-Going missing – or running away – from home or care is a key indicator that a child may be involved in County Lines (National Crime Agency 2016). A 2016 inquiry into the safeguarding of absent children reported how criminal exploitation by gangs fell under the radar for children missing from home. In particular, boys were categorised as being ‘at no apparent risk’ (APPG 2017), therefore leaving them without support until the risk had escalated. In a national survey of 7349 young runaways, Rees (2011: 17) highlighted some of the risks associated with running away from home and concluded that 26% of young people age 14–16 who had run away overnight had either ‘been hurt or harmed’, ‘had slept rough or with someone they had just met’ and/or ‘had stolen or begged in order to survive’.

-The use of mobile phone lines is incumbent to the success of this drug supply process and it is this which connects the new customers to the city dealers operating in their area (Coomber and Moyle 2018). The use of children in these operations offers distance and anonymity for dealers who can manage the supply from their local areas without having to go to the markets themselves (National Crime Agency 2015). Windle and Briggs (2015) highlight that as well as the use of children, vulnerable women, children in care and adults living in poverty are all used as ‘runners’ and ‘commuters’,

-Cuckooing is one form of criminal exploitation that is essential to County Lines drug supply yet has remained largely overlooked by the academic community.

-‘Cuckooing’ was evidenced in the seminal works of Windle and Briggs (2015) when talking to practitioners. Respondents in their study detailed a case of a young person who was missing from London for around six months, finally being located by police in Reading, Berkshire in what the police described as ‘high level crack houses’

-In fact, most will be unhygienic, unfurnished homes where environments of normalised crack and heroin consumption and risky sexual acts are common (Briggs 2010). Young drug dealers using crack houses as a base to sell from will be in constant contact with adults who are consumed by crack cocaine addictions, further linked to psychosis and violence (Briggs 2010). 

- Actions have to be directed towards other people and they have to be precise, logical and sequential. Perhaps you have to carry out an action that must be completed at a certain moment in the dialogue, maybe putting some flowers in a vase then turning as someone speaks to you. If you rush the action in order to be on time to turn, the action will not be precise or logical; the character would not rush and the rushing spoils the sequence of actions.


Whyman (2013)

- pg.81 - "the actors improvise a scene, working from the score of actions, drawing on whatever knowledge they have of the play and the roles at that time.... Then take a section of text and play the physical actions. In order to do this you will need to think about the given circumstances and use your powers of invention for those you do not know. Use your own words. You may not be able to remember the lines exactly. You learn as much from seeing what is not there, what you don ’ t know about the role, as from what you do know. You are working at getting the thought right and testing it out and it is a way to draw out the emotion in the role."

-Active analysis - "Getting the thought right before learning the lines is important. The actor identifies facts and events then ‘ evaluates ’ them through improvisation and discussion on the improvisation, focusing on interactions with the other characters."

- "The method of physical actions and active analysis enable the actor to develop understanding of the play as a whole, to work at understanding the thought behind the text, the author ’ s intentions, the supertask . The exercises lead the actor to a deep understanding of the text, hopefully preventing them from developing a mechanical way of saying the words that lacks depth."

Hagen (1973, p.71)
- physicality and actions linked to given circumstances - purposeful and focused - "Physical actions are the necessary balance for verbal actions"

Grotowski (1975)
Contact
Contact is not just  eye contact or staring fixedly at your partner. Contact is to really see. If you really see and listen to your partner, there is a natural adaptation which occurs. You must adjust what you are doing because today, even though you and your partner are following the same score of actions, there will always be slight differences. True improvisation happens on this level of seeing, listening, and adjusting—to be present and alive on stage is to be in contact and this contact results in harmony between you and your partner. You are both together in the same moment—seeing, listening, and responding.

Adler (2000) 
- Importance of embodying the physicality of a character. Some playwrights write vivid stage directions with physical descriptions and mannerisms already present in the text that help capture something of the essence of that character. Actors therefore must do the work of creating a physicality for a character when the playwright hasn’t explicitly described it.

Lecoq (cited by Cuthbert, 2016)

(Preston, 2009: 65)

a critical ethnographer must ask: 

- How we represent?
- How we evaluate the legitimacy of our representations
- Whether it is possible to effect change in the world? 

