| Interview with Mark Pauline
| Typically for the SRL shows when
we come away from America, I personally go to the area and try to
decipher on some level what is deep down inside the minds of the people
in the country where we perform and try to use the show as some kind
of a key to unlock these feelings so that people can make a connection
with the show.
It's never an obvious thing what you're looking for when you do this,
it's more just like a feeling that you have, a feeling that I work
with when I try to set up the shows when I come to a country. And
then I'm usually very satisfied if I'm true to the feelings that I
have about a place that the show makes a connection with the people
in the country.
I thought of some ways we could do that for Japan, ways we could organize
the show. I think a very important thing for what we have to do here
is really look for a way to show the soul inside of devices and machines
and things that people usually consider not to be alive.
That's always been a part of SRL shows, but I think here it's a very
important thing that we will focus on - ways to make the set and the
props that we use in the show and the machines as they interact with
these things really look like it's a living, breathing environment,
The challenge, of course, is to try to do that for the period of time
of the performance, 30 to 45 minutes. One of the ways we will do that
is have very animated props and set up the background of the show
so it's sort of like a very large sort of a cartoon of a shrine, a
shrine that is not really a shrine that you pray at but a shrine dedicated
to hidden fears and anxieties. And we'll see what happens.