Drawings from last night's posting

Fig 1. This sketch is meant to show something like the layout we might use. Its a starting part for our ideas anyway.

In it you can see 9#(looking from top to bottom of sketch:
4 bars overhead across the stage on which lights can be hung, facing in either direction.

On Bar 2 from the front, you can see the crossing lights, purple for sad emotions, Golden for positive emotions. These lights shine towards the two 'stick-bearers' who will raise long sticks with shadow-creating objects. (See Fig 2 below)

Across the front of the stage area, which is also in front of the seating area, depending on which way you are looking at it, is the pathway of the Walker.

At the back of the seating area is a further bar, close to and paralell to the back wall of the theatre. From here a pink light could be shone to indicate sunrise.




Fig 2
This image shows one of the stick-bearers with a butterfly in the beam of the light. The idea would be for the movement of the cut out to cause interesting shadows.

Theatre Lights Project - SCRIPT IDEAS - 1st draft

PERFORMANCE SCRIPT:

Date: Monday, 15 September 2008

Authorship: Elizabeth,

What do we want to SAY? = MESSAGE/NARRATIVE

WHO do we want to say it to? = TARGET AUDIENCE(S)

WHY do we want to say this to these people? = MOTIVATION

HOW are we going to say it? VISUAL/AUDITORY/KINESTHETHIC

HOW are we going to make a RECORD of what we do/say? CAMERA/SOUND

MESSAGES/objectives

At the end of this process/performance, those who see the finished product will have an awareness of the following:

• • That theatre lights have a potential function in the making of art.


• • That performance art can be enhanced by the use of theatrical lighting


• • That in lighting, less is more (means possibly only one light shining at any one time.
  


• • That despite being fixed in position, a certain degree of light movement can be created by illusion.


• • That lighting can enhance, and even create an emotional atmosphere


• • That shadows can have a significant role to play in the use of light.


• • That a simple NARRATIVE can demonstrate the above messages.

PERFORMANCE NARRATIVE tells how walking the Camino to Santiago in Spain can be a mixed experience of pleasure, pain, inspiration, discouragement, triumph, even humour, and sometimes boredom.

TARGET AUDIENCE(S)

• • The participants will be the main audience, especially during the performance itself
  

• • Afterwards a potential audience might be the tutors in college, and fellow students.
  


• • Website ‘Don’t Eat the Tulips’ have expressed interest in the process of this project


• • If the results are satisfactory, the project might be built on for the DARKLIGHT event early 2009.

PEOPLE

What Performers do we need?

• The Walker
• Black stick bearers
• White stick bearer

What Technicians do we need?

Camera person to operate the zoom in camera

Lights person to manipulate light desk

Sound person to manipulate sound desk

Props/Continuity person (to make sure people have what they need next)

Locations: Where will they be?

Walker in the area between stage and seating

Black stick bearer to left of seating, (as seen from walkers perspective)

White stick bearer to right of seating (as seen from walkers perspective)

Actions: What will they be doing?

Walker will be walking; disappears at ‘end’ of walking area, goes backstage, reappears at start again.Uses different styles of walking/stick useage to indicate uphill, downhill, easy, difficult terrain.

Black SB will create shadows using negative cut-outs (perhaps images suggesting steep hills, rocks, )

White SB will create shadows using positive cut-outs ( perhaps flower, butterfly, bird etc)

THINGS

Props:

2 x Long sticks (one white, one black)

Shadow cut-outs:

Butterfly

Flower

Monster

Swinging Weight

Costumes

Stick bearers: long white/black gown and paper mask head-dress

Walker; Red kaftan, blue hat, backpack, two walking poles

Scenery/Location

Minimum – black walls, floor, red seats

LIGHTS

Lights Locations

A – WHITE light at Floor-level shining along front edge of stage

B – YELLOW lightOverhead ? bar 2 over stage,shining diagonally across set –On white Stick bearer, along the path of the stick

C – PURPLE light Overhead ? bar 2 over stage,shining diagonally across set –On black Stick bearer, along the path of the stick

D – Very SMALL WHITE light at ‘end’ of walk. Disappears when Walker goes back stage.

