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4 mins 55 for Liam

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Behind Closed Doors (BAFTA AWARD NOMINATED DOCUMENTARY) | Real Stories

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after documentary theatre -

Scarlett and Liam sat in the audience whilst we do DT part

Liam turns to an audience member and says "I walked in there with my chin in the air, determined to send him down for as long as I possibly could."

Then Scarlett says "All I wanted to do was run over to him and wrap my arms around him and tell him its okay, I'll be here. I'll be here when you come out, we can try again"

Scarlett and Liam stand up and with Holly walk onto the stage then to either side and Holly stands in the middle and says "I honestly thought I was gonna hate him, but I don't, I still love him." to the audience

before the line - becoming the abuser, saying all the insults to the audience, in a manipulative way

"Well maybe I wouldn't have to worry about guys looking at you if you didn't dress like a whore!"

"You look at me when I'm talking to you! You hear me?"
"I didn't want to do that! But you just don't listen!"
"Are you sure your okay?" "I'm fine"
"Who's going to take you in, but me!?!"

"How 'bout next time...I make sure you never leave the house again?"

"You daft cow."
"you look like a clown, the only thing that is missing is a red nose"
"I've messaged your dad, told him we can't make his birthday"
"Wake up, you lazy pig"
"You're not going anywhere. You're staying here"

"For someone with such intellect, you know, you're pretty stupid."

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9th - Line

10th - 5-9pm = studio 1, create transitions and any extra then edit from work in progress feedback, work on how we are using the space. Run through if time

11th - 5-6pm = annotation and the queue sheets. Possibly run through once if time

12th - 2-6pm = independent rehearsal in workshop, studio 1.

15th - 6-8pm = studio 1, run it all and make edits

16th - 6-9pm = run it all and make edits

18th - Performance day! Tech, dress, show

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Emily personal narrative, 1 min 5

Into Robert Wilson movement, 1 min 5

Documentary theatre, 2 mins 10

annotation: Steph J, Emily, Simon

Personal narrative 2, make 1 min or longer

Redacted poem text, 2 mins 50

Pairs Pina Bausch movements, 2 mins 42

annotation: Holly, Scarlett

Line with the rest of Emily's personal narrative, make 2 mins or longer

Annotation: Steph H, Liam

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Movements in general, especially repeated ones

Need some evolution of the movements

Get absorbed into one movement rather than all, need to all be seen at some point

Robert Wilson movement sequence

Make shorter or add something so it doesn't become boring

Documentary Theatre

Simon having a script idea of it being rehearsed - not what happened but was a suggestion

Put Holly in the audience (become the jury). Steph J and Simon further out facing each other, don't have to be equidistant apart, victim could be closer to the audience

Simon louder to quiet

Steph more emotion

Print out letter for audience, evidence - made into the jury

Medusa's story

Scene with tricking the audience that the love is still there, after the trial how she feels

Pina Bausch movement sequence

Using the space better so we aren't crammed

Don't just go in a triangle

Go back to bringing in the audience - can go closer to them

Fast one ends up looking so tired - intentional or not. Can explore it, explore the dynamics within each of the relationships

Personal Narrative 3

Song choice - take lyrics out

Scarlett needs to speak louder

Inside arm reach to neck then up to Scarlett for example

Either very monotone or emotional

Explore more male dominant figure in someone's life, parental abuse, more deep. Submissive

In order to generate more movements use key emotions or feelings from the PN, don't think about what you're doing film it

Costume and Props and Lighting

Don't have to be too illustrative

Red ribbon motif throughout

Ribbon round neck - holding it together, comes off - the emotional break out

Have it longer so further away from her

Isolation

Create a bigger space

Estel feedback

Work on transitions

Think about movements, evolution of intention. Repetition is the intention or evolution through the movement

Personal narrative 2 - more intentional touch emotion in it

Subtle through the piece with emotion is good but need the few movements of connection, support and empathy. Comparison to the violence

Verbatim, it's okay to speak a certain way in verbatim but still need to be heard through volume and not mumbling

Lots of music in it, ask what the purpose of it is

How to show the violence. Represents it's there but also that the topic is taboo. Topic of violence impacts us both individually and collectively

Why do we want to talk about this and show it on stage?

What is the journey and where is it taking us?

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Purple - Steph J

Blue - Holly/Scarlett

Pink/red - Liam

Green - Steph H

Yellow - Em

White - Simon

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Sometimes it helps to read other people's stories. These case studies of domestic abuse highlight some real stories.

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Metaphors in these lyrics could be used for over personal narratives or elsewhere in the performance  

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Metaphors in these lyrics could be used for over personal narratives or elsewhere in the performance  

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There was a house halfway round the world
And I was invited in for a small taste of gin

There was a hallway a thousand birds long
But the biggest one of all was in a cage too small

I asked the caretaker 'cuz he was their maker
He looked at me and laughed took another sip from his glass

He said 'Open up your ears and hearts
You put a big bird in a small cage and he'll sing you a song'

That we all love to sing along
To the sound of the bird that mourns

Well we rolled into town and the sweet New Orleans
To the Apple Barrel bar it was a hole in the wall
The ceiling weren't tall and the floors filled with grime
But the sound that you would make would just warm their hearts

Well it was quarter to 12 and the boys walked in
They got their black suits on and the songs would begin
You open up your ears and hearts
You put a big bird in a small cage and it'll sing you a song

That we all love to sing along
To the sound of the bird that mourns
You put a big bird in a small cage and it will sing you a song
You put a big bird in a small cage and it will sing you a song
You put a big bird in a small cage and it will sing you a song
You put a big bird in a small cage and it will sing you a song

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"Articulating choreographic principles and theatrical techniques of characterisation"

Cafe Muller = Real-life movements, space and set as part of the choreography (be interesting to explore when in studio)

Was not interested in how people move, but what moves them - key when creating movement based on PB

"She used movements and metaphors to express views on real life, on real, lived relationships" "In her choreography, Bausch drew on the violence in male-female relationships, on the idea and experience of despair and regret. She was more interested in the raw emotional truth and difficult and paradoxical feelings" - domestic violence

"For her, to stage experience was more important than to tell a story" = Showing the experience of domestic violence for people rather than one particular story

"She would use speech, song, clothing and props alongside movement; sometimes a little scene or dialogue was built around a prop or a piece of costume" = Could be interesting using my idea of the ropes

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This is an example of a narrative we could use anonymously or not and also gives us something to reference

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In this piece Sophie* talks to SafeLives Knowledge Hub Advisor Collette Eaton-Harris about the sexual violence she experienced from a partner as a teenager, and some of the wider issues that bisexual women face. Warning: contains descriptions of sexual violence

The relationship started when we were 15 and ended when we were both about 21. We were at school, I think we had some classes together. It was kind of my first proper relationship. It was a pretty average kind of teenager relationship. But before we even slept together there were kind of a few things that didn't seem right. He was trying to go at a pace much quicker than I wanted to, because neither of us had slept with anyone before, obviously we were both very young. And he wanted to move to that stage a lot quicker than I wanted to move to that stage, which I think is a very common thing amongst teenagers.

But even the first time we had any kind of sexual contact above kissing, was a little bit forceful. You know, like he kind of tried to hold me in place, because I would say, "Get off, I don't want to do this, you're hurting, like you've got to get off me now." And he kind of used his body weight to like keep me pressed up against a wall, as it were. And he was like, "No, you've just got to relax. And then it will be fun, like you're going to want it in a minute." So eventually I had to use some force to get him to get off me. And so that for me was like the first red flag, and we had quite a big fight about that.
"Each time I managed to rationalise it to myself"
Then it was kind of okay after that for a while, but I guess that was the first time we had any contact like that, and it was in complete violation of my boundaries. And so it just kind of set a precedent that I wouldn't leave him if he did stuff like this to me. So there wasn't really any motivation for him to not try and push my boundaries constantly. That was only about 15 that happened, it was only a couple of months after we started dating.

And kind of as things went on, a lot of the time, everything we did was on his terms rather than mine. And, you know, he quite often went beyond boundaries I had set. And then each time I managed to rationalise it to myself, my God, he's just trying to, you know, I'm still learning, he's still learning, blah, blah, blah. He doesn't know what he's doing, but eventually it just kind of kept escalating like that. You know, that thing about the frog being put in cold water? The water was already quite warm when I got put in it. But it just kept getting hotter anyway.

The things he would say to me would be like, "Oh, well you know, my friends' girlfriends let them do this. And other girls want to do this, so why don't you want to do it? And I've seen it like on the internet" and blah, blah, blah. So, you know, it felt normal at the time. But then obviously looking back, it wasn't the same as other peoples' relationships.

I came out very young. I came out to my friends at 14. So he was already aware of my identity when we started dating at 15, which I think is a little uncommon. But I was just very aware of it. I think he knew that it was quite isolating for me because we grew up in a very rural place. And it was like 2008, so there wasn't the awareness of the identities that there is now, I think. And there wasn't LGBT school groups or any places for me to access at that time. And although some of my friends had already come out, it was very much like the LGBT spaces were aimed at gay people, rather than bi people. So he knew that it was a struggle for me, that I kind of was like, well, I should just be a lesbian, why can't I just do that? That was something I was quite angry about in myself. And so sometimes he would use that because he knew that I wanted to kind of prove to myself that I really was bisexual instead of gay or straight. And so he would say like, "Well, maybe you don't want to do it because you are just a lesbian. And like you're just not accepting this, admitting it to yourself." He never called me straight or said I was straight. But he would say like, "Maybe you're not bisexual. Maybe you're a lesbian and you just can't like come out to yourself." Which, you know, is a stereotype that a lot of us hear.
"There are real world consequences of barring people from what might be their only resource to validation of community"
So it's obviously quite isolating to grow up in that situation of not knowing many other people around you. And it was definitely something that had an effect on my self-esteem and mental health. Some people were very much like, "Okay, whatever." But it doesn't quite feel the same, does it, they say "I support you." But then at the same time they make jokes, "Ha ha, that's so gay." Especially back then, this was like seven or eight years ago, that was very common.

I used websites like Tumblr to access other bisexual people and kind of find some validation that it was kind of okay to have this identity. When I went to uni I tried to join the LGBT group there and it was a bad experience. Again somebody tried to make it very clear to me that like this is a space for gay people who were either in same sex relationships, or want to be. Like coming there when you have a boyfriend you're not necessarily welcomed.

