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'In a world as fast-moving and dynamic as ours the enticements of entertainment are quick to wear out. We must always be prepared to meet the desire for progressive public stupefaction with new effects.' Brecht; (1940).

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'In a world as fast-moving and dynamic as ours the enticements of entertainment are quick to wear out. We must always be prepared to meet the desire for progressive public stupefaction with new effects.' Brecht; (1940).

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'Manhatten Experimental Theatre Workshop. MXTW.' Flinn; (2020).

'In everyday life, ''if'' is a fiction, in the theatre ''if'' is an experiment. In everyday life, ''if'' is an evasion, in the theatre ''if'' id the truth. When we are persuaded to believe in this truth then the theatre and life are one. This is a high aim. It sounds like hard work. To play needs much work. But when wee experience the work as play, the it is not work anymore. A play is a play.' Brook; Good reads; (2023:1).

Experimental theatre, also known as Avant-Garde Theatre (Radical thinker, Gustav Courbet being the first recognised user of this style in the 1850’s), was introduced in the late 19th century by the French writer Alfred Jarry, whose unique piece ‘Ubu Roi’ Jarry; (1896) shocked and terrified his audience. Inspired by Richard Wagner’s concept ‘Gesamtkunstwek’ which means ‘Total work of Art.’ An idea which involved casting off the limitations of traditional theatre and creating something new. Experimental theatre has since become a regular genre in the theatre arena, using innovative, creative, and often shocking techniques in unusual spaces away from the Conventional and Bourgeois performances and traditional theatre spaces.

Traditional theatre as we know it today does not challenge or immerse the audience in the ways Experimental does. Often confined to the highly recognisable Proscenium Arch Theatres we know and love, traditional theatre uses skilled performers who use singing, dancing and acting to tell and enhance stories aimed at pleasing families and tourists. Using the typical write, direct, perform basis, it is reluctant to trigger anything more than a happy, well-entertained audience.

Performances created for experimental theatre prefer to remove its audience from these boundaries and remove them from their comfort zone. These Productions appear in many different forms, such as theatre of the Absurd and Theatre of cruelty using different methods including immersive, interactive, installation, in yer face and flash mobs. All strive to be original, unique, and compelling. For example, using unfamiliar vocal or physical approaches. It can be used for entertainment purposes but also to highlight or mock political and social issues of the time, with the hope of prompting a reaction from its audience. Being used to give a voice to under privileged or persecuted by Practitioners such as Augusto Boal's, ‘Theatre of the Oppressed.'

Currently, it has become more difficult to view experimental theatre as original. Although Theatre Companies continue to develop performances and shock audiences, over a hundred years of pushing the boundaries for many reasons means all new productions have been influenced by earlier ideas in some way. However, it is still an extremely popular genre of theatre, being performed alongside traditional and eclectic theatre the world over and extremely popular in smaller theatres and Fringe Festivals. Companies such as Punchdrunk (founded by Felix Barratt MBE IN 2000) and In Situ (Successor of The Cambridge Experimental Theatre, 2000) are competing with one another to be the best at wowing their audience, desperately trying to give them an experience they have never had before. Updating old methods and incorporating them into the new, in a bid to continue surprising and delighting their audiences. More extreme techniques are becoming crucial, and companies are finding it necessary to take advantage of modern technology and more extreme, dangerous entertainment, such as Circus Skill Acts involving fire and chainsaws or TV shows such as 'Impractical Jokers.' (2011-)

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The actor who replaced a member of cast a few days ago, changed her mind. Fortunately, two other offers to help came through and I am now fully cast again. I’m learning not to stress too much over these problems as an answer is there if you look for it.

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All cast and crew have been contacted about arrival times and the process when they arrive and that time sheets will be displayed in the changing rooms.

I am actively trying to be more clear and precise with my instructions as there was some misunderstanding about meeting places and times yesterday.

I am also realising that I need to delegate some of the jobs. People have offered to help with make-up and I need to let them help or I'll be spreading myself too thin. I need to learn that I do not need to control absolutely everything, and there are jobs that I can give to others and still have a show that runs smoothly. This is hard as I know exactly what I want and how want it, I really want to do it all myself!

The messages with the alert will be sent in the morning before rehearsal.

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'Hallelujah' Arden-Ohman Orch; (1927).

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There were a few glitches before the rehearsal, one member of the cast had to withdraw and with them two zombies were lost. However, I contacted some people and within half an hour I had replaced the cast I needed.

