This window gobo at center-stage is the onlyĪnd here is some light for the stairs up-right Here’s a little spotlight on those shutters up. Not every instrument in a design is a part of a One direction like this is called a “wash.”Īnd new looks. Notice the consistency of theĪ group of lights that can work together from Here is the same effect using the red top These specific lights up, her shadow will If this actor goes anywhere on stage with Stage, the cyan is coming from down-stage. In this design, no matter where you go on Lights consistently so that the same colors hit The really important thing is to arrange the Here you see all of the toplight for every area.īy mixing the colors that we have available, If we bring up groups of lights with the sameĬolor at once, it looks like a single sourceīy covering the entire space with areas, we Lighting plan consistently to surround each area. We mark the center of each, and we copy our Of lights, and duplicate it into other areas. We allow ourselves to take this entire system We perform a little magic trick at this point in When they are shooting too far, the field The lights that we use generally are good forįilling an area from six feet up to about twelve Story telling no matter where they are sitting.Īrrangement of lights that we have so far will Make different looks for different moments,ĭirection, we can create more colors, likeĮnsure that all of our audience can follow the We can also add lights from other directions. Set of lights from the front with different colors. We can add versatility to this arrangement byĪdding more colors. If we light only one side or the other, we ignoreĪudience to the left or the right of the actor. One look unless we want to plunge part of the With our current setup, we can only generate Impressionist painters like Claude Monet. Highlight and shadow was also employed by It is worth noting that the use of color to create Today, his is considered the foundation of the Though there are many lighting methods used This method is rooted in a system conceived We fill in from the other sideĪ steep-angled backlight usually completes The blue is coming from stage-right, and itĬreates the illusion of shadow without actually The pink is coming from stage-left, and it In this scene, we’re using pink and blue. Keep light coming from multiple directions,īut use it to simulate light and shadow by This reduces the shadows, but it also reducesĪ strong choice to make at this point is to Let’s add a second light to this, and spread This isn’t necessarily bad the shadows flatter If you are sitting over to one side, you can see Seat over to the side of the playing space. Now let’s consider how this cue looks from a Lenses, and they shoot light out in differently This one, however, will do just what we wantĭifferent lighting instruments have different It looks like the cone of light that it creates is This instrument could create the desired look, There are lots of different types of lighting Let’s figure out how to create exactly the look Need to choose one type of instrument over This source direction favors audience on theĪctor’s right, and might cause problems forĭepending on where we can hang it, we might Light that is from off-center creates shadows Light from the front is effective and thorough. No matter whether it is steep or low angle, itĬan also come from the front, or from a side Steep angle lighting creates heavier shadows It also overshoots upstage of the performers Low angle lighting illuminates faces really well. The light can hit her face from a low angle, or There are a few things we can choose even … so that you are best prepared to create art Today I’m going to talk through the process of It should be very suitable for high school students as well as university. students emphasize all aspects of theatre, not just design and technology. I made this for my Intro to Theatre Design class, which is composed of undergraduate B.A. Today I made a ten-minute video that, hopefully, makes up for a lot of the demonstration that I usually am able to do. I use the spaces within it to demonstrate concepts in various tools and videos. I have a virtual theatre complex that I built many years ago. Since there is no way to bring my students together in a theatre space right now, I have turned to some of my virtual tools. I also try to create an understanding of the light plot, the hang, and the focus as merely being the preface to the actual art of the lighting design, which happens when we create and run cues with the rest of the company. One of the goals is to bring beginning theatre students to an understanding of how a lighting design is often composed of washes and specials, and what those terms mean. I am at a point in the semester where ordinarily, I spend two or three classes in one of our theatre spaces experimenting with lights.
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