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Bullard, P (2013)The Movements: Theatre of Cruelty [online] Available from:  http://www.nouse.co.uk/2013/03/05/the-movements-the-theatre-of-cruelty/   [accessed: 21st November 2017].

Mackey, S., Cooper, S. (2000) Drama and Theatre Studies, New revised and expanded edition. Cheltenham: Stanley Thornes Ltd.

Tate, (2017), Surrealism [online] Available from: www.tate.org.uk/art/art-terms/surrealism

Schadenfreude, (2011), “Lesley Ann Downey Tape Transcript” (Shadenfreude), (11th March) [online] Available from: https://web.archive.org/web/20130630031741/http:/schadenfreudeuk.blogspot.ca/2011/03/lesley-ann-downey-tape-transcript.html [accessed: 25th November 2017].

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Allain, P, Harvie, J. (2006) The Routledge Companion to Theatre and Performance. Abingdon: Routledge.

OCR. (2016) “AS and A LEVEL Drama and Theatre Teacher Instructions”, Artaud's Influence. 1. p:4

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Krol, C (2017) The Sadistic Crimes of Ian Brady and Myra Hindley Shocked The Nation To The Core. Telegraph [online] 16th May 2017. Available from: http://www.telegraph.co.uk/news/2017/05/16/moors-murders-ian-brady-myra-hindley-shocked-nation/  . [accessed 29th November 2017]

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Artaud, A. (1970)The theatre and its double,  Calder & Boyars Ltd.

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https://www.youtube.com/watch?v=Qt_vc0YJr_Y

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Power-Point used in the performance presentation.

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Power-Point used in the performance presentation.

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Artaud was best known for his "Theatre of Cruelty" this is a confrontational style of theatre designed to disturb the audience, pushing them to extremes, performed with the emphasis on the noise's projected from within the body, grunting groaning and screaming, gut wrenching and aiming to shatter the illusion of theatrical falseness (Bullard, P. 2013)

Wanting to utilise this into performance this group will pay attention to this technique and hope to project to an audience the desired effect of leaving them feel uncomfortable, to question themselves, is this in fact a dream?
By choosing to script a factual piece based on the moors murders, combining this with Artaud's acting techniques could have the desired effect. A dark and depressing account of child abduction and murders, its hoped will make an impact upon the audience senses, leave them feeling shocked, as though they are within a nightmare.  Much like when Artaud himself quoted “we do not intend to do away with dialogue, but to give words something of the significance we have in dreams” (Aratud, A 1970. P.66)

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The performance is based upon a true story of the Moors murders that happened in the 1960's and the story of Ian Brady and Myra Hindley (BBC News, 2000). This is a massive headlining controversial piece and will see a re- enactment of the actual tape recordings that were used for the prosecution within the court case, these include how Brady and Hindley brutally tortured and raped a child named Lesley Ann Downey.  This also touches upon the Verbatim theatre, based on the spoken words of true people and events this can include a mix of interviews and the two can combine into a documentary theatre. (Contrell, T, 2012). This is hoped to, along with careful use of sound and lighting effects, leave the audience feeling uncomfortable in their surroundings, and leaves them nervous and feeling on edge.

Focusing on two of the children involved, along with Brady and Hindley, the group will use these characters within their performance presentation.
Presenting key facts and knowledge of the chosen practitioner based upon factual references regarding and related to Artaud.

Transcript of the actual tapes used for the prosecution in the court case of Brady and Hindley will be used in the script. (Shadenfreude, 2011). Different sound effects will be used within the performance that will mimic how Artaud used them in his theatres.