We were at a social and you know how these things go, where people are like, "How do you identify?" And so I'd be like, "I'm bisexual" and then the same person would come up and kind of enter into this conversation, "she's got a boyfriend though" Just making it very clear to everyone like, "She says she's bisexual, but she's got a boyfriend." So that made me very uncomfortable. So I didn't engage with the LGBT group very much for the first two years that I was in uni. In the third year we had a new president, it was very good after that. But for the first two years it was kind of a drinking society for gay people. So, you know, that wasn't something that I felt I could access or feel very supported in. I got the comment from lesbians quite often, like, you know, one girl who was a lesbian told me like, "Straight people don't want you because they think you're gay and we don't want you because we think you're straight." I had comments like that, you know, occasionally. There are real world consequences of barring people from what might be their only resource to validation of community. And I think for women who have experienced sexual violence, it's really important to have that community. And then feeling...and I'm sure you've experienced it, where you want to go to an event but then you're like, "Oh, no, is someone going to make a comment that I shouldn't really be here because I'm like, you know, actually straight?"

Two studies I've looked at from America - there isn't any that I can find here in the UK - have found that bi women are more likely than both straight or gay women to experience sexual violence. And one of them is that 75% have experienced any kind of sexual violence, it's incredibly high numbers. And then I've been speaking to some girls about their experiences. You know, there are similar themes running through all of them, like I was seen as being promiscuous. And I was seen as being up for anything. And this person thought they could take advantage of that.
"That was the first time I really admitted to myself like it's not okay for this to have happened"
There was always kind of a nagging feeling in the back of my mind, because it's very easy to go through the experiences where somebody is having sex with you, but you're not having sex with them. And often I'd end up in tears and like, well, disassociating and trying to get away from the environment. But it's very easy kind of afterwards to go like, well, maybe I did want him, maybe I didn't say no enough. So although I had a kind of nagging feeling in me that like this isn't right, it was far too easy to rationalise that away.

There was kind of a turning point when...usually he would try and use coercion at first, kind of like, " Come on do this, or if you won't do that, do this" and "why won't you do it?" And that kind of stuff until eventually I'd be like, "Okay." But the one occasion that was quite eye opening for me was when he'd been drinking and he went in straightaway, got on top of me and pinned me down. Even though I'd said like no several times, and nothing actually ended up happening that night, whereas on other occasions it had escalated. But then I spoke to some friends about it and I was like, "Hey, this happened last night, it was a bit gross." And my friends are all very jokey people, but they went very serious and were like, "That's not okay that that happened. And he should not be doing that to you at all, and that's completely wrong." And so that was kind of a bit of a wake-up call that I'd had. It was the first time I'd ever mentioned that things were maybe not what they seemed. And to have that validation actually it wasn't right, it was probably what caused me to end it. We ended up staying together for a couple of months after that. And then eventually I got out of the relationship with some help from my current girlfriend. But that was the first time I really admitted to myself like it's not okay for this to have happened.

I think you need to be aware of your own shame around your sexuality and address that. And find things that make you feel good and positive about being a bi woman. Because I think, you know, there is a lot of shame and stigma around it. And I think it's easy to let that make you think, w ell, I feel bad about this, so it's okay for other people to make me feel bad about it and use it against me. So I think kind of addressing that and finding as much positivity as you can, is a good thing.
"trusting that voice in you, because it was there for me the whole time, saying, this "
And just understanding that it's meant to be fun, it's not meant to be like a chore. And you're not meant to be doing things that you don't want to do. My ex-partner would say to me, "Well, you don't have sex with me enough. You don't do this enough. And like you're not fulfilling my needs." And it made it feel like a chore, like, you know, okay, I've got to do the dishwasher and then I've got to have sex with this person who I don't want to have sex with." I know it sounds crazy, but that's kind of how it came in my mindset. But I think understanding that like just because somebody sees you as someone quite sexual, you don't have to be.

And then obviously talking to people that you trust as soon as you feel like something's wrong. Especially if you have other bi women to talk to it about, I think that's really important. That they can give you that validation of, hey, you're right, that's not okay. And let's see what we can do to help you. I was lucky as a teenager because there were a few other bi women around me.

And trusting that voice in you, because it was there for me the whole time, saying, like, this isn't okay. But I just, it was so easy, because I was so upset with myself and like (a) I was a teenage girl, like all teenage girls hate themselves as a little bit, I think. And (b) having that extra dollop of figuring out your sexuality and your shame around it. It was so easy to just use those voices to silence that little nagging feeling.

I think what needs to be addressed and looked into is what does a healthy relationship look like to somebody who's bisexual and dating someone of like another sexual identity? And how can they be better allies? And how can we understand what we deserve from them? I think that's something that's not really spoken about, but I think needs to be.

*name changed

If you're experiencing abuse from a partner, or are worried about your relationship, help is available.

Visit our Spotlight homepage for blogs, podcasts, interviews and more

In this piece Sophie* talks to SafeLives Knowledge Hub Advisor Collette Eaton-Harris about the sexual violence she experienced from a partner as a teenager, and some of the wider issues that bisexual women face. Warning: contains descriptions of sexual violence
The relationship started when we were 15 and ended when we were both about 21. We were at school, I think we had some classes together. It was kind of my first proper relationship. It was a pretty average kind of teenager relationship. But before we even slept together there were kind of a few things that didn't seem right. He was trying to go at a pace much quicker than I wanted to, because neither of us had slept with anyone before, obviously we were both very young. And he wanted to move to that stage a lot quicker than I wanted to move to that stage, which I think is a very common thing amongst teenagers.

But even the first time we had any kind of sexual contact above kissing, was a little bit forceful. You know, like he kind of tried to hold me in place, because I would say, "Get off, I don't want to do this, you're hurting, like you've got to get off me now." And he kind of used his body weight to like keep me pressed up against a wall, as it were. And he was like, "No, you've just got to relax. And then it will be fun, like you're going to want it in a minute." So eventually I had to use some force to get him to get off me. And so that for me was like the first red flag, and we had quite a big fight about that.
"Each time I managed to rationalise it to myself"
Then it was kind of okay after that for a while, but I guess that was the first time we had any contact like that, and it was in complete violation of my boundaries. And so it just kind of set a precedent that I wouldn't leave him if he did stuff like this to me. So there wasn't really any motivation for him to not try and push my boundaries constantly. That was only about 15 that happened, it was only a couple of months after we started dating.

And kind of as things went on, a lot of the time, everything we did was on his terms rather than mine. And, you know, he quite often went beyond boundaries I had set. And then each time I managed to rationalise it to myself, my God, he's just trying to, you know, I'm still learning, he's still learning, blah, blah, blah. He doesn't know what he's doing, but eventually it just kind of kept escalating like that. You know, that thing about the frog being put in cold water? The water was already quite warm when I got put in it. But it just kept getting hotter anyway.

The things he would say to me would be like, "Oh, well you know, my friends' girlfriends let them do this. And other girls want to do this, so why don't you want to do it? And I've seen it like on the internet" and blah, blah, blah. So, you know, it felt normal at the time. But then obviously looking back, it wasn't the same as other peoples' relationships.

I came out very young. I came out to my friends at 14. So he was already aware of my identity when we started dating at 15, which I think is a little uncommon. But I was just very aware of it. I think he knew that it was quite isolating for me because we grew up in a very rural place. And it was like 2008, so there wasn't the awareness of the identities that there is now, I think. And there wasn't LGBT school groups or any places for me to access at that time. And although some of my friends had already come out, it was very much like the LGBT spaces were aimed at gay people, rather than bi people. So he knew that it was a struggle for me, that I kind of was like, well, I should just be a lesbian, why can't I just do that? That was something I was quite angry about in myself. And so sometimes he would use that because he knew that I wanted to kind of prove to myself that I really was bisexual instead of gay or straight. And so he would say like, "Well, maybe you don't want to do it because you are just a lesbian. And like you're just not accepting this, admitting it to yourself." He never called me straight or said I was straight. But he would say like, "Maybe you're not bisexual. Maybe you're a lesbian and you just can't like come out to yourself." Which, you know, is a stereotype that a lot of us hear.
"There are real world consequences of barring people from what might be their only resource to validation of community"
So it's obviously quite isolating to grow up in that situation of not knowing many other people around you. And it was definitely something that had an effect on my self-esteem and mental health. Some people were very much like, "Okay, whatever." But it doesn't quite feel the same, does it, they say "I support you." But then at the same time they make jokes, "Ha ha, that's so gay." Especially back then, this was like seven or eight years ago, that was very common.

I used websites like Tumblr to access other bisexual people and kind of find some validation that it was kind of okay to have this identity. When I went to uni I tried to join the LGBT group there and it was a bad experience. Again somebody tried to make it very clear to me that like this is a space for gay people who were either in same sex relationships, or want to be. Like coming there when you have a boyfriend you're not necessarily welcomed.

We were at a social and you know how these things go, where people are like, "How do you identify?" And so I'd be like, "I'm bisexual" and then the same person would come up and kind of enter into this conversation, "she's got a boyfriend though" Just making it very clear to everyone like, "She says she's bisexual, but she's got a boyfriend." So that made me very uncomfortable. So I didn't engage with the LGBT group very much for the first two years that I was in uni. In the third year we had a new president, it was very good after that. But for the first two years it was kind of a drinking society for gay people. So, you know, that wasn't something that I felt I could access or feel very supported in. I got the comment from lesbians quite often, like, you know, one girl who was a lesbian told me like, "Straight people don't want you because they think you're gay and we don't want you because we think you're straight." I had comments like that, you know, occasionally. There are real world consequences of barring people from what might be their only resource to validation of community. And I think for women who have experienced sexual violence, it's really important to have that community. And then feeling...and I'm sure you've experienced it, where you want to go to an event but then you're like, "Oh, no, is someone going to make a comment that I shouldn't really be here because I'm like, you know, actually straight?"

Two studies I've looked at from America - there isn't any that I can find here in the UK - have found that bi women are more likely than both straight or gay women to experience sexual violence. And one of them is that 75% have experienced any kind of sexual violence, it's incredibly high numbers. And then I've been speaking to some girls about their experiences. You know, there are similar themes running through all of them, like I was seen as being promiscuous. And I was seen as being up for anything. And this person thought they could take advantage of that.
"That was the first time I really admitted to myself like it's not okay for this to have happened"
There was always kind of a nagging feeling in the back of my mind, because it's very easy to go through the experiences where somebody is having sex with you, but you're not having sex with them. And often I'd end up in tears and like, well, disassociating and trying to get away from the environment. But it's very easy kind of afterwards to go like, well, maybe I did want him, maybe I didn't say no enough. So although I had a kind of nagging feeling in me that like this isn't right, it was far too easy to rationalise that away.

