# data[].attributes.attachment_link.title
M.A.D.S. ART GALLERY | artwork. | Man and Woman - Control!?

# data[].attributes.attachment_link.description
Title: Man and Woman - Control!? Year: 1980 Size: 30 x 21 cm Technique: Different pencil thicknesses on paper, pressed extra hard to work the wavy structure in the picture Description: This work shows on the one hand that sweet and caring feeling of protection and security between man and woman, on the other hand it suggests a negative feeling of oppression and control of the woman.

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Dan cuts tape measures off Frankie

Dan manipulates Frankie into her first pose

Takes a photo

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Blackout- Frankie comes back on stage

Dan puts Nia into her position

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DAN WRITES 'THE ARTIST' ON THE MANNEQUIN

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DAN WRITES 'THE ARTIST' ON THE MANNEQUIN

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Blackout- Frankie and Nia enter into their position

Dan places Sophie into her position

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Blackout- Frankie, Nia, Sophie enter into their position

Dan places Lily into her postition

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Dan recites bible passages/verbatim quotes

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90s TV Show soundtrack

Applause

Laugh-track

Laugh signs