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After workshops on a range of practitioners including, but not limited to, Bertolt Brecht, Stanislavski and Antonin Artaud, exploring their styles and methods of acting, we were placed in groups and briefed with creating a performance presentation reflective of one of these practitioners. As students, we had been left feeling influenced and intrigued by Theatre of Cruelty and the techniques implemented when exploring Antonin Artaud. The following will examine the working methods of Antonin Artaud and his Theatre of Cruelty, using relevant research to underpin decisions made when devising our performance presentation. In addition to this the rehearsal process will be documented with an evaluative approach.Theatre of cruelty is one of Artaud's styles and how we can use this and his other forms of techniques to perform a great piece to an audience is something exciting and a bit of a challenge. Artaud says “Everything that acts is cruelty. Theatre must rebuild itself on a concept of this drastic action pushed to the limit” (Artaud, A. 1970, p.60) A workshop in our tutor group gave more insight into Artuad's methods used in his acting and how that influences other actors and the different effect his styles have upon the audience.Being lulled into a false sense of security was a challenge our group faced, a dark quiet room was turned from a relaxing calm place where one laid with eyes closed imagining some calming influence and hearing peaceful music, into something that could indeed be someone's worst nightmare. From a feeling of calm and serenity to feeling vulnerable, alone, frightened, the senses challenged, it leaves you wondering what was going to happen and the realisation that anything can indeed happen. Fear crept in, bangs, smells and shouting all around, our senses being attacked, you are on edge and every nerve of your body is sent from one of a happy relaxed being into a frenzy of panic and fear and wanting this to end, like a nightmare coming to life  but you know it's not, it certainly leaves you wondering what on earth has just happened and questioning yourself.This feeling like you are in the middle a nightmare is just one of the styles that Artaud projected, himself quoting "Theatre should recall those moments when we awake from dreams unsure whether the dreams content or the  bed we lie in is our reality"  (Artaud, A. 1970, p.68)Research into Antonin Artaud, his influences, personal background and other vital key facts will now begin and form the bridge for this performance presentation, this is what will be referred to throughout and support this digital log.

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After workshops on a range of practitioners including, but not limited to, Bertolt Brecht, Stanislavski and Antonin Artaud, exploring their styles and methods of acting, we were placed in groups and briefed with creating a performance presentation reflective of one of these practitioners. As students, we had been left feeling influenced and intrigued by Theatre of Cruelty and the techniques implemented when exploring Antonin Artaud. The following will examine the working methods of Antonin Artaud and his Theatre of Cruelty, using relevant research to underpin decisions made when devising our performance presentation. In addition to this the rehearsal process will be documented with an evaluative approach.Theatre of cruelty is one of Artaud's styles and how we can use this and his other forms of techniques to perform a great piece to an audience is something exciting and a bit of a challenge. Artaud says “Everything that acts is cruelty. Theatre must rebuild itself on a concept of this drastic action pushed to the limit” (Artaud, A. 1970, p.60) A workshop in our tutor group gave more insight into Artuad's methods used in his acting and how that influences other actors and the different effect his styles have upon the audience.Being lulled into a false sense of security was a challenge our group faced, a dark quiet room was turned from a relaxing calm place where one laid with eyes closed imagining some calming influence and hearing peaceful music, into something that could indeed be someone's worst nightmare. From a feeling of calm and serenity to feeling vulnerable, alone, frightened, the senses challenged, it leaves you wondering what was going to happen and the realisation that anything can indeed happen. Fear crept in, bangs, smells and shouting all around, our senses being attacked, you are on edge and every nerve of your body is sent from one of a happy relaxed being into a frenzy of panic and fear and wanting this to end, like a nightmare coming to life  but you know it's not, it certainly leaves you wondering what on earth has just happened and questioning yourself.This feeling like you are in the middle a nightmare is just one of the styles that Artaud projected, himself quoting "Theatre should recall those moments when we awake from dreams unsure whether the dreams content or the  bed we lie in is our reality"  (Artaud, A. 1970, p.68)Research into Antonin Artaud, his influences, personal background and other vital key facts will now begin and form the bridge for this performance presentation, this is what will be referred to throughout and support this digital log.

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Eve as Lesley Ann Downey

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Ian Brady and Myra Hiandley

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Lesley Ann Downey

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Keith Bennett and Pauline Reed

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Following feedback from our tutor group after watching our performance, the group were informed that the audience were made to feel uncomfortable, upset and wondering what was going to happen next. This response was welcomed. However, the group reflected and all concluded that the transcript in the performance had been mentally draining, this transcript is a very dark and uncomfortable piece, it touches nerves not only in the audience but the actors too, making it difficult to remain in focus, especially knowing this was a factual piece of evidence and how it happened to a child, the group knew this would be a very hard piece to perform and understandably wanted to do this justice, this did lead to some lines in the transcript being voiced incorrectly. Although a lot of time and effort rehearsing the whole performance, until dress and tech day, the group had never rehearsed upon the stage. It was also noted that the group could have further improved upon the delivery of the performance, an example of this is although the group aimed to heighten all the senses of their audience, the use of smells did not pay off, the theatre being a large airy structure was not successful in delivering a potent smell, has this been in a smaller confined theatre it may have had a different effect. The group also wished to create a shock factor on the audience when one scene was blacked out and an audience member (who was an extra in the performance) was abducted and had his throat slashed, the group had hoped to create the illusion of blood being sprayed on the audience, this was done utilising water in a spray bottle, due to the darkness of the theatre the group were unable to decipher the exact point of the audience and the plan did not deliver as intended.