There was kind of a turning point when...usually he would try and use coercion at first, kind of like, " Come on do this, or if you won't do that, do this" and "why won't you do it?" And that kind of stuff until eventually I'd be like, "Okay." But the one occasion that was quite eye opening for me was when he'd been drinking and he went in straightaway, got on top of me and pinned me down. Even though I'd said like no several times, and nothing actually ended up happening that night, whereas on other occasions it had escalated. But then I spoke to some friends about it and I was like, "Hey, this happened last night, it was a bit gross." And my friends are all very jokey people, but they went very serious and were like, "That's not okay that that happened. And he should not be doing that to you at all, and that's completely wrong." And so that was kind of a bit of a wake-up call that I'd had. It was the first time I'd ever mentioned that things were maybe not what they seemed. And to have that validation actually it wasn't right, it was probably what caused me to end it. We ended up staying together for a couple of months after that. And then eventually I got out of the relationship with some help from my current girlfriend. But that was the first time I really admitted to myself like it's not okay for this to have happened.

I think you need to be aware of your own shame around your sexuality and address that. And find things that make you feel good and positive about being a bi woman. Because I think, you know, there is a lot of shame and stigma around it. And I think it's easy to let that make you think, w ell, I feel bad about this, so it's okay for other people to make me feel bad about it and use it against me. So I think kind of addressing that and finding as much positivity as you can, is a good thing.
"trusting that voice in you, because it was there for me the whole time, saying, this "
And just understanding that it's meant to be fun, it's not meant to be like a chore. And you're not meant to be doing things that you don't want to do. My ex-partner would say to me, "Well, you don't have sex with me enough. You don't do this enough. And like you're not fulfilling my needs." And it made it feel like a chore, like, you know, okay, I've got to do the dishwasher and then I've got to have sex with this person who I don't want to have sex with." I know it sounds crazy, but that's kind of how it came in my mindset. But I think understanding that like just because somebody sees you as someone quite sexual, you don't have to be.

And then obviously talking to people that you trust as soon as you feel like something's wrong. Especially if you have other bi women to talk to it about, I think that's really important. That they can give you that validation of, hey, you're right, that's not okay. And let's see what we can do to help you. I was lucky as a teenager because there were a few other bi women around me.

And trusting that voice in you, because it was there for me the whole time, saying, like, this isn't okay. But I just, it was so easy, because I was so upset with myself and like (a) I was a teenage girl, like all teenage girls hate themselves as a little bit, I think. And (b) having that extra dollop of figuring out your sexuality and your shame around it. It was so easy to just use those voices to silence that little nagging feeling.

I think what needs to be addressed and looked into is what does a healthy relationship look like to somebody who's bisexual and dating someone of like another sexual identity? And how can they be better allies? And how can we understand what we deserve from them? I think that's something that's not really spoken about, but I think needs to be.

*name changed

If you're experiencing abuse from a partner, or are worried about your relationship, help is available.

Visit our Spotlight homepage for blogs, podcasts, interviews and more

# data[].attributes.attachment_link.description
In this piece Sophie* talks to SafeLives Knowledge Hub Advisor Collette Eaton-Harris about the sexual violence she experienced from a partner as a teenager, and some of the wider issues that bisexual women face. Warning: contains descriptions of sexual violence The relationship started when we were 15 and ended when we were both about 21.

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Repetition in this is nice, could be used to show the cycle the victim faces. That they can't get out of this situation

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Create 2 movements:

1 harsh and 1 fragile movement to create duets or individual sequences. To be placed within personal narratives

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One person, several joining, shows it doesn't just happen to one person

Pina Bausch movement sequence - one person others join (the pairs)

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Pina bausch- domestic violence, what causes a person to become an abuser e.g. life experiences, mental health, self perception.

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Start watching from 7 minutes, some interesting movement that could be used 

# data[].attributes.subject
Start watching from 7 minutes, some interesting movement that could be used 

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Steph J ideas on this - reaching out towards each other, the manipulation they can use to make the victim keep coming back. Controlling the movement of the others head. Sat on the floor, man feeling her body, her facial expression, her small his legs at the side of her seems bigger and in control

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Dakota & Nadia performed an AMAZING dance against DOMESTIC VIOLENCE  | France's Got Talent 2018

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Steph J ideas = Grabbing of face She drops back he holds her up

Costume, Steph H also mentioned - Stretchy clothing grabbing it and pulling it

# data[].attributes.attachment_link.title
Dakota & Nadia performed an AMAZING dance against DOMESTIC VIOLENCE  | France's Got Talent 2018

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#BreakTheRoutine - JWT London for victim Support & National Centre for Domestic Violence

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Steph J's ideas from this - feeling up her body to her neck then a strangle like image. dropping to the floor (giving up) effects the victim both emotionally and physically. Movements of violence but not actually touching

Levels used

Music stops for a moment, silence, Regy

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#BreakTheRoutine - JWT London for victim Support & National Centre for Domestic Violence

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Remember a time you felt confident. How did you feel? What were your body movements like? Were they different? For 1 minute do movements based on how confidence makes you feel. For example when I'm feeling confident I jump, stand taller, smile more, walk faster, sing and dance, swear, talk more, jump and tap my shoes together, high 5, hug people and put arms around people, touch their arms, have my chin up higher(proud). Now do the exercise again for 3 minutes. Repeat the movements again in a dance style way like Wilson or repetition way like Pina or a slow non human way like regy, for example robotic. Put music on if this helps.

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Show both sides of domestic abuse e.g. man abusing woman and woman abusing man

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Start- personal narrative one person begins with their story saying small snippets then others join saying their own other stories also saying small snippets.

Middle- movement sequence perhaps, pina bausch, Rite of Spring opening one person rest joins, cafe muller repeated movement. Got talent clip for ideas of movements

Ending- all victims come together to tell their story in unison. This shows the victims coming together to support one another.

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"Behind those closed doors are families full of lies"

"Children grow up with beaten up mothers being their normality when will this circle stop"

Idea of unity and families/children

Would be interesting for us to create some text maybe using this and and others I attach as influence

Peter Brook's idea of reading text and discussing it first before doing the acting might be interesting to explore

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Be The Change - Poem About Domestic Violence

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Last Friday me and Steph Hall watched a video on domestic violence where two actors or dancers were about 1 or 2 metres apart the whole time and they were both reacting to each other violence movements. We could do something like that. Using Wilson to make it a dance and Pina to make it repetition for a short amount of time.

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Stand 1 to 2 metres apart and react to each others violence movements (punches and kicks). Try to use dance moves inspired by Wilson, or repetition moves inspired by Pina or slow non human movements inspired by regy, for example robotic. You could combine dance style moves with repetition moves.

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Court room scene after domestic violence scene. The abuser/abusers are in court facing criminal charges. One of us plays the abuser/abusers, judge, lawyers etc. we all do repetition movements inspired by Pina, for example lawyer standing up sitting down, opening and closing notebook, scrolling through notes, pointing, walking movements from seat to abuser and back again. The audience could be the jury and at one point one of us turns to the jury/audience to argue for a guilty or non guilty verdict. And one of us as the judge says the jury's verdict.

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UPDATED

I think both my structure idea and Steph's are good ideas. Mine is similar to Wilson's Einstein on the beach video on YouTube. In Wilson's 30 minutes video the scene changes after the first 7 minutes and that changes again at 14 minutes, changes again at 18:40, again at 20:26, again 24:00, again 28:30. My idea is similar, for example the first 7 minutes we focus on confidence and arrogance, next 7 minutes we focus on anger and domestic violence, final 7 minutes on toxic masculinity and/or toxic femininity if we decide to have a women abuser. This way the audience understands what is going on and why the domestic violence happened, because a confident person became cocky and arrogant, then short tempered and angry, lashing out and committing domestic violence. In every theme we act out movements inspired from one or two practitioners. Those movements are based on examples we've collected from research, for example Pina and or Wilson inspired domestic violence scene. Examples of healthy confidence from research or confidence movements we've done from an exercise we've created. Although there's no narrative in Wilson's video there is a conductor and train, it looks like a story is happening, a visual story happening. Ours could be similar (except we add in personal narrative) using the movements we decide to make in confidence, domestic violence and toxic masculinity. You could discuss this in tomorrows meeting. Let me know what you think. Thanks.

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Overarching theme of domestic violence - unity of people who have experienced it, can happen to anyone

Themes weaved in of confidence and toxic masculinity

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Silences would be really interesting to explore in connection to our theme

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Shows the difference from what's happening at home to how they portray themselves to the outside world

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'The Mirror' – A Domestic Violence Short Film

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I like this idea of restriction with these, scarves/ropes, whatever they are. Possibly when doing the personal narratives. Could be used several times throughout the performance, like a motif - restriction and control

Like Peter Brook's use of sticks, used in exercise then in many of his performances

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"I Stayed" a Domestic Violence Victim's journey - from ARTFARM's Terpsichore: The Women's Movement

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Pieces- personal narrative from workshop

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Pieces- personal narrative from workshop

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I’ve never told this story. I was on the 10:30 am train On the 27th of January 2018. I just turned 14 the month before. I felt like an adult for the 1st time in my life. I was Heading to London to meet someone I’ve known for 6 months. I was definitely feeling unsure on the train but not entirely knowing why or what to do for 2 hours filled with anxiety. The next 4 hours kind of blank out for me. But I know I was numb. And tired. And that was it. I never remember that day the same. It comes in pieces. So that’s a piece.

IDEA: insert in the gaps of silences. Erratic noise and movements??

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Our beginning ideas for themes

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We could use verbatim theatre to make it more believable. we could perhaps study the way REAL victims act (watch a true crime domestic violence victim interview for example) and almost imitate how these people move, talk, gesture, posture, facial expressions, if they are fidgeting, how they react to different things...

Basically method acting lmao

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PLEASE WATCH IF YOU WERENT AT REHERSAL TODAY

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PLEASE WATCH IF YOU WERENT AT REHERSAL TODAY

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Sign in to iCloud to access your photos, videos, documents, notes, contacts, and more. Use your Apple ID or create a new account to start using Apple services.

