Let's make the video of Ross in the wood-pannelled room upside down so it looks like he's hanging from the ceiling. (As in the office photo Agnes posted.)
Katie
From Ross:
Katie,
I just had a thought!
What if the two people playing meph are split between emotional and vocal.
so that you projected the actor doing mephs emotions on or around the guy
doing mephs vocals. we'd both be saying the lines but the only person
you'd hear would be the guy in the room with you. like that guy was
possessed...
Maybe this is really simple...
Maybe its really directorial...
I dont know.
Just a thought
Ross
To Do:
Agnes: making video, getting projector
Brian: bring something to rear-project on
Nick: make next draft of script, bring tools
Katie: figure out what the extras do? Find fake plants
All my formatting got messed up! I will email this instead...
K
New Draft for 2/18 meeting
Scene 1
The scene starts with a slow set up a full body device being tested. (video of churning from Solaris? Gradually changing to video of office being trashed?) Secretary sets herself up too, and turns on speaker phone. MEPHIST. Now, Faustus, ask what thou wilt. FAUSTUS. (through the phone) First will I question with thee about hell. Tell me, where is the place that men call hell? MEPHIST. Under the heavens. FAUSTUS. Ay, but whereabout? MEPHIST. Within the bowels of these elements, Where we are tortur'd and remain for ever: Hell hath no limits, nor is circumscrib'd In one self place; for where we are is hell, And where hell is, there must we ever be: And, to conclude, when all the world dissolves, And every creature shall be purified, All places shall be hell that are not heaven. FAUSTUS. Come, I think hell's a fable. Sonic cel phone apocalypse happens, and audience is ushered out. (how?)
Scene 2
Faust is watering plants in his office. Projected onto Faust is Meph #1, standing in the shadows is Meph #2. MEPHIST. (both speak but we can only hear Meph #2) Now, Faustus, ask what thou wilt. FAUSTUS. First will I question with thee about hell. Tell me, where is the place that men call hell? MEPHIST. Under the heavens. FAUSTUS. Ay, but whereabout? MEPHIST. Under the heavens. FAUSTUS. Ay, but whereabout? MEPHIST. Within the bowels of these elements, FAUSTUS. Come, I think hell's a fable. Faust moves aside and Meph #2 's face is over Meph #1's projection, so they seems to speak together. The pace quickens. MEPHIST. Ay, think so still, till experience change thy mind. FAUSTUS. Why, think'st thou, then, that Faustus shall be damn'd? MEPHIST. Ay, of necessity, for here's the scroll Wherein thou hast given thy soul to Lucifer. The scroll is the churning video? FAUSTUS. Ay, and body too: but what of that? Think'st thou that Faustus is so fond to imagine That, after this life, there is any pain? Tush, these are trifles and mere old wives' tales. MEPHIST. But, Faustus, I am an instance to prove the contrary, For I am damn'd, and am now in hell.
Plan for Wednesday Feb. 17
At 9:30 we'll do a set-up, focusing on the wood-pannelled room. It will be along the lines of Monday's plan. (See below.) At 10:30, when the actors arrive, we'll be testing out our set-up, using the section of text I pointed out to you Monday. (All the stuff about getting a wife.) The set-up:
In the doorway (stage left) sits Mephostopleles, appearing both in charge of the room, and also bound in some way (ideally like this http://www.skymall.com/ shopping/detail.htm?pid= 102244915&c=10635&v=&ddi=/ products/22/18/06/ 102244915gx1.jpg)
In front of the white panelled window will be a desk with a speaker-phone on it, and a (live actor) assistant devil, perhaps manning the phone, perhaps taking notes.
The camera will be set up upstage of the wall, to shoot Meph's profile.
The image of Meph will be projected onto part of the white screen/window, speaking into the speaker phone and also looking to the assistant.
The conversation will happen through speaker phone, with Faust in the other room. Faust will request a wife, and we may see options on the other part of the white screen. We may also use surveillance of the audience, or the downstairs space.
Questions/challenges:
What pace should our piece move at? Agnes suggested that things might unfold very very slowly. This is interesting to me. Could there be only four lines spoken, but a lot of action between them?
What does the wood-pannelling and the cheap gadgets and the text about getting a wife add up to? How the the wife chosen and transported to Faust?
Is it desirable/possible to use both spaces at once? I think so... If so, what are the rules and qualities of each space?