The group gave thought to the seating arrangement used, the audience were not sat in the normal theatre arrangement but on the floor in direct view of the stage, so they could be reached by the performers and interacted with. One consideration for this was that possibly the audience would feel even more nervous if seated directly on the stage, the group felt that this may not have enhanced the performance due to the lighting effects used upon the stage which enlightened the piece, this could also have raised a health and safety issue, the implantation of the staging and seating all being on floor level it is felt may well have worked and is a definite consideration for future performances of this kind.

Within the transcript piece, the use of grunting, screams and violent movements it was felt worked, but this could have been emphasised upon if the group used more. The piece overall it is felt was well rehearsed and clearly referenced, paying attention to the chosen practitioner’s methods and techniques and that of the characters used.

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Editing sounds and music

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Editing sounds and music

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Antonin Artaud was born in Marseille, France September 4th 1896. Growing up Artaud had an interest from very young age in poetry, he suffered from depression in his teens and was institutionalised by his parents. This was the start of a vicious cycle that would plague his life. After being prescribed Opium by his doctor and becoming reliant on this, Artaud become withdrawn and making friendships was difficult due to his lack of interpersonal skills. Noted by Mackey and Cooper (2000).
Artaud made his way into theatres and was an active poet, actor and designer. It was in the 1920’s whilst working along-side a group of Balinese dancers that Artaud really found something that inspired him, he found the dancers enlightening, the use of gestures and dance attracted him. (Allain and Harvie 2006) This paved the way to some of Artaud's creative thinking in terms of his theatre audience. Movements along with use of gestures could be used just as effectively as the spoken word. Artaud pursued this, his aim became to make people see theatre differently and unconventionally, to shock his audience, make them feel uncomfortable, once more with the use of gestures and movements often being violent and shocking, as told by (Worthing performing arts team, 2016) He saw the need for change within the world around him and in theatre itself. His theatre set was unconventional, he liked his audience seated not in a typical theatre setting, but so they are within the stage, almost as though they themselves are the actors. This is something to pay attention to within our performance to give our audience a different perspective and to be more included.

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This presentation will be staged so it's included in the performance,  to stand out yet still get all of the relevant information  regarding Artaud and his methods used and relevant techniques across to an audience.
The group discussed innovative and different ways of projecting  information instead of using a conventional power-point and dialogue, it was decided collectively the presentation will be based upon the idea of a game show, incorporating the characters from within the main performance. Questions relating to Artaud will be factual, correctly researched and presented in such way to keep the audience’s attention and ultimately educate, utilising Artaud’s techniques of gestures and body movements. Artaud wanted his process of communication to be violent, mentally as opposed to physically, this he hoped would conjure up a mental poetry within the audience mind. (Mackey and Cooper, 2000). This is what the group hopes to deliver by using screams, groans, gestures and violent body movements within.

The group chose to deliver a presentation as a game show, acting this out. Taking on the roles of the factual characters in the Moors murders, these being Myra Hindley, Ian Brady and two of the murdered children Keith Bennett and Lesley Ann Downey.

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Let us pay attention to how in his theatres Artaud would use lighting effects such as pinpoint lights, blackout and mood lighting along with loud noises, piercing sounds or grunting and screaming. These can have both a strong visual and mental effect upon an audience, almost like that of being hypnotised.

The group will try and awaken the audience's senses by using distinctive mood lighting effects, darkened and shadowed lighting alongside crying and screaming noises, this will be set alongside the spoken script. The gestures between the actors and audience will be somewhat violent and mentally disturbing to watch. Utilising music used in the original transcript, the sound of earth being dug, added with the smell of earth and rotting, decaying food matter is going to be incorporated, its aim is to set the audience on edge. From the moment the audience enter the emphasis is to heighten their senses. The theatre will be dark and calming music will be played, this is actual music played within the chosen transcript, seating will be placed all on one level on the floor so that the actors performing are able to be close to them and within eye level, the audience can be reached and will be touched.
The music will dramatically cease, and the theatre will be set to darkness.

As a health and safety measure the group restricted access to over 18’s only due to the nature of the content, this also highlights the extra cast members who are seated in the audience, they will be abducted and be stabbed, fake blood will be used, and water will be sprayed into the audience, further including them and shocking them. The group also

In order to correctly act out the transcript scene and get into character, the group viewed the documentary See No Evil, (Youtube, 2013) a TV series that covers just a fraction of Brady and Hindley and their sadistic lifestyle they adopted.
Throughout rehearsals the aim will be to adhere to the influences portrayed by Artaud, researching into his life, his work and those that he influenced throughout his career, compiling sufficient evidence to support and put into action within the performance.