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Truth and Reconciliation Debbie Tucker Green

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Truth and Reconciliation Debbie Tucker Green

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Using Simon’s court room scene as inspiration, this play uses the audience as the ‘jury’ as the victims tells their stories while sat on chairs to the audience. This could be used with personal narratives Also a video linked to the play

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Silence - Truth & Reconciliation Dance Routine Video

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Maybe we could involve the audience into the peice to put them into the position of our "abused" characters or those who are affected by domestics.

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Tribunal plays

Staging a trial on stage exactly how it is

Verbatim theatre

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Collective movements to place in between core sequences

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Start

Personal narratives

Movement sequence

Annotation

Some sort of text

Movement sequence

Annotation

Some sort of text

Movement sequence

Steph’s line

End

Red rope - motif throughout used in each of the movement sequences

Ideas for text - poem influence, tribunal plays and verbatim theatre idea

Ideas for movement - one of the domestic violence, one of the external and internal, one of family? Repetition included

This will more than likely be changed just an idea for now

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I personally believe domestic abuse is better to use when speaking about our performance as it isn't just the physical but also the psychological and emotional. And is more a "prolonged pattern of behaviours where one person tries to control another"

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Eggshells - A Short Film About Domestic Abuse (coercive control, gaslighting, domestic violence)

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Domestic abuse SURVIVOR may be something to look into

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Domestic abuse SURVIVOR may be something to look into

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‘I didn’t know it was abuse until I nearly died’

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Abi Blake was nearly killed by her husband. Maybe a new police pilot programme would have helped her?

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Beginning and end
Personal narratives
In middle
Documentary theatre  - if can find
Movement sequence based on pins bausch and one on Robert Wilson
Development of text with silences and slowness - Claude regy

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Personal narrative

-alone on stage to start

-slowly others come in mimicking story under breath

-bring rope and wrap round

Movemtnets (from last week)

-Robert Wilson inspired

-7 different

-ropes start movement then carry on doing without influence

-connects with last segment(take people away from main speaker and start to force/ change movement and positions)

Text

-different stories

-segments

-link together

-panicked over one another

-disjointed

- tex made from different stories

Movement

-pina Bausch inspired

-3 pairs (slow-fast erratic, influential manipulative movements, slow performative outside look of it - fast internal relationship

-one on own (erratic - slow, ends with fake smile accepting of awful situation but not really okay, internal)

End text

-All saying same story together

-community all stories come together

-Scarlett

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I’ve never told this story. I was on the 10:30 am train   On the 27th of January 2018. I just turned 14 the month before.  I felt like an adult for the 1st time in my life.  I was Heading to London to meet someone I’ve known for 6 months.  I was definitely feeling unsure on the train but not entirely knowing why or what to do for 2 hours filled with anxiety. The next 4 hours kind of blank out for me. But I know I was numb. And tired.

I have a few pieces,

More like visions. Late at night. I can see the red tattered carpet stairs with the wooden bannister painted beige with cracks in the paint.  The hall is only short. But it has at least 5 different rooms and a shared bathroom at the end of the hall. The room number 5 is the room I was in. It was a small twin bedroom with a sink in the corner by the window over looking a basketball court with some people playing. That day was one of the shortest days I ever had. It was a cold winter day with a small blanket of snow on the ground.  Again. It comes in pieces. No faces. Or sounds. Just a slow movement towards that door. That number 5 door.

My last piece is the train station. How quiet it was for a Saturday.  Usually there are people running for the trains and crowds clustering to get through the gates. But the 27th of January felt different. Like it knew what happened already. I sat in one of the metal chairs by the train schedule monitor. Waiting. But not for a train. There was no chance I was getting home for the time I was meant to go home. So I sat and waited for what seemed like hours until 2 men asked me my name and I turned around to the men in uniforms.  My final piece. The last piece of anxiety. The last time I felt scared and alone. After that things are blurry and slow in a floaty way.  I float through the pieces and see them usually at night. At the times least want to see them. But that’s how it works. Never when you want to.

And that was it. I never remember that day the same. It comes in pieces.  So that’s a piece.

IDEA: insert in the gaps of silences. Erratic noise and movements??

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One of the domestic violence narratives could be set in the dark/low light and we do movements using neon or luminescent lights/objects, or a spotlight is used to focus the audience attention on one or more of us doing movements. That would be cool.

YouTube image theatre - performance black box

Simon

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Breaking the fourth wall

We finish our movements, feel an invisible wall in front of us , it confuses us, we break it apart with our hands and step through it, and annotate.

Simon

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In film and TV silences are used to make a scene more powerful/impactful. And prolonging a scene is used to increase tension. We could use these techniques in the narratives.

Simon

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Protecting Victims: Personal Injury Attorney Shares Domestic Violence Stories

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I ran. I ran so fast from the man I’ve known my whole life. The man who showed me what love is. The man who cared for me. But this wasn’t my dad. This was a man I’d never seen before. His eyes were wide and his stare was cold. I had no shoes on my feet had never felt so cold. Frozen like ice. It felt like needles with every step I took. But that wasn’t important at the time. I just knew I had to run. If I could.. he wasn’t far away from getting to me. This was my last stretch . I only had to get to the door. Then I had people to watch what he was planning. My heart was thumping. All I could hear was my heart beat. And how close I was.

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Emotional abuse case study: 'If I had stayed longer, I probably would have ended up dead'

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“I was the most confident person you could ever meet, and I just vanished. I’m trying to find myself again now.”

“He told me I was worthless so [many times that] I believed it.”

“I actually thought it would be easier to stay with him”

“I’ve met doctors and judges hiding from their abusers at the refuge. Abuse is straight across the board.”

“If he had punched me in the face on our first date, I wouldn’t have gone back. I couldn’t see what was really happening.”

“It started with things like my clothes. At first he’d say, “I don’t know about those shoes.” It progressed to, “Everyone’s looking at you, and you can’t go out like that.” Eventually, it was, “You look like a slut.””

“As soon as we got married, my house wasn’t right because it was mine.”

Scarlett

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The beginning I used to be a girl about town. I was working in accounts, bought my first home at 22 and had my little sports car. I had my life planned out.

If he had punched me in the face on our first date, I wouldn't have gone back. I couldn't see what was really happening.

I got pregnant shortly after we started going out, and I was diagnosed with breast cancer the same year. I was 24. He left when all that happened, so I had my daughter by myself. I moved to Dublin for cancer treatment.

I bumped into him when I came back to Limerick. I think I was vulnerable because of my illness. I went from being confident to thinking I was going to die.

We got married less than nine months after that. The abuse started from there. It was all emotional or psychological. And it was the worst. I can't even explain it.

Little signs

There were little signs of jealousy at first, but I thought: Isn't that lovely? He's mad about me. But really, it was about control.

It started with things like my clothes. At first he'd say, "I don't know about those shoes." It progressed to, "Everyone's looking at you, and you can't go out like that." Eventually, it was, "You look like a slut."

As soon as we got married, my house wasn't right because it was mine. So I had to sell it and buy another property with the money I made. He had debts, and I paid them off. I bought another home, and everything about that was wrong as well. It was all my money, and it's all gone now.

Our daughter would finish school, and he knew how long it took me to drive home. I'd have to be at home to answer the phone when he rang.

He cut me off from my friends. He encouraged me to work from home and then to stop working completely. Sometimes he rang me 30 times a day.

When he came home from work, I'd have his shirts ironed, but he wanted the only one left in the laundry basket. It was always the wrong shirt, the wrong food.

The last straws

I can only assume that he was jealous of our daughter because she took my attention away from him. He wanted to know why she had to go everywhere with us. She was three.

Then I wasn't able to go to the doctor because he said the cancer was all in my head. He said all I wanted was for the doctor to see me naked. I didn't have a check-up for many years, and my health deteriorated.

I finally went to the doctor and found out I had to have my ovaries removed. I had the surgery, and afterwards my husband said I did it to spite him.

I was in and out of hospital during that time. He never came to see me and wouldn't look after our daughter. My parents, who were in their 70s, looked after her.

Getting out

We were together for seven years. I got married at 26, and I'm 35 now. If I had stayed longer, I probably would have ended up dead. He spoke about killing me often enough.

Towards the end, he started threatening to kill me in front of our daughter. When we got home from school, she would cross her fingers that he wouldn't be at home. "Can we run away, Mammy?" she used to ask me every night.

One day he went ballistic, and we ran outside and drove to my parents' house. He tried to block me and then ram my parents' house with the jeep. I rang the police. The police told me to stay with my parents for a few days. They left the perpetrator in the house.

I actually thought it would be easier to stay with him.

I was dealing with one good garda who told me not to back down. He was the best thing that ever happened to me.

Gardaí told me to contact a domestic violence refuge. I said: "Are you crazy? I'm not one of those people. I'm not poor."

But when I went there, I realised I totally am one of those people. I've met doctors and judges hiding from their abusers at the refuge. Abuse is straight across the board.

I got a barring order to remove him from the home, and I'm back in my house now. There is help out there. You can get through it, and your kids will thank you.

A lot of people think they should stay for their kids, but my daughter is a different person now. She's a happy child. She's in the top 2 per cent in the country in standardised testing. She's the most mannerly and well-adjusted kid.

I left three years ago, and I still go to a support group to get him out of my head. He told me I was worthless so [many times that] I believed it.

I had a lovely childhood. We weren't poor by any means. I was the most confident person you could ever meet, and I just vanished. I'm trying to find myself again now.

Emotional abuse is so much worse than physical abuse. A bruise heals. The inside takes longer.

This story is from a member of United & Strong, a group of domestic violence survivors advocating to strengthen the rights of victims of domestic abuse. For more information, see United & Strong on Facebook and @strong_united on Twitter.

In conversation with

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Emotional abuse case study: 'If I had stayed longer, I probably would have ended up dead'

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Bullying and control can be difficult to pinpoint - it may take time for a victim of emotional abuse to realise what is happening

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Emotional abuse: ‘My fiance seemed perfect - but he wanted to control me’

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Scarlett

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Emotional abuse: ‘My fiance seemed perfect - but he wanted to control me’

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An actress who became engaged to an older and more successful actor, describes six months of emotional abuse.

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Domestic violence inspired by my mum slapping my sister years ago. Goes better when sung, I could sing it. Sung in the same way as violets tale.

(Sing)

I here loud shouting

I turn to the left

My door open in my room

I see everything

Standing in hallway, all but one door shut

Women gets mad and shouts at her daughter

"You're not to old for a slap"

(Women slaps daughter)

Girl goes red and runs off cry-iiinnnggg.

