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.

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.
 

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. 

 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)

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. 

 

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

 

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

 

Archer, R. (2017) Surrealsim [online] Available from:  https://www.scribd.com/mobile/doc/24120782/surrealist-theatre[accessed 29^th November 2017].
 
 

 

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
 
 

 

The Drama Teacher, (2017) Theatre of Cruelty Conventions. [online] Available from: http://www.thedramateacher.com/theatre-of-cruelty-conventions/ [accessed 29^th November 2017]
 
 

 

 

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

 

 Cantrell, T (2012) Verbatim Theatre [online] Available from: www.dramaonlinelibrary.com/genres/verbatim-theatre-iid-2551 [Accessed: 20^th November 2017].

Purple, I. (2013) See No Evil, The Moors Murders, Full Film [online] Available from: https://www.youtube.com/watch?v=Qt_vc0YJr_Y [accessed 12^th November 2017].

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