2024年 10月 11日
Minimal gimmicks
When Harada screened "Death Lullaby" at Shibuya Uplink in 2009, he used a cracker made from a hydrogen tank at the end.
Confetti was scattered over a wide area.
During this time, Harada was at the very back of the theater, playing keyboards and percussion along with the screen.
If the audience turned around during the performance and saw Harada's face, it would shatter their dream, so Harada always wore a mask.
However, in both MIDORI and Death Lullaby, not a single audience member turned around during the trick.
Confetti was scattered over a wide area.
During this time, Harada was at the very back of the theater, playing keyboards and percussion along with the screen.
If the audience turned around during the performance and saw Harada's face, it would shatter their dream, so Harada always wore a mask.
However, in both MIDORI and Death Lullaby, not a single audience member turned around during the trick.
No matter what happened suddenly in the theater, the audience always kept their eyes on the screen.
This is the crackers https://j-cracker.com/
Photo by Ketsurikichinkai-eigasai
Harada is in the center of the photo. If the theater is small, a larger flashlight serves as lighting. When MIDORI or Death Lullaby are screened in a small space, Harada waves two flashlights around during the climax scenes. Light dances wildly inside the theater.
Photo on the right. From left, Naoyuki Niiya and Risaku Kiritoshi.These two are people who cooperated with the screening of Horizon Blue. Harada is on the right.
Harada doesn't like to appear in public, but if he has "恩義/Ongi(Gratitude for the help the person received)" or "義理/Giri(Repaying past help)" for his friends, he will appear in front of the audience.
Photo on the right. From left, Naoyuki Niiya and Risaku Kiritoshi.These two are people who cooperated with the screening of Horizon Blue. Harada is on the right.
Harada doesn't like to appear in public, but if he has "恩義/Ongi(Gratitude for the help the person received)" or "義理/Giri(Repaying past help)" for his friends, he will appear in front of the audience.
source:
When "MIDORI" was screened in Kyoto in 2017, dancers wore fox masks and danced on stage in the scene where Masamitsu goes wild and at the end.
Harada met a woman who dances in Kansai while introducing the Kanazawa Film Festival, which organized the Kyoto screening, and suddenly negotiated with her to dance on the day of the screening.
These two scenes are scenes where it is possible to try to have a large number of people dancing wildly around the audience seats. Although Harada was not present, several people apparently danced in front of the screen at the 2018 Kyoto MIDORI screening.
Ideally, all of these would occur spontaneously on the day without prior notice.
The performers were also suddenly offered the day before or on the day, so a sense of tension was created. This tension is conveyed to the audience, creating a fascinating atmosphere of "not knowing what will happen next."
If the performance is performed after repeated practice, as in a normal play, this unique sense of tension of sudden events is lost.
It doesn't matter if the performers are amateurs.
If an accident occurs, that incident becomes a gimmick. (This is a method often used by Terayama Shuji.)
Harada met a woman who dances in Kansai while introducing the Kanazawa Film Festival, which organized the Kyoto screening, and suddenly negotiated with her to dance on the day of the screening.
These two scenes are scenes where it is possible to try to have a large number of people dancing wildly around the audience seats. Although Harada was not present, several people apparently danced in front of the screen at the 2018 Kyoto MIDORI screening.
Ideally, all of these would occur spontaneously on the day without prior notice.
The performers were also suddenly offered the day before or on the day, so a sense of tension was created. This tension is conveyed to the audience, creating a fascinating atmosphere of "not knowing what will happen next."
If the performance is performed after repeated practice, as in a normal play, this unique sense of tension of sudden events is lost.
It doesn't matter if the performers are amateurs.
If an accident occurs, that incident becomes a gimmick. (This is a method often used by Terayama Shuji.)
Harada also asks the venue's operations staff to flash the lights above the audience and turn on the stage lights during the climax scene.
Record of that time
Photo by Cinematoday
by kiyubaru2020
| 2024-10-11 18:14
| 劇場思想 Theater thought