(Sing/repeat 3 times)

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Controlling or Coercive Behaviour in an Intimate or Family Relationship | The Crown Prosecution Service

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Scarlett

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Introduction

Section 76 Serious Crime Act 2015 (SCA 2015) created the offence of controlling or coercive behaviour in an intimate or family relationship (CCB). It can be tried summarily or on indictment and has a maximum penalty of five years' imprisonment. The guidance emphasises:

the importance of identifying this crime, even when other crimes are being investigated

how to approach the selection of charges when dealing with conduct which overlaps stalking, harassment and CCB

putting before the court all relevant evidence, including revisiting previous allegations not proceeded with, if necessary

the importance of charging individual incidents in addition to CCB, especially where they attract a maximum penalty of, or more than, 5 years' imprisonment, and

the relevance of a case strategy which considers acceptable pleas and how the case is to be put (and reflected in the charge or indictment) from the outset

Prosecutors should also apply:

The support and safety needs for victims should be identified from the outset and continually considered throughout the life of a case, by the police in dialogue with the prosecutor. Where available this should also be informed by any specialist support the victim is receiving. For example, through an Independent Domestic Abuse Advisor (IDVA) or an Independent Stalking Advocacy Caseworker (ISAC). Improving a victim's safety is important. It may help to raise their confidence in the criminal justice system and facilitate their participation in the investigation and prosecution process.

CPS Violence Against Women and Girls Strategy

The Violence Against Women and Girls (VAWG) Strategy provides an overarching framework for crimes identified as being primarily committed, but not exclusively, by men against women within a context of power and control.

The offence of controlling or coercive behaviour, and other prosecutions related to domestic abuse, should be addressed within the overall framework of VAWG and human rights. The patterns and dynamics involved in these cases need to be understood in order to provide an appropriate and effective response. Though most victims of VAWG offences are women, the CPS recognises that some offenders will be women, non-binary or identify in a different way and some victims will be men, non-binary or identify in a different way.

All references in this guidance are gender neutral and are applied to all suspects and victims of crime irrespective of gender, or sexual orientation, in accordance with the Code for Crown Prosecutors.

Refer to the CPS Domestic Abuse prosecution guidance for further information about the gendered approach to prosecutions.

Evidential considerations

Section 76 SCA 2015 provides that an offence is committed by a suspect ("A") against a victim ("B") if:

A repeatedly or continuously engages in behaviour towards another person, B, that is controlling or coercive

at the time of the behaviour, A and B are personally connected

the behaviour has a serious effect on B, and

A knows or ought to know that the behaviour will have a serious effect on B

"Repeated or continued behaviour that is controlling or coercive"

A pattern of CCB can be well established before a single incident is reported. In many cases the conduct might seem innocent - especially if considered in isolation of other incidents - and the victim may not be aware of, or be ready to acknowledge, abusive behaviour. The consideration of the cumulative impact of CCB and the pattern of behaviour within the context of the relationship is crucial. This approach will support the prosecutor to assess effectively whether a pattern of behaviour amounts to fear that violence will be carried out; or serious alarm or distress leading to a substantial adverse effect on usual day-to-day activities.

Building on examples within the Statutory Guidance Framework, relevant behaviour of the suspect can include:

isolating a person from their friends and family

depriving them of their basic needs

monitoring their time

monitoring a person via online communication tools or using spyware

using digital systems such as smart devices or social media to coerce, control, or upset the victim including posting triggering material

taking control over aspects of their everyday life, such as where they can go, who they can see, what to wear and when they can sleep - this can be intertwined with the suspect saying it is in their best interests, and 'rewarding' 'good behaviour' e.g. with gifts

depriving them of access to support services, such as specialist support or medical services

repeatedly putting them down such as telling them they are worthless

enforcing rules and activity which humiliate, degrade or dehumanise the victim

forcing the victim to take part in criminal activity such as shoplifting, neglect or abuse of children to encourage self-blame and prevent disclosure to authorities

economic abuse including coerced debt, controlling spending/bank accounts/investments/mortgages/benefit payments

controlling the ability to go to school or place of study

taking wages, benefits or allowances

threatening to hurt or kill

threatening to harm a child

threatening to reveal or publish private information

threatening to hurt or physically harming a family pet

assault

physical intimidation e.g. blocking doors, clenching or shaking fists

criminal damage (such as destruction of household goods)

preventing a person from having access to transport or from working

preventing a person from learning or using a language or making friends outside of their ethnic or cultural background

family 'dishonour'

reputational damage

sexual assault or threats of sexual assault

reproductive coercion, including restricting a victim's access to birth control, refusing to use a birth control method, forced pregnancy, forcing a victim to get an abortion, to undergo in vitro fertilisation (IVF) or other procedure, or denying access to such a procedure

using substances such as alcohol or drugs to control a victim through dependency, or controlling their access to substances

disclosure of sexual orientation

disclosure of HIV status or other medical condition without consent

limiting access to family, friends and finances

withholding and/or destruction of the victim's immigration documents, e.g. passports and visas

threatening to place the victim in an institution against the victim's will, e.g. care home, supported living facility, mental health facility, etc (particularly for disabled or elderly victims

This is not an exhaustive list and prosecutors should be aware that a suspect will often tailor the conduct to the victim, and this conduct can vary to a high degree from one person to the next. Prosecutors should consider the conduct of the suspect in each individual case to assess whether it discloses controlling or coercive behaviour. There is plainly overlap with stalking and harassment.

There might be confusion about where the 'appropriate' dynamic of a relationship ends and where unlawful behaviour begins. One way of considering this is describe by The College of Policing Authorised Professional Practice on Domestic Abuse which sets out that: "In many relationships, there are occasions when one person makes a decision on behalf of another, or when one partner takes control of a situation and the other has to compromise. The difference in an abusive relationship is that decisions by a dominant partner can become rules that, when broken, lead to consequences for the victim."

Prosecutors should consider the impact on the victim of following, or not following, rules imposed upon them within the wider context of the relationship, where this type of behaviour has occurred within the relationship. It is not necessary for the prosecutor to prove that consequences follow, not least because the fear of consequences is just as powerful. This is intended as a tool by which to recognise a controlling or coercive relationship, rather than a 'point to prove'.

Prosecutors should also refer to the following guidance:

"Personally connected"

A suspect and victim are personally connected if

they are, or have been, married to each other

they are, or have been, civil partners of each other

they have agreed to marry one another (whether or not the agreement has been terminated)

they have entered into a civil partnership agreement (whether or not the agreement has been terminated)

they are, or have been, in an intimate personal relationship with each other

they each have, or there has been a time when they each have had, a parental relationship in relation to the same child, or

they are relatives

"Intimate personal relationship" is not defined in statute. Therefore, the ordinary dictionary meaning of the words should be adopted. While many intimate personal relationships will involve a sexual relationship this is not a requirement. It can also include relationships where some other form of personal or emotional intimacy exists, for example if the victim and suspect are dating, or share a bed. The key question is intimacy: the victim and suspect do not have to cohabit nor have a particular form of relationship.

Prior to 5 April 2023, "personally connected" was limited to

a suspect and victim in an intimate relationship, or

cohabitation combined with either (i) a past intimate relationship or (ii) membership of the same family

This was amended by section 68 Domestic Abuse Act 2021 which removes the cohabitation requirement and focuses on the relationship instead. The amendment is not retrospective and so will not cover CCB prior to 5 April 2023.

"The behaviour has a serious effect on the victim"

This element can be proved in one of two ways. The prosecutor need only prove one or the other:

firstly, where the behaviour causes the victim to fear violence on at least two occasions (section76(4)(a) SCA 2015), or

secondly, the serious alarm and distress caused by the suspect's behaviour has had a substantial adverse effect on the victim's usual day to day activities (section 76(4)(b) SCA 2015)

For the purposes of this offence, the behaviour or the activities must be carried out "repeatedly" or "continuously". There is no requirement, however, that the activity should be of the same nature.

Examples of substantial adverse effect on the victim could include:

physical or mental health deterioration

no longer socialising or withdrawing from activities such as physical exercise

needing to put in place measures at home to safeguard themselves or their children, including CCTV

self-harming

no longer eating properly

putting in place measures in their home to safeguard themselves or their children

changing working patterns, employment status or routes to work

Prosecutors should assess the impact on the victim by recognising the cumulative impact of a pattern of abuse.

"Assessing the evidence of serious effect"

There should be no assumption as to what a 'typical' victim might look like or behave like when assessing the evidence as to "serious effect". Victims may respond to abuse in several ways including consuming drugs or alcohol, and/or by showing signs of humiliation, detachment, anger, and retaliation. Victims may also interpret abuse very differently including expressing feelings of guilt; this might depend on their social or cultural context. Victims can be resilient in some respects: it is important not to compare them to other victims but to consider how their day-to-day life has been affected. Refer to the CPS Domestic Abuse prosecution guidance for further advice on self-defence and issues relevant to particular groups.

CCB can be overlooked as victims might be seen as colluding or consenting to the behaviour. In some circumstances the victim may not be aware or be ready to acknowledge, least of all be ready to report, that they are being abused. Collusion or consent might be best understood as ways of coping or adapting to the abuse. Victims may also do this to try to reduce the risk that they or their children may face from the suspect. Changes in the victim's appearance may indicate that they are subject to coercive or controlling behaviour, whether by wearing clothing or cutting hair to appease the suspect or a loss of weight. Other reasons why CCB may not be identified early or reported, include feelings of self-blame or first responders on call outs not asking the right questions to adduce the cumulative harm caused in the relationship. Prosecutors should be alert to this forming part of the history of the case when it comes to the CPS for a charging decision and ensure that they have had sight of the full risk assessment.

"A knows or ought to know that the behaviour will have a serious effect"

For the purposes of the offence the suspect "ought to know" that which a reasonable person in possession of the same information would know: section 76(5) SCA 2015.

Defence

Sections 76 (8) to (10) SCA 2015 provide a defence in relation to section 76 4(b) SCA 2015 (behaviour causing serious alarm or distress which has a substantial adverse effect on their day-to-day activities), namely it is a defence to show that in engaging in the behaviour in question, the suspect believed that they were acting in the victim's best interest; and that the behaviour in all the circumstances was reasonable.

The suspect is to be taken to have shown this if they raise sufficient evidence of the facts adduced to raise an issue with respect to them; and the contrary is not proved beyond reasonable doubt.

