Is it man-made or natural?

The planet that I see is very much man made. I see a world that is the size of a movie

scene building. Like one of those warehouses where there are several sets at once from one room

to the next. And each room is a carefully constructed set that seems to be put together and in

place by hand. Each room is a different scene of Amazons and their Men. Each one is a different

part. I like this idea because as cited in Amazons on the first page (and throughout), there is the

movie theme since The Frau is making a movie, and I like the idea of that being the plays entire

world. It gives a sense of gritty realness along with the sweet subtlety of everything being

manipulated into what the play wants you to see.

What color or texture?

The color or texture to me is like a range of reds from velvet feeling purple red to blood

oozing, bright crimson red. There are also many different shades of gray. Dark and light reds and

grays dance around almost as if the movie setting world Im seeing is caught in the after embers

of a large fire. I like this idea because of the page () where The Frau burns what she would call

her magnum opus. She literally burned her world, so I like the idea of the world Im viewing

being on fire. But not a raging flame, but merely embers of an already tainted ledger. The ledger

already had red on it because of the metaphorical blood on The Fraus hands. Velvet is my

texture of choice because it is easy to get wrapped up in a deceivingly soft velvet, but, because it

is expensive, velvet comes at a price. A price that other characters pay for The Frau.

What is the climate like? Are there storms? Wind? Sunshine?

 The climate is warm. Just enough to make someone feel uncomfortable but not enough to

make someone want to take off their jacket. The kind of warm that creates a slight heat on the

back. Such as that of an aftermath of a fire. There are no storms or wind, nor is there any

sunshine. Only the Fraus part of the movie studio is warm. There rest is oddly cold. The only

warmth offered are the sources of light throughout the studio. Even then, it is a spine tingling

chilly. I like this idea because The Frau is this heated central course of everything while everyone

around her means nothing. She is cold to them and indifferent. The cold is indifferent.

How do space and time work?

Time and space here work in a loop. Perhaps one of my favorite ideas, the period of the

play, from beginning to end, is one big infinite loop of time. Every time it ends, it starts back up.

Almost as if this movie studio alone is separate from everything else around it. I love this idea

because of how movies work. A movie is its own world within itself, and when it is finished, it is

taken back from the beginning and left to play again. Much like this plays eye on The Fraus

life. I like the comparison to the movie because that is the Fraus life. Her life is her own movie

that she directed until the very end as the epilogue tells us.

What is the tone?

The tone is almost that of a haunted house, but not scary. It is more of a harrowing tone

that haunts and hangs in the air from the moment you walking into my movie studio world. This

tone is there to highlight the stakes at risk and help with understanding the full gravity of the

results. I want it to provoke thought while still being uncomfortable. It shouldnt make anyone

comfortable, because this isnt a comfortable subject. It should be harrowing and haunting.

Music? Sounds?
 For my world, the music or sounds that play are that of what would be in a music. Even

though everything is harrowing, meticulous, and still, I want music that would be in old movies.

Music such as loud bands or soft strings from film noir. I want the occasional crackle of thunder

and falling drops of rain. To be more specific, in my world, each different scene or space has

different noises from the moment you walk in. First scene might have typical stuff youd hear

around movie set, while the last scene will have the boots outside and shattering glass to support

the scene. I want ambient noise in some places so that the overall silences through my world

arent just silences, but they are deafening silence. I want this because I think it speaks volumes

to what might be on The Fraus mind, and this world is very much HER world.

How do people group themselves? Speak to one another? Dress?

People are labeled much like a playbill. Everyone has their name and their characters

name floating around them like a pungent smell. Along with names are the labels, such as the

triangle and the star. Everyone here is labeled and sorted and most importantly, extra. The only

one whos actual name is spoken is The Fraus. But everything people do is routine. Much like

the stuck in time and space like a movie theory, these people just play out the movie time and

time again.

Where does power come from? How and why is it used?

The power in terms of who is in charge comes solely from the Frau herself. This is

because the script cites many times that the Frau is the one in charge of everything that happens

around the set. In terms of electrical power, even though electric lights were around then, I like

the idea of having gas powered lamps. Electric would be conserved because it is wartime and it

creates dancing shadows, much how the show is a shadow of the past that still haunts people

today. I like that idea especially because of the last scene, twenty five, where it explains what
happens to everyone. I think that scene creates an imprint or a shadow that reverberates through

history.

