DP theatre collaborative

project cover sheet

For use from May/November 2024
Page 1/1
This sheet must be completed and submitted as page 1 of the project report for the collaborative project
assessment task. Failure to submit this sheet will result in the work not being marked.
Candidate personal code

Screen shot of student How can the student be identified in the video recording?
Short, Red hair, brown skin, wearing loose black top and
pants with socks that have a blue ring around them. Begins
the performance in the middle of the stage on the other
side of the sliding door for the other three actors

What was the chosen starting point for the collaborative project?

Theme of ‘Social Media’ from the stimulus of an Idea/ Theme/ Question.

How many students were in the group?

(6 students maximum) 4

What were the ensemble’s collaboratively written theatre-maker intentions?

(200 words maximum)
We decided to choose ‘Social media’, exploring different concepts, like the impact of media on individuals and
communities, encouraging audiences to consider the choices they make online. We related to this and believed it
allowed us to perform our theatrical skills on stage more diversly. Creating an impact was our priority, making the
audience feel exposed and uncomfortable We wanted to immerse the audience a lot in our play, physically
representing our themes. By using Artudian theatre in our audible breathing, and creating an assault on the senses,
using Brechtian theater by exaggerating our acting during the game show, using Naturalism for the argument of the
family behind the glass, and using technology theatre when adding a live feed, it symbolizes the distance and closeness
between the audience and actors, intensifying the audiences’ uncomforting. We chose to have a site-specific
performance space, using and removing the glass wall between the audience and actors, as it can be changed quickly
and transformed when breaking the fourth wall, creating an immersive experience. The play will be performed to an
audience from year 10 onwards, as they will be the most people with the knowledge of social media and have more
internet freedom.

PROJECT REPORT: How many pages have been submitted?

(10 pages maximum excluding the cover sheet and list of sources)
10

VIDEO RECORDING: How long is the final piece?

(10 minutes maximum) 9:13

VIDEO RECORDING: VIDEO RECORDING:

Time code 1 Time code 2
(2 minutes maximum) (2 minutes maximum)
Contribution as performer to a moment of “TEAM” Contribution as creator, director and/or designer
Beginning time Ending time Beginning time Ending time
5:40 6:30 0:30 2:10
The collaborative production process of the performance

Section 1a.
To begin our collaborative project, our devising group explored various starting points
(stimuli’s’) given to us by our teacher, such being and idea/theme, a musical piece, a poem, a
piece of street art, and so on. Immediately I was intrigued by ‘Idea/ Theme/ Issue/ question’,
as were the rest of my cast members. Instead of jumping straight to a conclusion, we carefully
brainstormed each stimulus given to us and how we as actors and theatre makers were able to
approach the given stimuli. It was noticed that we were not able to express ourselves
dramatically and theatrically through the remaining stimuli, and we decided that picking an
‘Idea/ Theme/ Issue/ Question’ we were able to explore a concept and delve into its
background and/ or impact on society.
Therefore, after reaching our
conclusion, we began our devising
process, and took a massive piece of
paper, where we wrote on it any ideas or
themes we could think about or were
passionate about. Some prevalent things
that circulated in our ideas were things
like ‘society’, ‘trends’, and
‘expectations’. From these mini ideas
we had, we linked it all to the theme of
‘Social media’, which is what our play
will be circulating about. Regarding
how we wanted to focus on social
media, we wanted to shed light on the
more negative effect of social media. Figure 1: 'Mind map' of Ideas under chosen Stimuli
This was because we all related to the effects and have had an encounter one way or another.
We also knew that this topic would allow us to use all our performance skills effectively. Our
artistic intentions were to create some sort of impact, making the audience feel exposed and
uncomfortable and explore different concepts within it, like the impact of media on the
individual and the community around them, encouraging the audience to consider the
choices they make online.