Most of the cast were present (although getting them into the building was a logistic nightmare, next week a time and meeting point will be decided). Costumes were allocated and we talked through the performance, notifying everyone of the tech needs and timings. We then walked though the tour, positioning the zombies, and discussing the 'quirks' that they will add to their individual characters. All cast members have been informed of the 'rules' around changing rooms, staying in position etc, in line with ethics for full safety.

I feel much more confident than earlier! Also, due to the reactions of the cast as I explained the process, it should put the audience on edge as I planned.

It's a fantastic feeling when the cast comment about how much they are looking forward to the piece and look genuinely excited.

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‘Immersive theatre is a presentational or theatrical form or work that breaks the “fourth wall” that traditionally separates the performer from the audience both physically and verbally’. Lux Technical; (2023:1). 

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‘Immersive theatre is a presentational or theatrical form or work that breaks the “fourth wall” that traditionally separates the performer from the audience both physically and verbally’. Lux Technical; (2023:1). 

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Roots are believed to be Roman but could be developed form elsewhere, ie: Greek Theatre. Although it may have existed in some form in the Paleolithic era.

The words Panto Mimus are derived from the Greek, meaning 'imitator of all.' A silent actor, wearing a mask and playing multiple roles performed to a scabellum and chorus developed into a larger production with audiences jeering and cheering to the action.

Immersive theatre is a production developed away from the stage and traditional theatre. It aims to submerge the audience in another place or time and play on the senses.

The audience interacts as part of the performance making them a 'Spect-actor.' (A term introduced by Boal with his forum theatre).

An example of immersive theatre on a huge scale is Disneyland. Technology and 'cast members' technology and effects are used to enthral the senses, immersing tourists (the audience) in their favourite Disney tales.

Modern immersive is thought to have been founded by Felix Barratt in 2000 with his company 'Punchdrunk.'

Modern immersive productions also includes experiences such as VR, Escape rooms and interactive meals such as 'The Great Christmas Feast.' The Lost Estate; (2023).

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'Moulin Rouge' Logan; et al; (2018) breaks traditional theatre trends by adding immersive touches.

Cast members appear and roam around, acting as if they are in the Moulin Rouge club before the show begins.

There is an opportunity to purchase seats at tables next to the stage, where you can feel part of the action. Being surrounded by performers and drinking as you were at the real Moulin Rouge.

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USING EXPERIMENTAL THEATRE AS A POLITICAL TOOL.

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USING EXPERIMENTAL THEATRE AS A POLITICAL TOOL.

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'The Abbey Theatre.' O'Donoghue; (2022).

Experimental theatre is not only used as entertainment but has often been used as a political tool by those facing adversity. Whether it be 'Underground Theatre' or 'In yer Face' it can give activists a powerful voice and reach large audiences.

The Feminist movement (Suffragettes) used Street Theatre as a dramatic way of finding a voice and spreading their important message to the masses. Davies; (1987:75) explains how the Pankhurst family after founding the Women's Social and Political Union (WSPU) in 1905 used their pioneering methods to gain attention. Everything from stoning the windows of West End Shops, publicly chaining themselves to railings, an ill Mrs Pankhurst being wheeled on stage and even Emily Davidson's tragic death after diving in front of a horse. 'all of these were planned and executed in a deliberately theatrical manner.' Davies remarks. The group were also supplied costumes (disguises) provided by the Artist's Suffrage League, to slip away in the crowds.

Another example would the Pre First World War 'Abbey Theatre' of Dublin. Collaborating with W. B. Yeats. The Abbey Theatre offered alternative and experimental theatre. Challenging the traditional theatre of the West End by showing plays with an Irish Voice.

In 1909 the Theatre pushed for Freedom of Expression by showing a play which Lord Chamberlain's office had previously banned in England. Then saw the group pushing for a cultural revival in 1916, which saw the performances move out into the streets and is closely linked with the 1916 Uprising.

In today's world we still see the type of Experimental theatre the Suffragettes were using as an attempt to gain a larger audience to hear their campaign.

Activist Arundathi Roy speaking about protests, states 'Non-Violence is a piece of theatre. You need an audience.' Mohan; (2023:1).

For example, one of the best known activist groups at the moment is 'Just Stop Oil' and they are very well known for their extreme behaviour as an attempt to be heard and it has certainly ensured that the public are aware of them across the whole country. However, how this method of protest will be beneficial to their cause is a different question entirely.

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Madame Zelna: real name Martha Siobhan Mary Connor. She is 42 and descended from an Irish travelling family. Her Father is Diarmuid Connor, he met Martha's mother Mary Byrnes who was an english traveller. He made the move to England from Ireland to marry and be with her.

Martha was born 06/06/1880 and grew up travelling England with her family who ran fairgrounds. She learnt her trade as a psychic from her mother, who went by the traditional Gypsy psychic name, Gypsy Rose Lee.