What are the rules of this universe that are different from ours?

The rules are the rules of the Frau. Everything is hers and she is the queen of this set

stuck in time. HOWEVER, I like the idea of my world being controlled by the time it is looping

around in. Because what has happened is in the past, it is unchangeable, and the absolute law is

that of time. I like playing with this because it is something even the Frau cannot control and that

creates conflict and depth.

What is the first image you see? What is the last image you see?

The first image you see is an old camera, one of the time period. I like this idea because

that is the perfect intro into our view of the Fraus life. Her life is the camera and everything it

frames, much as the world that was created, is controlled by the camera and the set. It is

controlled by time and the camera captures time.

The last image you see is a clock. A ticking clock that stops. This is to show how time

crawls to a stop and then the play restarts. It also works well because when a clock stops, an

impression is made on the space around it. I want the last tick of the clock to almost echo

through silence.

Is there some passage you need to go through to get from the first to the last image?

The passage you need to go through is the passage of the set. The door that the final clock

hangs over leads to the first door you walk through to see the camera. It makes a full, physics

breaking, loop, from one side of the movie set planet to the other. So the passage is the rest of the

movie set from the begging of the door to the ending of the door.
 I chose this old movie camera as my first
image because the tone and color of the area
around the camera as well as the camera itself
sets up the world that I created and want to be
viewed. It also sets up perfectly as an
introduction into Amazons world because it is
the Fraus world. Her world is the Camera, and
this camera belongs on my set world. In terms of
the production, I want a camera like this on
stage or behind stage, somewhere visible, but
not obstructing. Sot he audience can see
everything but know the camera is always rolling.

I chose this picture because I want the stage to

look, most of the time, like an almost haunted
movie set. While I would make it look more used
and time period accurate, I like the haunting
feeling this image gives. Also, I want it to seem
as though this movie set is empty of extras. The
only people here are the ones in the play. I would
also put a screen in the back to play the clips
from the Fraus movie.

I chose this picture because I like how it brings out the

history side of the piece. I might hang a poster like this
and other on the wall of the movie set that doesnt face
filming, or posters like this and many other in the oce
of the Frau. I am choosing to do this because it drives a
harder connection to the Nazi party and what is going
on in the script to create that moment looped in history
feel AND the haunting harrowing feel. I think it is a nice
detail to add propaganda posters. Especially around in
the scene where the Man and the Boy sneak o. I want
it to seem like the posters are watching them.

I love this because I think it is a perfect

coloration for what Im going for in my
production. I think the color palate provides
abstraction while at the same time being a nice
image to show how I would construct the Fraus
oce. Not pictured would be a desk and posters
behind the desk framed from her prior work. I
chose this image because the stillness is
perfectly captured, and I would want my actors
to float through that stillness as if they were
ghosts floating through time. I might even play
with suspended lighting like in this picture.
I love this image most of all because it means
the most to me. When the films are not being
displayed on the back screen, I think I would
have a clock like this being displayed there.
Constantly moving and jumping, always accurate
to the time in the scene, but, not there when the
movie is playing. That shows how the movie is a
moment captured in time and memorialized
forever. Also the stagnant noise of the minute
hand can be played with to add suspense and
etc. But at the end of scene twenty five, I want
the clock to grow louder and come to a
deafening stop. Then more ticks. I would play
with that idea. Also when the Frau burns her film,
I might look at having the clock catch on fire.
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Hoston, Stephanie. Adventures.Pinterest, 2 Apr. 2016, www.pinterest.com/pin/

297589487858619014/?lp=true.

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458593174541085453/?lp=true.

Nazi Propaganda Posters. Military Information HQ, olive-drab.com/gallery/category_npp.php\

Teckzilla, et al. RAIZEN- Old Clock @FReECOol_. Word Is Bond, 27 July 2015,

www.thewordisbond.com/check-out-japanese-emcee-raizens-cinematic-aesthetics-on-

old-clock/.

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