J of Z 84

When we looked at photos of the venue from September, we saw a steep slope and stairs. (The floor was not flat).
Could this slope also be used for something?
However, since there are stairs, we would have to instruct the staff to be extremely careful when performing in the aisles in the dark.
We could lay red paper tape on the stairs, but since this is a public facility, the problem is whether we could get permission for such a device.
There are many lights on the ceiling, and Harada would like to have them blink during the screening. How much would that cost?
Also, it seems that the projection room is located behind the audience. If that were the case, it would make it somewhat easier for Harada to move between the room and the staff to supervise the performance during the screening.
Also, if we use a mini projector from the projection room, we should at least be able to project images onto the wall at the back of the theater. (We will hang a white cloth on the day.)
There is a narrow passageway under the ceiling, which should make it possible to drop objects into the audience seats.
But does the museum consider the film and the audience seats to be separate?
If various forms of expression are restricted, can it really be called an art museum?

If that's the case, then Terayama's experimental films, which move back and forth between the screen and the audience seats, cannot be screened. Nor can the 3D films that Eisenstein invented in his later years. What will they do when they screen Andy Warhol's multi-screen films?

Norifumi Suzuki, anarchy, anti-establishment film director at Toei, wrote in one of his books, "Museums belong to the bourgeoisie. A true museum is a city wall with murals and graffiti that anyone can freely view."