RECORDING

CAMERA

Camera Locations x 4

W – High left top of seating facing diagonally across set – fixed no operator

X – Medium right middle of seating facing diagonally across set – fixed no operator

Y – Low ground level facing slight diagonal along front of stage/seating – fixed no operator

Z – Low ground level centre , manually operated, mainly for close-ups

Camera Shots: During performance, close-up shots of Walker’s face, panning shots to show effect of shadow makers.

SOUND

Source:

Music from Group met on Camino.

Played at different speeds and different volumes to indicate different moods.

Management

Create a DVD to match the proposed movement of the performance

Theatre Lights Project Sept 2008

Some of you may remember that I mentioned that I had got permission to explore the idea of doing some kind of art work using the lighting at Tallaght Theatre. Well a few of us went there last night to see what it was like. Below is the notes I took on video.
Now we have to come up with ideas/an idea for how we could make ART out of this. Very exciting.
***NOTES from session with Michael Lynchehaun at Tallaght Theatre, Sept 3 2008

The equipment in Tallaght Theatre at this time

1. Six sockets on the wall with roughly the same capacity as an ordinary house
2. Eight boards are plugged into the six sockets (two of the boards have a kind of ‘double adaptor’
3. Each board has 6 channels with 12 sockets (shared 2 per channel)
4. This means there are 8 x 6 = 48 channels, allowing the possibility of 96 LAMPS to be plugged in at the one time.
5. However these twinned lamps can only operate in tandem, not individually. NB not to use double adaptor with double twins ( but could use three)

When all the plugs are in the sockets, small lights can be seen on the boards showing they have power

The lamps are suspended from a bar over the stage, and plugged into sockets in the ceiling. It is these sockets that are plugged into the 6 x large sockets in the wall (see above)

The 8 x boards are connected to each other as a ‘daisy chain’ with the final board being connected to a Surge-protection BOX which in turn is connected by a long wire overhead and down to the mixing DESK which is in turn connected to a COMPUTER which must be switched on.

The desk controls all the 66 lighting points over the stage. Currently there are only 45 lamps, but more are being added by degrees.

In theatre for drama and comedy, usually MORE LIGHT is better, while to create a sinister atmosphere, LESS LIGHT.

COLOURED GELS are coloured plastic sheets which can be inserted in front of the light to alter the colour of the light

If a change of colour is required, two lamps are set up side by side, focused on the same spot. A CROSS-FADE is achieved by fading out one lamp from the desk, and fading in the other lamp at the same time.

Q. How does the COMPUTER connect to DESK?

It’s not USB, just a regular old monitor which uses the old style connector with pins and two screws. There are also some connectors like telephone leads

Q. What are the numbers we can now see on the monitor?

These show the levels of light.

A large ‘wheel’ switch at the top right hand corner of the desk is called a MASTER FADER. This can fade everything down.

The lamps currently over the stage were put in place for the last show. Ideally, all of these would be taken down so as to leave the rig ready for the next show. This is not always done.

Each show has a lighting DESIGN with exact instruction on the script for which light is where, and what is being illuminated.

LAMPS can be grouped in CLUSTERS, so that the same control (e.g.FADING) can be applied to each lamp with the movement of just one SLIDER.

Another way of doing this is to have the sequence of the changes programmed so that it is just necessary to tap one button on the centre bottom part of the desk, and each sequence follows the next, next, next etc.

This method is open to problems if the actors miss lines, or otherwise ‘change the script’

Q. Would it be possible to think of the lights themselves as ACTORS?

A sequence of lights going on and off could be created.

There are also special effects on this desk (flashing, disco style etc), but there is no manual, so they would have to be experimented with to find out how they work.

It is possible to set the speed at which the effects will appear as there is a TIME IN/TIME OUT switch.

Q. Are the lights on the stage numbered?

The actual CEILING SOCKETS are numbered. Also the BOARD SOCKETS are numbered, and it is these numbers (the board-socket numbers) that are referred to on the DESK.

It is in the course of the LIGHTING DESIGN that the two sets of sockets are ‘married’ and the appropriate SLIDERS identified to control the required lighting effects.

