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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, a landscape.
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.
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