(Gallagher, 2006: 64-5)

Conquergood (link to photo)
- At the center point, with a balance between difference, identity, commitment and detachment, is a “path to genuine understanding of others”, where the ethnographer is involved in the struggle to “bring together different voices, world views, value systems and beliefs so that they can have a conversation with one another” (Conquergood, 1985: 9).

Young (2000, cited in Nicholson, 2013)
- representation is conceptualised not as an identity but as a ‘differentiated relationship among actors’ in which it is understood that there is both a productive connection between the represented and the representative and a recognition of separation (2000, 127).
- a ‘mediated relationship’ that is morally dependent on time, temporality and context is, therefore, a useful prompt to thought. ‘Representation moves between moments of authorization and accountability ... in which discourse and action at each moment ought to bear traces of the others’

Barnes (2011) MAPPING ETHICS IN APPLIED DRAMA
AND THEATRE (Chapter in Acting on HIV)

- Participants should always be respected and their dignity
maintained, and that the methodology should not echo oppression by telling
participants what to think, feel and do - focus on
discovery and space for participants to articulate and
dramatically express their understandings.
- requires self-reflexivity, an ability to recognise the ways in which our own  values determine our perspectives and are  present in our work - need to be very conscious of our own subjectivity, partiality and biases

Thompson (Applied Theatre: Bewilderment and Beyond)
- Values are not acquired from outside us, but rather, they are forged in dialogue among people and texts. Thus, encounters with stories or people, in everyday life and in the imagination of drama, are sites for dialogue through which we can become clearer about the ethical views we or others already hold and through which our ethical positions can change. (Edmiston, 2000, p. 64) - these changing positions should be ‘grounded in ethical assumptions he or she brings to each particular encounter’
- we need to avoid ‘cultural invasion’ where ‘the actors […] superimpose themselves on the people’ and attempt ‘cultural synthesis’ where the ‘actors become integrated with the people, who are co-authors of the action’ (Freire, 1970, p. 161).

Kerr (2009) - Ethics of Applied Theatre
- one of the main features of AT’s ethical minefield - a play or technique that is quite acceptable in one place or context may create severe moral problems in another. 
- Ethical decision-making depends upon facilitators pushing cultural norms beyond the acceptance of reactionary attitudes or oppressive practices- carry the community with them, and without putting community members into unnecessary danger
- For facilitators not to assume the role of gurus, but to be always open to the persuasive power of collective intelligence. 
- Ethics need to be flexible enough to adapt to different times, geographical locations of shifting social, political or economic circumstances. 

Bond's enactment and sites (Bond, 2000, pg.10)

Each site is specific and in playing the play it is the responsibility of the actor to resist both generalising joy, anger or fear, and commenting on the situation they are enacting.

Within my piece, site A is the modern day UK, site B is a Merseyrail Train travelling from Liverpool to Bangor, and a old, damp farmhouse in Bangor, site C is the dramatic action, images and object within the scenes, and Site D is the site of the imagination, actively engaging with the other sites in order to make meaning and become a source of value through what Bond calls the gap (Cooper, 2013).

The Gap

Cooper (2013) - the site provides the specific logic of the situation while the centre provides a thematic, conceptual or ontological framework for the actor. Together they provide the basis of the play in order to connect with the audience and create space for them to engage in ‘ their play ’ – their life experience and the meaning of what occurs on stage for themselves.

Bloom, B.S. (1956). Taxonomy of Educational Objectives, Handbook: The Cognitive Domain. David McKay.

For the creation of my lecture demonstration, I revisited the learning and knowledge gained from my undergraduate and Primary PGCE degrees. I utilised elements from Bruner's (1966) Concrete Pictorial Abstract theory, as I wanted to allow my audience to visually understand my process and how it progressed. 

I also was aware of my audience's cognitive load. As described by Sweller (1988), an individual's working memory has a limited capacity, therefore instructional methods should avoid overloading it with additional activities that don't directly contribute to learning, otherwise it will be forgotten or disregarded. Therefore, I structured my lecture demonstration in a way that was easy to understand and utilised videos to break up large chunks of auditory and visual information. 

I was also aware that my audience my have different levels of understanding of the concepts I was exploring. Therefore I utilised Bloom's (1956) taxonomy to ensure my lecture demonstration was accessible at these differing levels.

Jackson (2007)

Theatregoer vs. onlooker - Goffman (1974, cited by Jackson, 2007)