Could mirrors help us? Brian, if you have any hanging around, please bring in.
Katie
From Ross:
Katie,
I just had a thought!
What if the two people playing meph are split between emotional and vocal.
so that you projected the actor doing mephs emotions on or around the guy
doing mephs vocals. we'd both be saying the lines but the only person
you'd hear would be the guy in the room with you. like that guy was
possessed...
Maybe this is really simple...
Maybe its really directorial...
I dont know.
Just a thought
Ross
To Do:
Agnes: making video, getting projector
Brian: bring something to rear-project on
Nick: make next draft of script, bring tools
Katie: figure out what the extras do? Find fake plants
All my formatting got messed up! I will email this instead...
K
New Draft for 2/18 meeting
Scene 1
The scene starts with a slow set up a full body device being tested. (video of churning from Solaris? Gradually changing to video of office being trashed?) Secretary sets herself up too, and turns on speaker phone. MEPHIST. Now, Faustus, ask what thou wilt. FAUSTUS. (through the phone) First will I question with thee about hell. Tell me, where is the place that men call hell? MEPHIST. Under the heavens. FAUSTUS. Ay, but whereabout? MEPHIST. Within the bowels of these elements, Where we are tortur'd and remain for ever: Hell hath no limits, nor is circumscrib'd In one self place; for where we are is hell, And where hell is, there must we ever be: And, to conclude, when all the world dissolves, And every creature shall be purified, All places shall be hell that are not heaven. FAUSTUS. Come, I think hell's a fable. Sonic cel phone apocalypse happens, and audience is ushered out. (how?)
Scene 2
Faust is watering plants in his office. Projected onto Faust is Meph #1, standing in the shadows is Meph #2. MEPHIST. (both speak but we can only hear Meph #2) Now, Faustus, ask what thou wilt. FAUSTUS. First will I question with thee about hell. Tell me, where is the place that men call hell? MEPHIST. Under the heavens. FAUSTUS. Ay, but whereabout? MEPHIST. Under the heavens. FAUSTUS. Ay, but whereabout? MEPHIST. Within the bowels of these elements, FAUSTUS. Come, I think hell's a fable. Faust moves aside and Meph #2 's face is over Meph #1's projection, so they seems to speak together. The pace quickens. MEPHIST. Ay, think so still, till experience change thy mind. FAUSTUS. Why, think'st thou, then, that Faustus shall be damn'd? MEPHIST. Ay, of necessity, for here's the scroll Wherein thou hast given thy soul to Lucifer. The scroll is the churning video? FAUSTUS. Ay, and body too: but what of that? Think'st thou that Faustus is so fond to imagine That, after this life, there is any pain? Tush, these are trifles and mere old wives' tales. MEPHIST. But, Faustus, I am an instance to prove the contrary, For I am damn'd, and am now in hell.
Plan for Wednesday Feb. 17
At 9:30 we'll do a set-up, focusing on the wood-pannelled room. It will be along the lines of Monday's plan. (See below.) At 10:30, when the actors arrive, we'll be testing out our set-up, using the section of text I pointed out to you Monday. (All the stuff about getting a wife.)
The set-up:
In the doorway (stage left) sits Mephostopleles, appearing both in charge of the room, and also bound in some way (ideally like this http://www.skymall.com/ shopping/detail.htm?pid= 102244915&c=10635&v=&ddi=/ products/22/18/06/ 102244915gx1.jpg)
In front of the white panelled window will be a desk with a speaker-phone on it, and a (live actor) assistant devil, perhaps manning the phone, perhaps taking notes.
The camera will be set up upstage of the wall, to shoot Meph's profile.
The image of Meph will be projected onto part of the white screen/window, speaking into the speaker phone and also looking to the assistant.
The conversation will happen through speaker phone, with Faust in the other room. Faust will request a wife, and we may see options on the other part of the white screen. We may also use surveillance of the audience, or the downstairs space.
Questions/challenges:
What pace should our piece move at? Agnes suggested that things might unfold very very slowly. This is interesting to me. Could there be only four lines spoken, but a lot of action between them?
What does the wood-pannelling and the cheap gadgets and the text about getting a wife add up to? How the the wife chosen and transported to Faust?
Is it desirable/possible to use both spaces at once? I think so... If so, what are the rules and qualities of each space?
Could mirrors help us? Brian, if you have any hanging around, please bring in.