Our first step was to think how we were going to perform social media as a theme, which is
hard, especially as a live performance. Theatre is not a wholly technical medium, and we
wanted it to not be a ‘stereotypical’ and ‘cliché’ performance of social media. From this, the
question ‘How do we engage an audience in live performance about something on their
phones?’ arose, and we thought, what could we all relate to collectively?, This led us to
research set design, and how we could create distance through set design. A very interesting
set design was the National Theatre’s set of ‘The crucible’ by Es Devlin1, where she used a
sheet of rain weeping in between scenes. This allowed us to make use of our sliding door,

1
Jane Englefield | 28 July 2023 Leave a comment (2023) Es Devlin’s The Crucible set
features cyclical rain installation to symbolise ‘chaos’, Dezeen. Available at:
https://www.dezeen.com/2023/07/28/the-crucible-set-design-es-devlin-rain-installation/
(Accessed: 27 February 2024).
which we implemented in the first scene, where I was on one side on my phone and my
family were arguing on the other side. When I enter and argue with them, the use of the
closed door was effective in presenting the theme of social media and Es Devlin’s idea of
separating the audience and performer. We wanted the audience to enhance the atmosphere,
creating anticipation and formality, making it seem more realistic and rawer, which may
make the audience feel uncomfortable, like they shouldn’t be watching the argument.
Furthermore, we wanted to experiment with contrasting styles of performance - overt
naturalism vs exaggerated, and characterizations from Brecht. We were inspired by Antonine
Artaud’s belief of rejecting traditional theatrical conventions and aim of create a raw and
instinctual form of theater that engaged the audience's senses and emotions directly. Keeping
this in mind, we found it much easier to argue on stage, as now instead of having the idea of
just having a ‘heated argument’ we kept it raw, made mistakes, and took our time, ultimately
creating a much more realistic and emotionally impacting representation of social media and,
in this scene, its effect on families’ relationships. We also implemented heavy breathing 2,
another Artaud convection in order to access the primal and visceral aspects of human
experience, and as a means to connect with the audience on a profound emotional level. He
used breathing when breaking down barriers between the performer and audience, which was
effective during our tag scene. We used this scene to completely immerse ourselves in the
audience’s space, running around them. After a push sissy down, all three of them start
circling me, and being breathing. What once started as normal was suddenly shifted after my
push, and sissy, Caroline, and Dan being breathing like animals (‘animalistic breathing’).
Their breathing was used in order to increase the emotional intensity of the scene, and the
physicality of their roles as they began to contort their bodies in analytic was, and when I try
to escape, they pushed me back into the middle with violence and speed, which would make
the audience feel exposed and helpless, who have to just sit and watch as I get ‘tortured’ and
taunted by these three characters. The point of using these conventions in our performance
was to demonstrate the idea of social medias detrimental effect on people, and pose new
debates amongst themselves, if they are using social media correctly, and should they
consider their actions online?

To begin our devising process, we began with exploring the concept of hate, and online hate.
We were challenged by trying to present online hate and negativity in a physical form
without making it cliché or cheesy. We began devising a tag scene where we ran across the
stage and in between the audience with Sissy, Dan, and Caroline representing ‘hate
comments’ tagging me, who is getting affected by them. As the scene progresses, the tagging
becomes more violent, and Sissy, Dan and Caroline become more and more violent and
animalistic. The scene ends with Sissy, Dan and Caroline fully taken over one actor, covering
me in the middle of the stage and dragging me down. As all of us get pulled down, the heavy
breathing slowly turns into suffocating. We decided to use immersive theatre within these
scenes, the previous scene was complexity shut off from the audience, and there was some
type of distance between the actor and audience. In this scene, however, we completely
flipped it around, and immersed the audience to intensify the emotional impact and make the
audience feel more immersed in the world of the performance. Using a site-specific
performance for our set design allowed us to create that sense of immersion and transporting
the audience into the narrative or concept of the performance. We found it a challenge to

2
Phil (2017) Artaud and the Plague: Body, Breath and Brain, Essential Drama. Available at:
https://essentialdrama.com/2017/01/20/artaud-and-the-plague-body-breath-and-brain/
(Accessed: 27 February 2024).
physically represent the negativity of social media and its severity in a sense where the
audience feels visibly discomforted but by breaking the fourth wall, it breaks the traditional
relationship of the performers and the audience and creates a sense of alienation and
estrangement.

Another challenge we faced was with the genre of our play. When we began devising our
first scene, which included a massive argument of a family that explodes and leads to the tag
scene, we found that we were making it overtly naturalistic. This was also prevalent in our
last scene where I was streaming for a video and showed a more aggressive side when
shouting at my mom, then realize that the camera was still filming, then having to come up
with an apology whilst the other actors degraded me and the scene repeats. To overcome the
challenge, we wanted to focus on using the stage space effectively, which is where we landed
on creating some sort of barrier between the audience, which we took inspiration from
Brechtian theatre3, and this was to create isolation and distance between the actors and
audience. We utilized the glass door where I began the scene on one side out of the stage and
the other three actors inside the stage behind the glass door. We begin the scene pitch black
and all turn on our phones at the same time, so that the only light on the stage is coming from
our phone lights. This was done to highlight each actor’s individual experience on social
media and the solitary of each other due to social media, it creates an atmosphere of a
detachment from physical human connection. As the scene begins, the three actors behind the
glass box begin to audibly argue, so that the audience can hear only muffled voices. I begin
by ignoring what is happening, and sticking on my phone, then I begin packing a bag and
walk into the room behind the door, where I become part of the argument.

