F.M.P Log 6

FMP Journal- 17/18/20^th March

Our progress so far has shown how that the methods that are being used affect the reception by the potential audience and change their perception of the display. One device that we are considering using to this purpose is by changing set designs on the go, by configuring the set as the scenes are occurring on stage. This, while normally considered sheer chaos, if not unprofessional, has the advantage of opening up the show to the audience and giving them something to understand, if not the whole of it. However care must be taken with this device, otherwise the performance will have a very ‘unprofessional’ look to it, be it unintentional or otherwise.

To minimise the risks of this, these alterations are rehearsed alongside the performance itself, putting particular emphasis upon the placement of the important points of each scene, such as the mirror in ‘Breakfast’, ‘Door’ and ‘Tuesday’ which opens up a different perspective upon each of these scenes and not just in the obvious way, the bar in ‘Bar 1’ and ‘Your Money’s No Good Here’ where it provides a tangible and metaphysical barrier between Jack and Lloyd that references not only the physical separation but also the barrier between life and undeath that for some reason, is especially thin at the hotel.

Another recent development in our performance is that the scene clips that we have been using to learn the intricacies of each section has now been compiled from several short trailers into one long, compiled film that now means that the transitions are smoother and less complicated, particularly now that the change-over time from one clip to another is eliminated from the equation altogether.