This defence is not available in relation to section 76 (4) (a) SCA 2015 (behaviour that causes the victim to fear on at least two occasions that violence will be used against them).

Is it in the public interest to prosecute?

Paragraph 4.14 of the Code for Crown Prosecutors sets out the factors a prosecutor must address in their review when considering whether it is in the public interest to proceed with a prosecution.

It does not automatically follow that if there is sufficient evidence, there will always be a prosecution. A prosecution will usually take place unless there are public interest factors tending against prosecution that outweigh those tending in favour. Given the seriousness of domestic abuse, prosecution of controlling or coercive abuse will normally be required when the evidential requirements under the Code are met. There are, however, many factors, which may influence consideration of the public interest in prosecution.

Where the evidential stage has been met, but in circumstances where a victim is not willing to support a prosecution, prosecutors will need to carefully consider the interests and safety of the adult and child victim, other family members and other dependents when assessing whether a prosecution is in the public interest, whether to seek a witness summons and whether to pursue a prosecution without the support of the victim. More information about the approach to follow can be found in the CPS Domestic Abuse prosecution guidance .

Extra-territorial jurisdiction

The common law provides jurisdiction to try this offence where a substantial measure of the activities constituting a crime take place within England and Wales, save where it can seriously be argued on a reasonable view that these activities should, on the basis of international comity, be dealt with by another country. This means that incidents which form part of repeated or continued behaviour may be charged as part of CCB even if not all of them occur within the jurisdiction.

In cases where the entirety or majority of the offending takes place outside England and Wales it may still be tried when committed by UK nationals and those habitually resident in England and Wales. For more information prosecutors should refer to the Jurisdiction legal guidance.

Support for victims

From the outset of a case, prosecutors should have regard to support for the victim when advising the police. They may ask the police to :

establish whether the victim's needs have been, or can be, assessed by specialist domestic abuse services including Independent Domestic Violence Advisors (or their equivalent)

identify what special measures would maximise the quality of the witness' evidence, especially given the challenges in providing a clear and coherent account a victim of CCB may have: see further, the Special Measures prosecution guidance

consider whether a prosecution could proceed without the support of the victim

confirm what ancillary orders should be sought.

Where available victims should be signposted to specialist support agencies as well as statutory agencies to ensure risk management plans are put into place.

The police should advise the victim how to keep themselves safe and to keep information in relation to incidents. In addition, they should also signpost the victim to specialist domestic abuse services. A list of support organisations can be found at Annex E of the CPS Domestic Abuse prosecution guidance .

Gathering Evidence and Case Building

Gathering evidence to build a robust prosecution case should focus on the wider pattern of behaviour and on the cumulative impact on a victim. The investigation may reveal evidence of substantive offences, such as physical or sexual assault, but even if the police investigation is not focused on CCB, prosecutors should be alive to whether a wider pattern of abuse should be investigated and prosecuted as CCB. A victim may not know the full extent of a suspect's conduct, for instance if they were being monitored without their knowledge.

Prosecutors must always consider, from the outset, the possibility of proceeding without the victim's support. The case strategy addressing this must be recorded within the prosecutor's review. For further information regarding evidence led prosecutions, prosecutors should refer to the CPS Domestic Abuse prosecution guidance .

The Statutory Guidance Framework outlines a non-exhaustive list of the types of evidence that could be used to prove the offence of CCB. The following list builds on the examples provided in the Statutory Guidance:

phone records, text messages and device logs (whilst ensuring limited disruption, if any, for the victim and not risking further harm)

evidence of abuse over the internet, digital technology (e.g. smart speakers) and social media platforms

copies of emails

photographs of injuries such as: defensive injuries to forearms, latent upper arm grabs, scalp bruising, clumps of hair missing

photographs of damage to property such as broken doors, holes in plasterboard, doors pulled from cupboards or signs of forced entry into rooms

999 tapes or transcripts

CCTV and home video footage - e.g. smart doorbells

body-worn video footage

lifestyle and household evidence documenting, for instance, changes to the victim's behaviour and routine. This could include evidence of isolation such as lack of contact between family and friends, victim withdrawing from activities such as clubs, suspects accompanying victims to medical appointments and the victim withdrawing from support services

records of interaction with services such as support services

medical records

bank records to show financial control

previous threats made to children or other family members

suicide threats from the suspect e.g. via text, email, or postings on social media or multi-media sites

abusive postings on public platforms e.g. YouTube

any diary kept by the victim

GPS tracking devices installed covertly an/or overtly on mobile phones, tablets, vehicles etc

where the suspect has carer responsibility, the care plan might be useful as it details what funds should be used for e.g. caring for a child, caring for a parent or a sibling

Prosecutors must also refer to the CPS Domestic Abuse prosecution guidance which provides further guidance on gathering evidence and case building including advice on charging, consideration of previous domestic abuse incidents (bearing in mind that these may need to be reappraised as the controlling or coercive elements may not have been taken into account), serial offenders, risk assessments and risk indication checklists.

Reconsidering prosecution decisions as part of CCB

where the specific incident has been previously reviewed by the police or CPS and a decision made to take no further action

the matter was charged but the victim then withdrew their support at the time and the case could no longer proceed without their participation so was discontinued

it has been reported previously but not charged as the victim withdrew their support

When considering previous domestic abuse incidents prosecutors may come across various situations such as:

The above is not an exhaustive list of situations and others may arise.

As a general rule, an earlier decision not to prosecute an individual charge, for instance of assault, is no bar to charging CCB and including that incident as part of the evidence of CCB. CCB is a different offence. It requires proof of repeated and continued behaviour, which by definition is wider than the single incident. The decision not to prosecute the single incident does not amount to a decision, let alone a representation or promise, that the suspect will not be charged with CCB.

whether significant evidence (in particular, that relevant to CCB) has come to light since the original decision

whether the original decision was wrong and a prosecution should be brought in order to maintain confidence in the criminal justice system

However, in a situation where a previous decision not to charge or proceed is being revisited, prosecutors must apply section 10 of the Code for Crown Prosecutors and the prosecution guidance on Reconsidering a Prosecution Decision. In particular, prosecutors should ask:

whether in fact the defence are arguing that evidence of an earlier incident ought to be excluded, pursuant to section 78 Police and Criminal Evidence Act 1984 ("section 78"), rather than a stay ordered. If the defence take issue with only part of the evidence of CCB, a stay may not be the appropriate remedy. Prosecutors should resist the section 78 application on the same principles, namely that it is appropriate to revisit the earlier decision

whether in fact the decision being challenged is not a reversal of the original decision. See above: charging CCB to reflect repeated or continued behaviour is not a reversal of a decision not to charge a single allegation

what the suspect was told when no further action was taken or the matter discontinued, in particular any statement to the effect that a decision may later be reviewed or discontinued proceedings re-commenced

most importantly, whether or not it is tenable to say that the second limb of abuse is substantiated, namely that a stay of proceedings is necessary to protect the integrity of the justice system. This is an exceptional remedy. The integrity of the justice system is upheld, and not imperilled, when the Code for Crown Prosecutors and the Reconsidering a Prosecution Decision principles are applied, concerning significant evidence later discovered or reversing a wrong decision

Revisiting earlier incidents in these circumstances may be said by the defence to be an abuse of process. Prosecutors should consider the prosecution guidance on Abuse of Process . In particular it may assist to consider:

As a general rule, prosecutors should seek to put before the court all relevant evidence of CCB.

Taking a Suspect -Centric Approach

help ensure the effective consideration of the overall allegation within the wider context of the relationship

inform and support investigators to consider all available evidence

lead to the swift and accurate assessment of risk which, in turn, can help to ensure a suitable multi-agency approach to increasing the safety of the victim

An effective strategy in the prosecution of these cases needs to involve scrutiny of the behaviour and actions of the suspect. This approach can:

A suspect usually weighs up the relative benefits and costs of pursuing abusive actions. This may involve taking several steps to minimise the likelihood of detection and punishment. Given the nature of the relationship, and the access it affords the suspect to the victim, highly sophisticated tactics to control or coerce can be deployed which can be accompanied by physical violence.

Being highly manipulative such as: 'love bombing' where the suspect will intermittently do what appears to be loving acts, seeking to present these as interrupting or negating the course of conduct rather than forming part of it - prosecutors should consider whether these apparently "loving" acts form part of the course of conduct.

Other manipulative steps, in order to disrupt or mislead the investigation and prosecution, including altering behaviour when being watched or supervised; using others to harass or stalk the victim including making spurious complaints to the authorities.

Take other steps to mislead the investigation, this can include altering behaviour when being watched or supervised; using others to assert control over the victim; accusing the victim of "nagging" them and other spurious complaints to the authorities.

Target vulnerable people recognising that they may face additional barriers to accessing help or support. For example: exploiting someone's vulnerability owing to their immigration status, disability, age, or sexual orientation; or combining CCB with enforced sexual activity to humiliate the victim and reduce the risk of them seeking help. Consider the context of the relationship and the relative position of power to help with the assessment of the case. Refer to the Statutory Guidance, CPS Domestic Abuse prosecution guidance https://cpsgovuk.sharepoint.com/prosecution-guidance/Pages/Domestic-Abuse.aspxand Toolkit for Prosecutors on VAWG Cases involving Vulnerable Victims.

Make repeated litigation or applications for variations of a restraining order or child arrangement order to continue to try and control or coerce the victim. Where this occurs in a criminal case, for example, by making repeated unreasonable applications to vary a restraining order, prosecutors should remind the court of its powers to minimise abuse of process. It should be noted that only a single act is required to constitute a breach of a restraining order. Where there is a breach of a criminal or civil order, the sole defence is that the defendant had a reasonable excuse, which the defendant must first raise (it will then be for the prosecution to disprove it beyond reasonable doubt: Evans [2004] EWCA Crim 3102. Prosecutors should consider whether a breach of a restraining or other order, however, constitutes part of a course of conduct rather than an isolated incident (including, see below, whether this amounts to stalking or harassment).

Minimise, or give mitigation for, their offending behaviour. In general, if offending behaviour amounts to CCB, and that is the appropriate charge, prosecutors should not accept a plea to a lesser offence simply out of expediency. Refer to the section below titled 'acceptability of pleas' and the CPS Domestic Abuse prosecution guidance for further information.