3
BBC (2019). Epic theatre and Brecht - Revision 9 - GCSE Drama - BBC Bitesize. [online]
BBC Bitesize. Available at: https://www.bbc.co.uk/bitesize/guides/zwmvd2p/revision/9.
 Furthermore, avoiding cliché within
our performance was a struggle. We
often found ourselves performing the
internal struggles of mental health
and the damage social media has on
it to be very ‘underwhelming’ and I
wasn’t able to fully use my artistic
intentions to perform at the best of
my ability. In order to prevent this, I
went back to the main and original
intentions of our devised work and
worked from that again. For us to
present the internal struggles of my
character in the least cliché way
possible, we focused on having
major contrasts in all our scenes, making the audience have to feel wheat my character went
through rather than just get told what I was feeling. For example, in the first scene, there is a
sense of gloominess and depression, as the scene already introduces the audience to my
character and the rest of the actors in a negative light, with the tag scene, it intensifies, and
we decided to use heavy breathy to signify the negative comments and hatred of the outside
world reflecting in on me. The scene reaches a climax where all three actors attack me and
drag me down, which links back to our main intentions of what we wanted the audience to
feel which was exposed or a sense of uncomfortableness. Additionally, when we run across
the stage and tag each other, the audience won’t know where to look and will have to keep
moving their head in order to keep up with the scene. This leads the audience into a feeling of
chaos, and claustrophobia, which is exactly what we wanted as we wanted the audience to
experience what my character went through, in a very intense way. Conversely, as the scene
moves on to the game show scene, it changes from dark and intense to extremely cheerful
and upbeat. Through the use of exaggeration with Sissy, Dan and Caroline’s facial
expressions, and confident body language, being intensely happy, and always smiling at the
audience, it is a direct contrast from the previous scene. Because of this, it makes the
audience feel uncomfortable, and confused, as they have no time to process their emotions or
what just happened and have to sit through a what seems to be a game show as the three hosts
completely tear me apart with rude comments. They will also feel confused as just before
there was a completely dark and twisted scene with animalistic behaviour, people chasing
each other and getting dragged down.

Section 1b.
We achieved our artistic intentions and I know this because during our first performance, we
asked our audience members multiple questions, about their first impressions of the
performance, what they thought was effective, what could have been better, etc (full list of
questions are on Table 1 below) and got back their feedback. From this, we were able to
know if we reached our artistic intentions or not, and we did. We asked seven questions that
helped us shape our rehearsals, some being things like ‘What emotions were evoked during
the performance and why?’ and ‘What did you think about the relationship between the
audience/spectators and the performers in the performance?’. The reason why we asked these
questions is because it allowed us to be able to ask audience members how they felt about our
performance and get their first-hand raw perspective of how our performance of executed,
then be able to see if it matched without artistic intentions. From these questions we were
able to know that we reached to our audience successfully, and the themes and ideas were
achieved. In this table, it puts our artistic intentions and compare it the answers to the
questions, to see if they match up or to what extent did, we achieve it.
Question Artistic Intentions Answer from Audience
What emotions were evoked We wanted the audience to Audience members felt
during the performance and feel exposed, uncomfortable, confused, scared, exposed
why? confused and scared. and a sense of desperation
because they were just
sitting there and watching as
terrible events happened and
could do nothing about it.

