TiE Today in Wales, Author: Edward David Humphreys, University of Chester

one of the participants had been involved with an incident herself. From this initial
discussion, Gwanas wrote a few scenes. These were taken to another secondary
school and performed to another group of 13-15 year olds. From this performance,
the female participants spoke how they were “not initially supportive of the person
who had done or been caught up in the Sexting” (personal communication, March
25, 2018). After initially relying on children’s perspectives of the show, rehearsals
began at Arad Goch. Here, the script was adapted to the actors, so that there was a
sense of ownership for them. There is a strong sense that the devising process saw
the “Artists [as] witnesses of their times; they should not impose on their public their
own view of society… but, after speaking their speech… they should help others to
stimulate inside themselves the artists that lie within” (Boal, 2002, p17). Considering
the devising process enabled the involvement of the intended age group could prove
that there is more to just the performance that young participants can be involved
with, and further their understanding of such a subject. This aspect of the devising
process enables the programme to have a stronger connection to the target
audience. The final step to develop “the script together so that the actors felt
ownership and to give Bethan [Gwanas] different perspectives on character analysis
and responses” (personal communication, March 25 2018) is a critical step in
achieving an honest performance 3 .
3
In another interview, Lee stated she achieved this by setting “them a lot of task based activities and
Bethan task based activities to try and develop that script so that the actors had a huge input into who
these characters were and how they would react to certain scenarios” (Arad Goch, 2014).
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