Some disabled people or older people may be receiving informal or formal care or help from a partner, ex-partner or from their wider family. Their disability, age or other circumstances may leave them vulnerable, isolated, unable to communication or unable to access the means to communicate with other people. This means that these victims may be less able to recognise that some behaviours, such as financial control or coercion, is being carried out against them. If a disabled person is reliant upon the suspect for support, they may be manipulated into believing that nobody else is trustworthy enough or able to care for them, and if abuse was reported then they would go to a Residential Care Home.The suspect may also try to explain their actions by saying they are doing what they think is best for the victim.

Examples of tactics that suspects may use are listed below, these are not exhaustive:

For further information about offender tactics in VAWG cases, prosecutors should refer to Table 1 of the following toolkit highlighting the tactics and behaviours that an offender might use or display.

Selecting the Most Appropriate Charge or Charges

Prosecutors should note that the below paragraphs are duplicated in the Stalking or Harassment prosecution guidance and should be applied when considering CCB, stalking or harassment charges. For further information on stalking or harassment please refer to the Stalking or Harassment prosecution guidance.

It is for the prosecutor to consider all the circumstances and facts of the case to arrive at a decision on the appropriate charge, applying the principles set out in the Code for Crown Prosecutors ,in particular paragraph 6 'selection of charges'.

victims to obtain appropriate specialist support (for example, via Independent Domestic Abuse Advisors and Independent Stalking Advocacy Caseworkers) and to access relevant risk assessments

suspects to access early intervention, bespoke referral routes and where appropriate mental health pathways

the courts to have appropriate sentencing provision and protective orders available to them

There is overlap in some elements of the offences of CCB, stalking and harassment. Monitoring a person's movement or social media may constitute both stalking and CCB; controlling who they meet and when they leave the house may constitute both harassment and CCB. The removal of the requirement to cohabit, so that CCB may be charged for non-cohabiting intimate or family relationships, furthers this overlap. It is important to select the charge based on an understanding of the cumulative harm caused to the victim and the harm in its totality. The evidence from the victim should set this out fully and inform the decision on charge, together with the context of the offending including the motivation of the suspect. This will also enable:

To present a case in a clear and simple way it may not be appropriate to charge stalking, harassment and CCB alongside one another. In order to ensure adequate powers of sentence where there is a higher maximum sentence for stalking or harassment, (i.e. section 4 and 4A PHA 1997) it is likely to tend in favour of charging those offences rather than CCB. Presenting a case which amounts to stalking, and the availability of a stalking protection order, may make stalking the more appropriate charge when choosing between stalking or harassment.

If there is sufficient evdeicne for the elements of stalking involving fear of violence or serious distress or substantial adverse effect on the victim's usual day-to-day activities , the offence contrary to section 4A Protection from Harassment Act 1997 may be the best offence to charge in order to reflect the seriousness and extent of the offending, give the court adequate powers to sentence and enable the case to be presented in a clear and simple way. The non-exhaustive list in section 2A(3) Protection from Harassment Act 1997 provides examples which can constitute stalking. These may overlap with CCB or harassment. However, behaviours which show a fixation, are obsessive, unwanted and repeated might most clearly be presented to a court as stalking rather than harassment or CCB. This is relevant to the way the case is presented, note also in respect of sentencing powers that the maximum penalty is 10 years' imprisonment and a Stalking Protection Order is available as a civil order to protect victims.

If there is insufficient evidence to charge stalking, but there is sufficient evidence to charge section 4 Protection from Harassment Act 1997, the section 4 charge may be the most appropriate. Section 4 harassment is only available where fear of violence is caused, not serious distress which is available for section 4A stalking. Section 4 harassment may overlap with CCB, for example, threats to hurt or harm the victim or their family members and threats of sexual assault. Section 4 may be the more appropriate offence in respect of the sentencing powers available to the court, because the maximum penalty is 10 years' imprisonment

If there is insufficient evidence to prosecute section 4A and 4 offences, but there is sufficient evidence to charge CCB, then CCB may be the most appropriate offence. This will likely be in cases where the conduct was controlling or coercive, causing serious alarm or distress which affects the usual day-to-day activities of the victim but did not amount to stalking and where no fear of violence was caused. For example, controlling when a person can leave the house, who they can and cannot socialise with, control of their finances and coercing them into debt. The maximum penalty is 5 years' imprisonment. For that reason it is likely to be the most appropriate charge in relation to the powers available at sentence, even where section 2A stalking or 2 harassment are also available.

Prosecutors should therefore consider potential charges in the following order:

CCB can also assist in explaining the background to a specific serious incident or incidents.

Where there is evidence of CCB in the lead up to the commission of a homicide offence such as murder or unlawful act manslaughter prosecutors should refer to the Homicide Legal Guidance to consider whether a CCB charge should be laid in addition to the substantive offence.

When there is evidence of specific incidents, such as sexual offences, violent offences or non-fatal strangulation or suffocation, CCB should usually be charged along with other offences.

Other offences attracting more than 5 years' imprisonment should almost always be charged and not subsumed into CCB. Battery may better form part of the facts of CCB but may be charged if a particular incident of violence needs to be recorded on the offender's record. The court may impose a consecutive or a concurrent sentence: what is important is that by charging both CCB and other offences the totality of the offending is put before the court. This is particularly important where the court should have available to it a maximum sentence in excess of 5 years' imprisonment.

Prosecutors are reminded to consider the section below titled 'Acceptability of Pleas' when defendants offer pleas to some but not all offences charged.

Drafting the charge/indictment

The charge or indictment should plead each of the four elements of the offence set out in section 76. It may assist to specify in the charge how the victim and defendant are "personally connected" although this is likely to be apparent from the evidence. It will assist to explain which of the two serious effects the behaviour had on the victim or if both are pleaded. Namely, fear on at least two occasions, that violence would be used or serious alarm or distress which had a substantial adverse effect of the victim's usual day to day activities. What is important is that the defendant knows how the case is to be put, and what case they have to meet, whether it is on either or both. The behaviour alleged is likely to be apparent from the evidence but it may also assist to set this out as clearly and specifically as possible, in the first instance in the charge, or the count on the indictment (or explanatory text accompanying these), or otherwise in a case summary or prosecution note.

An indictment may be drafted as follows, in order to make clear the serious effect relied upon and with some specificity the incidents relied upon:

STATEMENT OF OFFENCE

CONTROLLING OR COERCIVE BEHAVIOUR IN AN INTIMATE OR FAMILY RELATIONSHIP, contrary to section 76 (1) and (11) of the Serious Crime Act 2015

PARTICULARS OF OFFENCE
[The controlling or coercive behaviour includes threats of violence, physical assaults on X and Y date, controlling what she could wear, controlling the colour of her hair, controlling which friends she could see and controlling her social media accounts]
[THE DEFENDANT] between [start date] and [end date], when personally connected to [XX], engaged in behaviour towards XX that was controlling or coercive, which had a serious effect on XX, namely that [it caused XX to fear, on at least two occasions, that violence would be used against XX] [it caused XX serious alarm or distress which had a substantial adverse effect on XX's usual day-to-day activities] and which [THE DEFENDANT] knew or ought to have known would have a serious effect on XX.

Acceptability of Pleas

Prosecutors should refer to the Attorney General's Guidelines on the Acceptance of Pleas and the Prosecutor's Role in the Sentencing Exercise and paragraph 9 of the Code when determining acceptability of pleas.

In some cases, the defendant may offer a guilty plea to a different charge or plead guilty to some of the charges made against them, but not all.

When considering whether to accept a plea in these instances, prosecutors should ensure that the interests and, where possible, the views of the victim are taken into account when deciding whether it is in the public interest to accept the plea.

whether the defendant offers a plea that is in accordance with the evidence available to the prosecution

whether the defendant has any previous incidents recorded against them

whether it would be advantageous to the victim and any children or dependents not to have to give evidence

the victim's views on the pleas offered, some victims would prefer to give evidence rather than accept a plea to a lesser offence

whether the plea fetters the discretion of the court in relation to sentencing

whether the difference between the prosecution and defence version of events is such that it would significantly affect the sentence that would be imposed (if it does, there should be a Newton Hearing to determine the facts)

the fact that defendants will often seek to minimise the offence or mitigate their offence, and

whether the acceptance of plea could impact upon the ancillary orders available to the court at sentence

Prosecutors should consider the following factors when deciding whether to accept a plea to a lesser offence or a plea to one or some of the offences charged, taking into consideration the strategy and rationale for charging the offence or offences selected:

Where there has been an agreed basis between prosecutors and the defence to a plea, this should be put into writing and signed by both parties.

Prosecutors should scrutinise offers to plead to CCB on a "full facts" basis, where the defendant accepts the commission of other offences as part of the case relating to CCB but would be convicted and sentenced only of CCB. This offer, subject to the views of the victim, should usually be rejected where the other offending carries a sentence greater or equal to CCB. Such charges should usually be recorded on a defendant's record and, whether the court passes a concurrent or consecutive sentence, reflected in the totality of the sentence passed.

Instructions to advocates

Instructions to advocates, (both internal and external), must clearly set out the strategy and rationale for the charges laid and how the case is to be prosecuted. If the case is to be prosecuted as an evidence-led prosecution, clear instructions must be provided regarding the evidence to be relied upon.

Advocates must be made aware of any specific victim needs, and any special measures required. For further information see the special measures legal guidance.

The instructions must include views regarding decisions in relation to the acceptability of pleas. This may include what pleas, in light of the guidance above, are or are not likely to be acceptable. Where agents or counsel are instructed, they must be made aware that decisions on acceptability of pleas, issues affecting victim and witness attendance at court (including compelling their attendance) must be referred to CPS prosecutors for authorisation before a final decision is made.

Action to take when there is a decision not to charge

a diary of events (ideally in a bound book or timed by keeping an electronic record) noting that there are potential risks to the victim if the suspect were to discover this

safely noting details of witnesses who may have observed or heard these events

saving messages, taking screenshots or taping calls made by the defendant

safely speaking to neighbours, colleagues, family, friends, or specialist support services

Even where there is a decision to take no further action, prosecutors may ask police officers to advise the victim to keep records to support any future investigation. This might include:

CCB is an ongoing pattern of offending rather than separate isolated incidents. It is necessary to consider the cumulative effect of offending even if at an earlier stage a determination had been made that there was insufficient evidence to prosecute.

Sentencing and Ancillary Orders

There is a specific Sentencing Guideline for this offence. Prosecutors should also ensure the court has regard to Overarching principles: Domestic Abuse.