When Martha married at 16, she joined her Husband's travelling family and continued the psychic trade herself. Under the name 'Madame Zelna.'

In 1919, her and her partner headed to the USA, on the SS Mauretania, Liverpool to New York. They then travelled across America to LA, where Martha intended to make it as a psychic to the stars of Hollywood. She is now a widow but continues to try to fulfil her ambitious of being the most famous psychic to the stars.

Martha has 4 brothers and no sisters. She is the second child. She never had children. She is medium build, 5'5, has long dark hair and blue eyes. She has a 3rd eye?

She is quite calm most of the time although easily riled if she feels people are stupid or rude. It's a slippy slope to seeing her angry from there although this will be passive aggressive and not violent. Is she a genuine psychic? I'll let the audience decide!

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(Need pic) Lamp with flashing bulb.

20's music on arrival, Emily to control via my signal.

Text messages controlled by Matt.

Cameras controlled by Matt and Lee. two Static, one in room, one on reception.

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Moves audiences from scene to scene.

Origins in medieval mystery city tours.

Creates an interactive and more intimate relationship between audience member and performer.

Can be challenging due to weather, logistics and unruly audiences.

Modern day large scale events including Labyrinth Waterloo's 'Alice's Adventure Underground.' (2023).

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'The York Mystery Plays in Performance.' University of Cambridge; (2015).

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After researching techniques, I found that I could include elements of Brecht's Alienation effect. My ideas were lacking in details that would make my audience feel uncomfortable. To achieve the effect I would like from the audience (I want them to feel perturbed...anxious/alert) I need to use more than just words. I have since added new stage directions and details into the script

The elements included are:

1. Having no 4th wall and speaking directly to the audience

2. Making the audience stand

3. Bringing the audience into the performance on stage.

4. Breaking character in front of the audience.

5. Disturbing the performance with an unexpected interruption.

6. Having small elements happening during the performance to put the audience on edge (movements/sound/actions).

7. Changing the tone of the performance completely and unexpectedly.

8. Not allowing the audience to know anything about the performance they are seeing apart from what is on the advertisement.

9. Making the audience queue outside of the room before being 'allowed' to enter.

10. Walking off and abandoning the audience at the end.

Some of these suggestive actions/sounds have actually been influenced by the film 'Monster's University' (2013) where it is highlighted that suggestion can be scarier than just one big scary moment.

The script is the written to create a juxtaposition, the audience think they are watching a single performance before suddenly being thrown into a world of chaos, as the performance takes a turn and becomes something different entirely. I wanted to challenge the parameters of Experimental theatre by putting different techniques into one piece to create something new and exciting. . I will need to be assiduous to make this work. Co-ordination and timing are key factors.

I am interested to see how the audience reactions change throughout, from meeting a kind welcoming lady who slowly makes them more uncomfortable to being interrupted by security then accosted by Zombies before being abandoned by their host.

I'm also interested to to see how they react to the use of technology and also, do the subtle hints of movement and screaming occurring during the dialogue of Madame Zelna get noticed? If so, how do the audience react to this? Do the new additions to the performance really create an atmosphere of heightened senses amongst the audience?

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'Fantasmic' Disney World; (2023). Recorded by myself: (01/11/2023).

This is performed away from a traditional stage and uses many techniques to wow its audience. Including: water, projections, lasers, pyrotechnics, actors, song and boats to immerse the audience in small parts of some of their favourite Disney shows. The audience is left in awe by the experience.

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Crystal ball

Table cloth/sheet

Dice

Tarot Cards

Potted Plants

Lamp (tall)

Lightbulb with control

Bell

Scarves

Lamp (small)

Gramophone.

Small Table.

Large table.

Chair.

Fake limbs and entrails.

2 x cameras and 2 x phone cameras.

Handbag with lipstick, perfume, pen, gloves, condoms.

Make-up kit plus prosthetics and remover.

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Founded in 2021 by Jamie Roberts. Cineshow began as a means to bring immersive cinema to the north. After living and working in London, he noticed a huge gap in the availability of exciting theatrical projects available in the north compared to the array of experiences available in London.

'The lack of well funded, big production interactive cinema events is evident, which ultimately takes you back to the notion that movie lovers in the north looking for something a bit different...' Roberts. (2021).

The Cineshow experience involves not only watching a film but being completely immersed in the film, bringing parts of the film to life through tours, live music and live actors, before and during the film.

These shows include live versions of 'Jaws'; (1975) (set in a local swimming pool) performed October 2021, 'La La Land' (2016) performed February 2022; 'The Shining' (1980) performed October 2022; and 'Asylum' an original performed October 2023. As well as children's showings and outdoor cinema.

