I have been considering my previous thesis research that I conducted in the fall\u2013Laterna Magika\u2019s Philosophy and Approach to Theatre: Disciplines in Multimedia Performance\u2013and the ways in which I could uphold many of the artistic techniques and values in my film. Or rather, explore the potential possibilities of a particular method and see what works and what would be a challenge. As scenography is an element in theatre, it could remain true for film. In a sense, this would be the <\/span>mise-en-sc\u00e8ne<\/span><\/i>.<\/span><\/p>\n In my textual research, I have a fair amount of material regarding Laterna Magika\u2019s renowned artistic director and scenographer, Josef Svoboda.\u00a0 I recognized how Laterna Magika\u2019s theatrical synthesis of projected images and synchronized acting, dancing, and staging allowed an impression of space which could be enlarged in many ways. I am exploring the ways in which I could potentially create an impression of the space of the camera frame and how it could be enlarged.\u00a0<\/span><\/p>\n I aspire to design a version of my own ideal theatre space that could potentially function as a technical proof ground for my film. If I were to be performing on the Hallie stage, I would be keen on discovering how the use of projections creates the potential in generating a new stage space and the dialogues that will emerge between the projected image and live performer.\u00a0 But projection through a camera lens can often be tricky and overwhelming so I thought of using another device: a mirror. The mirror is not to be placed as a substitute for decor or establishing say, a locale. There is a potential for attempting to compose an individual, separate, and distinctive visual perception into a new total image that is according to a theme. In other words, to convey a given particular intention by a composition of images, their inter-relationships, their temporal and spatial rhythms within a technical proof ground. This way of understanding the technical and experimental requires one to think about more than one means of expression. To create something that evolves, that has movement, not necessarily physical movement, but a space that is dynamic, capable of expressing changing relationships, feelings, moods, perhaps by lighting, during the course of the action in a performance.<\/span><\/p>\n This \u201ctechnical proof ground\u201d will be the space that I have been cultivating all of my creative and choreographic ideas for the past year: my dining room floor and outdoor lanai. <\/span><\/p>\n