What does the theme make We wanted the audience to When talking online
you consider? reconsider and rethink the consider what we should
actions they make online or say- be careful about
engage in. everything you say as it
We wanted them to see the could affect others or make
dangers and negative sides them feel like their being
of the effect of social media bullied

What theme do you think Social media and its Social media and its
was our starting point and negative effects on mental negative effects on mental
why? wellbeing wellbeing

How would you describe the Artudian – bombarding the Abstract- opening
style of the performance and audience. Assault on the senses. beginning, comedy, modern
how would you link this Brechtian – Distance, gestus. style performance for a
Political – exaggerated style.
style to the theme? modern-day topic

What did you think about We wanted there to be the Spectating and not doing
the relationship between border between the audience anything.
the audience/spectators and actors, make them feel Relate to YouTube
and the performers in the helpless like they can’t do videos- They felt included
performance? anything about it. when there was an
interaction between
audience and performers
during the game show
scene

Did the choice of staging - Site specific performance. A Having them come inside
enhance your experience space that represents distance. made them feel involved.
Close and far away. - Varies.
as an audience member? Actor/ spectator barrier is The transition to game
broken in some scenes – more show scene was
immersive experience. Physical interesting.
barrier in others – highlighting They felt like they were
the fourth wall or exaggerating
it. - Physical representation of on a roller coaster ride as
theme. they were involved and
had to do a lot of things
most time forced or made
 them feel uncomfortable.
The distance was very
good in representing the
theme of the
performance.

From this information, we can tell that

we were able to meet our artistic
intentions. A very good piece of
feedback that we received was that our
performance was a roller coaster, as that
was exactly what we were looking for to
make our audience feel and not only did
we meet our theatre making intentions,
but we also met the intentions of the
influences from theatre practitioners
(Artaud, Stanislavski) of making the audience feel exposed and that they were watching real
life.

Section 2a.
During the game show scene, I am always
isolated from everyone, as if I don’t exist,
as seen in picture 1 and 2. Dan, Sissy and
Caroline only direct to the audience until I
get asked a personal question. Then, there is
a direct contrast from being singular to
having all three people hovering over me.
The audience can tell that I am afraid of
these characters, because I begin to have
extremely uncomfortable and confused facial expressions, showing how I am scared of them,
and they control me somehow because I don’t ever fight back or speak back to them.
Caroline asks me what I have going on in Picture 1 my daily life and puts a mic to
Picture 2

my face. I
look at the microphone and think for a few
seconds, confused as to what I am supposed to
say but scared to say the wrong thing,
clutching my jeans tightly to show this
emotion. I then lean forward towards the mic
and try to answer the question, with a bit of a
hopeful facial expression, that I might because
to express who I am to the audience and develop my character. This is shortly cut off by
someone suddenly grabbing my body, seen in picture 4 , where sissy, who is standing behind
me at this moment, grabs my shoulders and
pulls me back very hardly, to the point
where I almost fall off the chair (picture 5). I contrast my hopeful facial expression with
shock and terror (picture 6), trying to reach out and hold dan or Caroline for help (picture
4), but nobody helps me.

Picture 4 Picture 5
This creates tension because the audience was able to discover proximity between these
characters, and understand the reality of social media, which lends its self to having no
control over what you do or see.
I had to sit and bear witness
people tearing
me apart and
spreading lies,
but I couldn’t do
anything to
stop them
because I
chose to be on
social media,
and it has
taken over my life. The meaning created in this scene is to rethink and reconsider the choices
we make online, which develops into the coming scene where I start choking. After hearing
the phrase ‘exactly, because she has no life!’ form Caroline, I weaken my body language, to
convey the emotional weight of the abuse form Sissy, Dan and Caroline. This creates
emotion from my character because I hint to the audience some of our artistic intentions for
the performance and that is the loss of control that social media has, and the addiction from it,
because, even though I could have either left the stage or stopped the hosts, I am so addicted
to social media I still forced myself to stay and take in all the abuse.

Picture 8 Picture 9 Picture 10 Picture 11 Picture 12

Right after the ‘game show’ scene, I walk towards the audience. My pace and body language
highlights a large portion of the emotion of how my character feels. My gait and body posture
seems to convey a very insecure and complex characters, with me walking very slow
(picture 7), and closing my body posture to make myself look weak. I also put my hands on
my stomach (picture 7-11) as if there was pain comping from there. This creates tension and
meaning as it allows me to create sympathy between the audience and the actor, and break
down the wall separating the both. By having me walk to centre stage in this manner, the
audience can tell how uncomfortable my character is, especially after the previous game
show. The meaning of this was also to make the audience feel hopeless and exposed, as they
have to just sit back and watch as my character get torn down, without being able to do
anything. (Image 13) I look around the stage with a helpless and desperate facial expression,
making direct eye contact with the audience and even holding eye contact for longer amounts
of time with specific members. This creates emotion and tension because I make the
audience feel uncomfortable and exposed by staring at them whilst expressing extremely
uncomfortable emotions towards them. This was also one of our main intentions of the
audience so it allowed our group to achieve that.