This company produces shows so detailed and immersive that working as part of their team and learning how the company develops a production, has inspired me to put together my own small production. I wish to attempt to immerse my audience and bring my show to life in a bid to gain positive reviews from the about their experience.

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Founded by Frenchman Antonin Artaud; (1896-1948), who was inspired by the unusual movements and expressions of Balinese dancers he had seen performing in Paris in 1931.

He wanted to express the darker side of human emotions.

Interested in surrealism and joined a Surrealist group.

He was asked to leave the group after 2 years due to differences.

Founded the Alfred Jarry Theatre with Robert Aron and Roger Vitrac in 1926.

He spent many years in a mental asylum.

Wrote the manuscript 'The Theatre and its Double.' in 1938 where he argues against traditional theatre.

Modern day versions include immersive and in yer face theatre.

More modern practitioners include Sarah Kane and Peter Brook.

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Torn bloody jumpers, various colours for Zombies.

Josh to wear Peaky Blinders Inspired costume , this is because it is set in the 20's and the Peaky Blinders were associated (related to) Gypsies.

Security are representatives of an official security company and will be wearing their own uniforms.

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FINAL CAST/CREW (SURNAMES NOT USED AS SOME CAST ARE UNDER 18).

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FINAL CAST/CREW (SURNAMES NOT USED AS SOME CAST ARE UNDER 18).

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ZOMBIES:

JACK

JULIANNA

LEXI ?

LAUREN

TIEGAN

EMILY

SKLYA

ALFIE

LUCY

KAYDEN

PRINCESS

DEAN

KIM

JESS

PARTICIPATING AUDIENCE: JOSHUA DENNIS

KAYLEIGH CLARKE

LEE BRODDLE

ANGELA PARR

MATTHEW PICKETT

SECURITY GUARDS: MARK TAYLOR

WAYNE TAYLOR

CAMERA OPERATIVES: MATTHEW PICKETT (SET UP).

(+ MATT HAS MOBILE FACING ME AS IF FILMING THE SHOW).

LEE BRODDLE- CORRIDOR

ONE STATIC IN ROOM

ONE STATIC AT THE BOTTOM OF

OF THE STAIRS IF POSSIBLE.

LIGHT OPERATIVE: JOSHUA DENNIS

TEXT CONTROL: MATTHEW PICKETT (PRE SENT WITH INSTRUCTIONS OF WHEN TO OPEN).

MUSIC- MYSELF

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'Stephen Mulhern's Panto Prank Part 1 - Saturday Night Takeaway.' Saturday Night Takeaway; (2015).

This idea involved inviting people to an immersive medieval meal. At first everything would be ok but soon things start going wrong. Such as Bernard Matthews Chicken drumsticks being brought out instead of authentic drumsticks. Each thing angering me a little more as they keep going wrong. Building to a big argument. There would also be something in the ear of one of the actors dictating their behaviour and words.

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Stephen Mulhern's Undercover Panto Prank Part 1 -  Saturday Night Takeaway

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IDEA 2. MEDIEVAL MEAL (ANT AND DEC STYLE).

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IDEA 2. MEDIEVAL MEAL (ANT AND DEC STYLE).

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'Louis Walsh's 'Get Out Of Me Ear!' Prank With Ant and Dec.' Saturday Night Takeaway; (2014).

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Louis Walsh's 'Get Out Of Me Ear!' Prank With Ant & Dec - Saturday Night Takeaway

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Setting up a situation beforehand to make out myself as an actor has something big coming up and I'm practically famous. Then set up a photo singing ie~: In Freshney Place to see who believes it and wants a photograph.

Inspired by a friend shouting my name in London and announcing to people that I am the West Ends next star as a joke. People stopped to look and were obviously ready to take photos. Would this work on a bigger scale?

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'Summer Nights HD.' Harmsworth; (2011).

Designed to see how people react to a genuine case of everyone getting up to sing and dance as they do in the films.

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THE PRINCE OF EGYPT. (LaZebnick. Swartz. 2017.

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THE PRINCE OF EGYPT. (LaZebnick. Swartz. 2017.

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'The Prince of Egypt: The Musical' Spazju Kreattiv; (2023).

The Prince of Egypt (LaZebnik; Schwartz; 2017) offered a new approach to the use of choreography. Here, the show breaks tradition by using the dancers to create stunning visuals when they become the scenery. Buildings, water and fire are among the incredible illusions created.

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'Cunk on Earth Does this mean the pyramids are basically waterslides?' BBC; (2022).

