The stories that were selected from the Thursday-workshop is played by each group.

If you work with really "heavy" material or the actors are practising the stories again and again, it can be useful to play the story with different themes:
- Silent movie
- Horror
- Musical or many more. Or the themes can be representing emotions:
- Every character hates/loves all the other characters.
- Being inspired of this remember the story is the same
- Or the Joker can tell the actors that they can only use one word in everything they say. The same word said again and again. Each character a different word - instinct can produce the perfect word.
Anna, as the Joker, ask the group on stage to play the story in different forms. For instance, she asked them to play, as if the audience were deaf. No words but bigger gestures.
If you are doing theatre of the oppressed you may work with people, that are not used to see/play theatre. You will then have to work harder to make everybody understand.
If the information is important for the story or gives the story new dimensions, you must bring it in the story.

The joker ask all the actors to go to the centre of the stage. Then she ask the audience:
- Is this story believable?
- Are there any possible interventions? The interventions must keep the story open for other interventions/possibilities.
- In terms of Forum Theatre is there someone clear person you sympathies with. Is there one person/maincharacter in this story who can change this situation in a positive way? This maincharacter becomes the person who will present the interventions - the catalyst for the changes. It is this character the spectators will be during the interventions.
The audience can vote as many times they like to find the person, they see as the most oppressed character. If two characters get same number of votes, the Joker can ask the audience, which character they would like to see first.
The story must be real otherwise the audience/the spectators will not get interested.
The story and the information must be clear. If the information are not clear, a possibility is to make a "hot seat"-exercise where the characters must answer questions about them being in the story.
Must feel sympathy for the main character/sympathy with the oppressed.
Must activate the spectators.
As simple as possible. The simpler it is more people may go into it.
Leave as much for the spectators to do.

You can as the Joker suggest to do a piece of Legislative Theatre if:
If the audience do not mostly sympathise with one character on stage. Or the problem for the characters cannot be solved by one person or a group - but still is possible to make things better.
If to solve the problem the whole system has to change to get a solution.
Instead The joker asks the audience to come up with theoretical solutions and suggestions.
It must involve the people who has the power to make the changes. It may take some time, but anything can happen.

When you practice being a joker it may be a good idea to have someone to help you watching the audience, so you do not overlook someone wanting to comment/suggest change to the character. The second person can be a second set of eyes.
When the play has been showed it is the Jokers reaponsibility to activate the audience. As an openeing the Joker can ask:
"How can this be better"?
"Is there anything you would like to change"?
"Would you like to come up here and show us". It is important that the audience becomes active.
A trick to get one from the audience to go on stage can be, if he/she suggests changes to the character but does not want to play them him/herself….the person from the audience can explain the differences to the person on stage…as the joker you can tell the actor to over do it or to do it differently than the person has explained. After each intervention the joker keep asking the person from the audience if this was how she/he wanted it to be played. The person will say no…and you can ask him/her again to go on stage and show it him/herself. In the end the person from the audience will go on stage and become an actor.
By asking the actors on stage to play it more strong/weak than the audience wanted, the spectator is "forced" or driven to go on stage. - there is a big difference in explaining and showing.

"Hello audience, today we are going to see a piece of theatre and it is a piece from real life. I hope you can help us to find suggestions to the actors dilemma?"
-Is there anyone here who is left handed?
-Is there any one here, who is the youngest child? What is the worst about being the youngest child?
-What is the best about being the youngest child?
-Is there anyone here being the oldest child?
-What is the worst / the best about being the oldest child?
-Is there any one here being the child in the middle?
-The worst/best about…?
-Is there any one who is the only child? Worst / best?
Asking these questions you are sure that any one will raise there hand at least ones!
Show you know the audience/spectators.(children/young ones / grown ups)

When you do Forum theatre, the actors must agree, that it is the audience that do the important things. The actors become in-actors.
Remind the audience, that the person playing the oppressor is a great person and remind them often.
Each person find their own solution. Different types of solutions can and will be be presented, but their are no wrong or wright solutions.
The goal is not to find a solution but to look at the possibilities for changes.
Being in a dilemma often increase opportunities.
You can not win them all.
End each Forum Theatre by asking the person which story has been told, if he/she is doing right now and if the suggestions are useful in any way.

Coffee / Tea break!

Closing circle in
Hebden Bridge:

Last circle in Hebden Bridge/Leeds. Anna asks what the group would like to use this circle for. "Loving workshop is suggested, but we do not have the time. Instead people share thoughts. "What do I leave here, What has been given to me here".