On top of this, the scene was only lit up

for a few seconds, after I took centre
stage, we turned the lights all off , as
seen in picture 12 so that it was pitch
black and nothing could be seen, expect
for a silhouette of me. We then played
sound effect of TV static over the scene, Picture 13
and I continued ‘choking’ and ever so
slowly, get smaller and smaller, and lower and lower to the ground until eventually I am fully
on the ground and the scene ends (picture 13). The closer I got to the floor, I would begin
reaching out to the audience and moving closer in one them, in order to create meaning and
make them feel uncomfortable. This elimination of all visuals and joust having noise of TV
static and choking, created tension, as the audience will now have to visualize the pain that I
am feeling, and have to be with me on my descent to
Picture 14
‘death’ (the end of the scene). These noise effects as
well, are not pleasant ones and will make the audience have to experience exactly what I was
feeling during the game show scene and overall, the effect form social media. The meaning
of this is to show that I have not control over myself, I am trying to generate words to
communicate with the audience, but nothing comes out. The audience can
hear that I want to say something, but just as a word, or in this case a
letter, tries to slip out of my mouth, I become weaker and descend quicker
to the ground. By having this loss of voice and control of my life, it relates
back to the stimuli because we focus on social media, but most
specifically the negative effects of social media. The meaning of the scene
shows how social media controls a person, and takes over all their actions,
even just normal speaking and thinking.

Section 2b.

In our piece, a staple idea that we wanted to convey was the social media’s
dangerous on everything, families and friends, and linking that to our
starting point, which was social media. We used a range of theatre
techniques, but something that shown through was the use of space and audience to convey
emotion(s). We wanted to maximise the use of space so that at any angle of the performance,
they would all have the same effect and convey the same
message. Our piece was devised in order to create an
impact, and preforming it to year 10 and above, we
hoped it to provoke questions and make people rethink
what they do and/or see online.
A challenge that I faced as a director was the challenge of exploring social media through live
performance. The intention of specifically performing the theme of social media to an
audience was for us to make an impact, and allow the audience the rethink and reconsider the
choices the make online, whilst expressing the negative and dangerous impact that social
media can have on individuals. The directorial idea was for us to express the effect of social
media on daily lives, internally and externally, which is why we had some scenes where it
would either be a family, friends, or fans and where we had more serious, ‘mental state’
scenes like the tag scene and game show scene. I wanted the audience to have a stronger
emotional connection to the characters, linking back to the idea of having ‘raw’ and
‘authentic’ scenes where audiences may relate to it more and become mor engaged with the
storyline and characters stories. The combination of internal and external scenes allows the
audience to critically reflect on the impact of social media on their own lives and society as a
whole. By witnessing the characters' internal struggles and the external ramifications of their
social media use, the audience is prompted to question their own behaviours and consider the
broader implications of their online interactions. In rehearsals, I made sure to continue
reminding my castmates about what our intentions were, and if a scene didn’t feel true to
those intentions I would point it out and devise something new, or develop the scene,
enhancing its depth. In performance, this challenge was resolved as we were able to explore
social media through live performance. We expressed social media through its effect on
families, and instead of performing people on their phones, I contributed the idea of
expressing an overseen cause from social media, which is instability. An example of this
being performed is in the 1st scene, I wanted people to understand that social media effect
family relationships, and make them reconsider how long they spend online, or what they do
online that my be causing tension in relationships.

To avoid ‘cliché’ and successfully explore social media through live performance in the
family argument scene, I had to go back to our theatre intentions that we created on day 1. I
focused on 3 main things: 1. Our target audience 2. What message we wanted to deliver 3.
How did we want the audience to feel. As our target audience were people from years 10 and
up, because we knew these ages are when children are most socially free and aware, and
really understand everything on social media, I knew that it would be okay to make this scene
feel a bit more darker and more tense. This links to the message we wanted to deliver, which
was to make our audience not only rethink the choices they make online, but also feel
exposed and striped form their innocence, we wanted them to feel uncomfortable exactly the
way that I was feeling in every scene. By having this refreshed knowledge, I thought of
something that everyone had in common, which is family, whether it be friends or family.
Families typically connote happiness and unity, but from this scene, I really wanted it to be a
complete shift in what people thought, so we had the family arguing ruthlessly in the lit up
room throughout the whole scene. This was done to also show that social media effects
everyone in life, whether it be because they use social media, or someone else uses social
media so it also affects them. Beginning the scene, I wanted to hook the audience in
immediately, so we eliminated have a formal introduction then starting. Immediately, when
the audience enter the stage, the play begins, with Dan, sissy and Caroline inside the box,
each standing in their own section (image 14) and me, sitting outside the box, on my phone
(image 15). The meaning of this is to already create a sense of tension between the
characters, and show how disconnected they are, as one member of the family sits far away
and separated from the rest of the family. As the scene begins, I wanted it to feel eerie, so
through the use of light, Dan, Sissy and Caroline all turn on their flashlights, which they
shone on their faces, giving a ghost like illumination. The rest of the stage is all pitch black so
Picture 15
having this be the only source of light, really emphasises the need for social media and how it
is the only thing that we rely on because of how addicting it is.

