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?

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

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.

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.

'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-)

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.

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

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.

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.

'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.

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.

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).

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.

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.

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

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?

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).

(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.

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!

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.

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.

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.

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.

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.

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.

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.'

Lisa

Charlie

Rylicia