CCB is within the unduly lenient sentence scheme. For further information see the Unduly Lenient Sentences legal guidance. Examples of such cases are: Dalgarno [2020] EWCA Crim 290 and Kingswell [2022] EWCA Crim 814.

Prosecutors should be aware of and consider the full range of ancillary orders available (and their limitations) prior to making any application. These should always be considered for this offence and victim's views obtained. In particular, prosecutors should ensure they have asked the police to update information to enable accurate applications for restraining orders in appropriate cases. For further information regarding ancillary orders prosecutors should refer to the CPS Domestic Abuse prosecution guidance and Sentencing Ancillary Orders legal guidance.

Identifying and Flagging Cases

All cases of controlling or coercive behaviour should be flagged as domestic abuse. Prosecutors should also consider whether other VAWG flags on the CPS Case Management System (CMS) such as forced marriage, so-called "honour" based violence, disability hate crime, crimes against older people or rape are appropriate. Multiple flags can be applied to a CMS case and those listed here are not exhaustive. All relevant flags should be applied.

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Controlling or Coercive Behaviour in an Intimate or Family Relationship

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Section 76 Serious Crime Act 2015 (SCA 2015) created the offence of controlling or coercive behaviour in an intimate or family relationship (CCB). It can be tried summarily or on indictment and has a maximum penalty of five years' imprisonment.

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Written and spoke about with a Peter Brook approach and influence from poems and short films

Explore in Friday's workshop with a Claude Regy approach like done in the workshop. Include silences

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From film and TV I learned the small details matter otherwise the audiences isn't going to understand the meaning/message that's trying to be conveyed. It's easy for us to get lost in the creation and performance and forget how the audience is understanding it. That's why last Friday i suggested Steph Hall stand in the middle and look around with a thinking expression to make it easier for the audience to make sense of it. The small details matter.

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Sound scape with lines from the short films and the news story Liam found maybe with some movement

"Well maybe I wouldn't have to worry about guys looking at you if you didn't dress like a whore!"

"You look at me when I'm talking to you! You hear me?"
"I didn't want to do that! But you just don't listen!"
"Are you sure your okay?" "I'm fine"
"Who's going to take you in, but me!?!"

"How 'bout next time...I make sure you never leave the house again?"

"You daft cow."
"you look like a clown, the only thing that is missing is a red nose"
"I've messaged your dad, told him we can't make his birthday"
"Wake up, you lazy pig"
"You're not going anywhere. You're staying here"

"For someone with such intellect, you know, you're pretty stupid."

"Well maybe I wouldn't have to worry about guys looking at you if you didn't dress like a whore!"

"You look at me when I'm talking to you! You hear me?"
"I didn't want to do that! But you just don't listen!"
"Are you sure your okay?" "I'm fine"
"Who's going to take you in, but me!?!"

"How 'bout next time...I make sure you never leave the house again?"

"You daft cow."
"you look like a clown, the only thing that is missing is a red nose"
"I've messaged your dad, told him we can't make his birthday"
"Wake up, you lazy pig"
"You're not going anywhere. You're staying here"

"For someone with such intellect, you know, you're pretty stupid."

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great piece of text, Steph H and Emily feel that the beginning is good but not really necessary as it is too 'on the nose' storytelling, i really like the repetition of ' they didn't hit them,' and feel it could be used in the movement piece over the music and that the other groups dancing around Steph H could perhaps finish the sentence.

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On the nose storytelling otherwise known as show don't tell isn't always a bad thing. There's at least 4 different types of people in this world, shy people, confident people, intellectuals and narcissists. All 4 of these types of people understand/interrupt the world differently. What's obvious to one type of person is not always obvious to other types of people and saying the obvious in a scene can help people who don't understand to understand better. Some writers use it to trick the audience into believing something is true that later turns out not to be true.

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View, organize, and share photos and videos with iCloud Photos on the web. Changes will sync across your devices with iCloud.

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View, organize, and share photos and videos with iCloud Photos on the web. Changes will sync across your devices with iCloud.

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We could have a scene wear we give advice showing the signs of a domestic abuser and how to warn other people.

Women tend to engage in coercive and controlling behaviour

Men tend to engage in physical violence

Signs-

Reading their emails and text

Short temper

Power and controling behaviour (because they're insecure)

Lies

Not taking responsibility for their actions

And many more, Source NHS website domestic violence and abuse.

A girl I went to college with 3 years ago told me her ex abused her and when she found out he was in a new relationship she called his new girlfriend and warned her.

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Holly: Obviously you realize the importance in telling the truth so can you tell me in as much detail as possible exactly what happened.

Steph H: I was woken up by banging just banging on the door, hammering the door. So, as I've gotten to my bedroom I turned around and he just headbutted me and he just punched me, he was dragging me around the room, and he just wouldn’t stop really. Yeah, the room was covered in blood, and I remember thinking in my head like he’s gonna kill me.

Emily: My dear Helen + joe.
Not sure how to write this letter. It’s very hard for you. And for all of us. I am so deeply sorry for what has been going on and what I’m putting you all through. I have no ideas what has gone on apart from the drink and the whiskey has played a big roll in this. I’m so sorry for the pain and hurt that has gone on and this will be going on for sometime to be.
I’m hoping you will try in your heart to forgive me
You know I’m not a monster.
Be safe my love.

Highlighted parts everyone else

Holly - “Can you tell me what led up to you being arrested?”
Simon - “she went out (pause) to meet a dealer sometime last Ithink it was the night time because it was dark obviously in lost track of time been here for that long and came back I’ve that state”
Holly - “And what state are you talking about when you say(interrupted)”
Simon - “Her face was really badly bruised and she her nose was bleeding but it kept continued to bleed”
Holly - “What did her eyes look like”
Simon - “one of them she couldn’t see out of”

Steph J - “It started as just a couple of little slaps in the face and then it just escalated, he threw that chair on my head and then he picked up the speaker underneath it held it above his head and was going to throw it on my head. When I screamed at himplease stop you’re going to kill me he said I don’t care, I don’tcare because I hate you. I’ve never been so frightened I honestly thought I was gonna die. I thought he was gonna kill me. I got to the point while he was beating me where it was like please this next punch just let it be the last one so that it does kill me and stops and you won’t feel it anymore”

Holly - “Sabrina is obviously saying that you did those injuries to her and she goes on to say that the threats started to get worse and that you ended up slapping her and punching her. Did you do that?”
Simon - “No, never touched her”
Holly - “you never touched her?”
Simon - “Only to cuddle her but you know not violently. They put the cuffs on me and said we’re arresting you on suspicion of assault and then she screamed at them and as they were leading me down the steps she was still screaming ‘he hasn’t done anything it’s not him’”

Steph J - “him not being here is weird but at the same time it’s not I can’t get used to it coz my mind still remembers the nice part of him and then there’s the other half of him, you know”

Holly - “(interrupts) Jekyll and Hyde”

“ yeah and I suppose if you like I’m grieving the loss of the nice him” “

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After watching the documentary many victims get abused again and again before they go to the police. We could have a scene where an abuser is on one side of the stage standing on the white box and the victim the other side. The abuser is moving their body hands and arms around and the victim is copying the abuser movements, like the abuser is controlling the victim on a puppet string. Signifying the abusers power over the victim, and the victim being helpless to resist. The victim constantly saying no as they move closer and closer to the abuser. There's blue and black stickers on the floor the victim picks up and puts on their body, and at the same time the lighting goes from light to dark, light to dark every 20 or 30 seconds to signify the days passing. Could be incorporated into a text or a scene with no text. Visual storytelling.

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Guidelines we could follow to improve scenes and develop our performance overall from the feedback we commonly get. And solutions.

1. Can the audience understand the scene

2. Can the audience understand it overall

3. Are we loud enough

4. Can the audience see all of us

5. Is there too much happening on stage, medium amount of activity is recommended

6. Is it boring

7. Does the sound and lighting make sense and compliment the scene

8. Are we saying text/dialogue with enough emotion and the right emotion

9. Don't sing and say dialogue at the same time, the audience can't here properly.

Solutions.

Rework scene or add dialogue or visual storytelling to help the audience understand it.

Limit amount of people or groups of people doing different movement on stage to two or three maximum to allow the audience to focus on it.

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I think the Eminem Rihanna song, love the way you lie, 2010, would be perfect to play in our last scene we're doing movements in pairs, or my puppet string scene idea. The songs about domestic violence and the lyrics talk about the good and bad times. It would compliment the scene. I came up with this idea because Estel wasn't happy with our music choices

Steph J reply - Estel wasn't not happy with the music choices they just didn't like the lyrics with the movement and speaking couldn't hear properly or focus and they wanted us to make sure we knew what the purpose of the music is

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V shape formation , scene two improvement idea

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V shape formation , scene two improvement idea

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We all do the same movements and say one word describing our movements, for example my move is submissive or powerless, we all do my movement 5 times in sync with each other and I say one word to describe it. After my movement we all do another person's move and they say one word describing their move. And so on and so on. We all say one word during our movements to describe how victims feel during abuse. This way the audience can focus on the move and understand it's meaning

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Making our scenes and overall performance make sense idea

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Making our scenes and overall performance make sense idea

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We could use my structure idea (from November) as inspiration to help us improve our scenes and help the audience understand it from start to finish.

Quick summary.

First scene 7 minutes about confidence (doing movements based on how confidence makes us feel) and arrogance,

Second scene 7 minutes about anger and domestic violence,

Third scene 7 minutes about toxic masculinity and/or toxic femininity.

This way the audience understands how and why the domestic violence happened. A confident person became arrogant, then angry causing domestic violence. Every scene starts with ten or twenty seconds of music to set the tone/mood for the scene

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Scarlett dialogue scene improvement idea

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Scarlett dialogue scene improvement idea

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Instead of Scarlett saying lines and us singing at the same time we could have Scarlett saying two lines and us 5 singing 2 lines, then Scarlett saying another two lines then we sing two lines and so on and so on. This way the audience can here her lines and our singing and we're not talking/singing over the top of each other.

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50bpm metronome

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ADHD Relief Music: Studying Music for Better Concentration and Focus, Study Music

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Using emotion to react to domestic violence. Creating small sequences

Could use for a movement sequence, possibly more faster movements than the tempo of the music

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More Dark Cello Music - "Walter: Realization"

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Dramatic Build Up Music - Shattered Empire

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Dramatic Build Up Music - Shattered Empire

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the pain of recalling memories of an empty life (playlist)

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the pain of recalling memories of an empty life (playlist)