Interviewing people as an alter ego who is not what they're expecting, ie: not very bright/ or arguing with everything they suggest and recording how the person handles the situation.

I love this idea but I'm not confident enough yet to follow through with the idea and it would need a full ne character to be developed that I know inside out to handle any responses given. It is something I aspire to build too. I wish I' had seen this before film and tv as it could have been set up and would have made great watching.

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Does this mean the pyramids are basically giant waterslides?

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Subscribe and 🔔 to the BBC 👉 https://bit.ly/BBCYouTubeSubWatch the BBC first on iPlayer 👉 https://bbc.in/iPlayer-Home#BBC #CunkOnEarth #BBCiPlayer #Comedy…

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Bells are commonly used to cleanse rooms. I believe Madame Zelna would use this ritual in her parlour before new summonings.

Original Botanica explains 'Simply ringing a bell loudly is enough to drive some evil spirits away' and that 'Small, sweet-sounding bells have a reputation for attracting helpful, benevolent spirits and energies.'

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Unfortunately I had planned a 20 minute performance but we only have 15 (+10%). This means I cannot include the beginning Promenade section with my MC and the audience will have to meet directly outside of the room. I have had to cut the offer of 1920's accessories for the audience as an extra immersive element and the crossing my palm with silver as they enter the room from the script too because of the time allowance. However, I will still be using a form of Promenade Theatre to move the audience from the room to the refectory.

The students at PQA proved very keen to play Zombies and I have 14 to date. I lowered the Zombie age to 12 as they are experienced performers and are not the audience. Parents have assured me that they are professional enough for the performance. Parents have been contacted and model release forms are ready to be sent out. All details are being kept secure and confidential in accordance to GDPR laws (See Contact). Altogether, I have a cast of 22.

I have secured props and the set is designed. (See Set Design). I am planning costumes and make-up, ensuring I will have access to the changing rooms. Skin tests will be performed on those with prosthetics and allergy forms sent out to all wearing make-up. (See Contact).

Music has not yet been chosen.

Other groups taking place in the building at the same time have been notified and are happy to work around me. Some staff and the Security now need to be made aware of the performance details. (See Contact).

A risk Assessment of the room has been completed and another will be completed for the zones the Zombies will be using. Ethics for this performance have been approved, everyone's safety is paramount

Advertising will be occurring soon.

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'Zombie Love.' (2011).

10 minute piece acting out as a normal show but silent. How does the audience react to losing one of their senses? I cannot do this as it would be entirely on the stage.

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Tops have had to be bought for the zombies as they need to be bloodied and I do not want to ruin any of their own clothes. This was quite costly, there are 16 volunteers. I hope these volunteers do show up!

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Tattoos and jewellery will add the final touches as well as little details like using patchouli oil on my soft furnishings to create a distinct smell for the audience to add to the immersive experience.

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Not being able to do 'Zombie Love'; (2011) led me to question how else zombies could be used. I decided the play could be followed by a zombie invasion but it seemed too obvious when using a zombie themed show. I needed something that will completely throw them of the scent. So I brought in an immersive fortune teller act which will get 'interrupted.' Hopefully catching the audience offguard.

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Cast added last minute:

Lisa

Charlie

Rylicia

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Part of my performance requires Security Guards. I have hired 2 real Security Guards. After speaking with them, I have had to update my script. I was informed that in an emergency situation, they certainly wouldn't knock on the door, they would just walk in and without causing a panic, they would insist people go with them, they don't have time for formalities.

This is now incorporated into the script to make it more true to life.

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MEDIUMSHIP IN THE EARLY 20TH CENTURY (1)

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Rehearsal went very well, we had a briefing before we began. I tried to be very clear with my direction and it seemed to work as it went smoothly.

I welcomed new cast, Rylicia, Charlie and Lisa as some actors became unavailable. Due to having new cast members on the day of performance, especially Zombie 1, a new cue line was added to the performance as they hadn't been able to see then script. Everyone involved in this part of the show was informed of this. The timing worked out perfectly at approximately 12 minutes and the smaller elements ( ie : the scream in the corridor) fitting exactly where they should .

We discovered that the gramophone actually worked and it sounded extremely creepy so the decision was made to use this instead of the digital track. It's a great way to scare people as they enter even before a word is spoken.

The only issue we had was a member of the cast abruptly telling others in the building to move out of the way as we were rehearsing. This was not necessary, everyone in the building had been informed and we were all prepared to work around each other. I spoke to the cast member and made an apology to the leader of the other group.

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The last important notification about this performance is for the Institute Security. I have decided to do this on the day so the staff on shift at the time get the message direct. Both for rehearsal and for the performance.