The LIGHTING DESING PLAN IS written in advance, and requires knowledge of which socket is which.

BARN DOORS like metal flaps on the edges of the lens make the spot wide or narrow.

Electrically, there are lights that can be controlled from the desk both the colour and the focus, but these are very expensive.

This means that all adjustments to the physical lamps, other than the dimming/brightening of the power to the lamp, is DONE IN ADVANCE.

Something like a work around for widening/narrowing of the beam could be achieved by having three lamps all focused on the same place on the set, with different diameters, and fading one in as the other is faded out.

LAMPS are hung from a BAR. This bar has to be very stable, so that the light is steady, and hold the focus it has been given when it was put in place.

Most of the lamps are fairly large diameter – say about 10 – 15 cm. There are smaller lamps around 8cm which are used for highlighting something in a corner, or for up-lighting a face to create horror, dark character, etc. like a torch under your

Q. Are there any other kinds of attachments that can be added to the lights?

Basically no. The LAMPS are very simple in design, technologically simple.

However some lamps have two sections. In one section it is possible to move the bulb near or further from the reflector, and in the other section there are two lenses, both of which can be moved back or forward independently. These two methods are used to adjust the focus. There are no barn-doors on this type of light. More precise than barn doors.

GOBO – filter that can slot into the light to give a shadow of something on the scenery at the back of the stage, e.g. Eiffel Tower, steeple of a church, sunset clouds etc

Thin metal cut to create required silhouette.

Stage Lighting Centre Brunswick Place off Pearse Street

Could also possibly be made from tin if cut carefully.

What you are lighting

Lighting through

Watch for shadows – sometimes have to be eliminated by other lights.

What kind of a sequence of light do we want?

Do we want to find an object and light it?

Idea of the gauze would be a kind of performance lit from in front of the gauze, and videoed from behind the gauze.

Number of challenges in the total control of light – no windows so all light is ‘created’ here.

Can have an empty black stage.

Q What control do we have over the lights from the control room once they have been set up

Basically, the ability to switch them on or off – and use a dimmer on them.

Where they are pointing is all fixed beforehand

Use opaque diffuser with a colour to make dimmer.

Basic Rules of theatre lighting

Can we see the actors

Actors have to collaborate – must face the light, find the light and perform in it. Need to ‘contend’ with the light which can be very bright in the eyes.

Crossing lights reduces shadows

Planning WHERE the action is going to take place is very important

Smoke machine to emphasize the

Follow spots done manually – could be supported by a rope from the Bar overhead to avoid having to carry it. Not easily feasible.

Make-up to add in features like eyebrows.

Modern lighting is from behind rather than from the front.

Q Do the casing of the lights get very hot

Bakelite handles don’t get as hot as the metal.

KNIFE SHUTTER to create sharp edge to lighting (combines with focusing the light.). Divides the light on the boundary of two rooms for example.

750w lamp has very good control

Only use this 750w bulb in this particular LAMP.

Intensity of light 100% to 0% done on DESK

Moving bulb to/from reflector can also weaken/strengthen

Can use

Audience shadows – lights can project to wall or screen

What time-frame do we have?

Difficulty of the other’s building their set so stage won’t be just empty.

Possibility of using the seating as a stage?

Discussion of whether something could be connected with the computer that operates the desk

Possibility of using Isadora

VGA out and 6-pin socket

SOUND

Two speakers on stage.

Used for sound effects

Actors not miked.

DESK Name is Strand lighting, model number not available.

SOUND EFFECTS Settings: type, rate, stop, Pause, go, sleep,

EXPERIMENT : Record what you do, and then adjust

LOG: Not sure how info can be retrieved.

SUBMASTER Cluster in Script, with hint on previous page

AGREED

We will each go home and digest what we have heard tonight. Elizabeth will write up notes from the video.

We are to contact Michael for our next session, and see what time he has available to us.

Basically, we need to think about WHAT we want to light, and HOW we want to light it., and how to support the LAMPS if we are not using the bar, and how to connect the lights to the CEILING SOCKETS in the event that we are using them at a lower level.

ENDS