As the scene begins, music plays, I decided that the scene needed some sort of contrast in
environment to further build distance between the audience the actors so we played music
that sounded like elevator music which as,(Image 16), literally showing the audience what
the world is like, I suggested this as a director because it would provide the sense of
awkwardness within the audience and some type of understanding of the negative impact of
social media on peoples relationships, allowing them to rethink eh choices they make online
or how much the spend online. I then after a few minutes go into the room to break the
tension, which worsens the intensity of the argument. We
continued arguing for longer than expected because we wanted the
scene to feel real, and not a ’cliche’ argument that happens on TV.
While everyone is arguing, I use my facial expressions and body
language to convey frustration and anxiety, tensing up before
screaming at the top of my lungs and dropping to my knees. I
decided to do this in the moment because I wanted to convey an
emotion without saying the emotion, which
would be the impact of social media on one’s Picture 17
physical and mental health. Dropping to my
knees and the rest of the actors going silent and just staring at me
creates a sense of alienation form social media, and everyone is on
their own journey depending on how they use social media. This
specific section of the
scene creates meaning
and tension as it shows to the audience the effect
of social media and the way it breaks apart
families, and the scream symbolizes the emotional
weight of my struggles and the possible internal
conflict that I am going through form social media
and my family, who have been affected as well by
social media. The use of staging also changed as
the audience begin now outside, and are not told
Picture 16
where to sit or go, they just enter the room, and
the scene begins. This was done to make the audience already feel awkward form the
beginning, and uncomfortable, form the scene following. I also used the door to create more
affect in this scene, splitting me and my family. As we argue behind the door, you can only
hear muffled sounds of our dialogue but still
enough to understand that we are arguing. The
reason for this being implemented in this
scene is to create effect, firstly being to
literally show the separation of me and my
family when the audience enters but later,
when I enter the room as well, the audience
will feel a distance between themselves and
the characters and feel like helpless
bystanders, witnessing this family having a
full blown harsh argument. This also makes
the audience feel extremely exposed, and uncomfortable. It may also hit harder for some
Picture 18

audience members, who may relate to this scene or have witnessed

something like this before.

Furthermore, while all of this is going on, the music is still playing,
and this is effective because it created a contrast. Whilst I was
shouting at my family and we were tearing each other apart, the
background noise was peaceful ‘elevator music’. The music was also
played form the outside of the room (where the audience were) which
is effective because it created distance once again between the actors
and audience members. Whilst all we heard was us shouting rude
words at each other and screaming, all the audience could hear was
peaceful music, and a bit of our argument, but only very faintly. The
meaning of this was to demonstrate the different experiences of
humans, and while the audience all brought in different backgrounds
and were feeling different things, each one of their emotions
contrasted to what ours, which was hatred and anger. By using lighting, sound, space, and
distance I manged to help our devised group process into reaching our theatre making
intentions.

Bibliography:

1. BBC (2019). Epic theatre and Brecht - Revision 9 - GCSE Drama - BBC Bitesize.
[online] BBC Bitesize. Available at:
https://www.bbc.co.uk/bitesize/guides/zwmvd2p/revision/9.
2. Jane Englefield | 28 July 2023 Leave a comment (2023) Es Devlin’s The Crucible set
features cyclical rain installation to symbolise ‘chaos’, Dezeen. Available at:
https://www.dezeen.com/2023/07/28/the-crucible-set-design-es-devlin-rain-installation/
(Accessed: 27 February 2024).

3. Phil (2017) Artaud and the Plague: Body, Breath and Brain, Essential Drama. Available
at: https://essentialdrama.com/2017/01/20/artaud-and-the-plague-body-breath-and-brain/
(Accessed: 27 February 2024).