ABSTRACT
In interviews with the Inside Bitch company, the authors reflected on the building blocks of the devising and rehearsing process, and the implications of this work for the cast and for Clean Break’s organisational processes, developing and producing work that foregrounds the experiences of its Members through theatre and performance. The development process for Inside Bitch was genuinely exploratory and speculative in terms of the context examined and how the materials generated through this workshop process would inform the end piece. The careful, playful and rigorous curating of fact and fiction informed the content, structure and aesthetic of Inside Bitch. The show was framed by a series of scenes, with elements of fixed-script, task-based performance, which invited improvised response from the cast and, at times, the audience. Inside Bitch exposes the constructions of representations of women in prison, offering a meta-theatrical consideration of theatre itself and the role of audiences/publics in the co-construction of limited.
