Lighting Design Comparison: (Theatre Genre)

Theatre:

Expressionist

Expressionism is a modernist movement in drama and theatre that developed in Europe (principally Germany) in the early decades of the 20th century and later in the United States. It forms part of the broader movement of Expressionism in the arts.

Shows within this genre and how they are lit:

Expressionist theatre is a very abstract and surrealist aspect of theatre and is incredibly tricky to light. You don't just have to translate meaning and understanding through the lighting you use but also you will have to understand the psychological and semiotic aspects of lighting for this genre. 

In this play called 'A Dream Play' by August Strindberg it is important to understand the concept and narrative of the piece. However you must remember that for many members of the audience the understanding of this can be very different. Two people could see the same scene but get something completely different from it.
Plot: "The primary character in the play is Agnes, a daughter of the Vedic god Indra. She descends to Earth to bear witness to problems of human beings. She meets about 40 characters, some of them having a clearly symbolical value (such as four deans representing theology, philosophy, medicine, and law). After experiencing all sorts of human suffering (for example poverty, cruelty, and the routine of family life), the daughter of gods realizes that human beings are to be pitied. Finally, she returns to the Heaven and this moment corresponds to the awakening from a dream-like sequence of events."

I have picked a scene from the end of the play to look at as I feel the lighting in this scene are something that really impacts the scene and give the audience the understanding they need to complete the narrative and give them closure. As she ascends to heaven she reflects on her time on earth through song. It is evident to the audience that she is going back to heaven through the o/w light that is used. In western societies this has connotations of holiness and purity. The angle of the light is also important in this scene. The light comes in the form of a spotlight from directly above her, this casts very dark shadows on the contours of her face and body. It could suggest that is hopeful yet tarnished by what she has witnessed.  This theory could also be added to by the use of projected colours on her body, eg cold blues, reds and yellows. These colours also add a very abstract feel the scene but because of the cold hue of the colours and the way they bounce of her ivory skin creates a very haunted and disturbing feel to the scene. As she ascends the o/w light becomes more intense and her whole body is shafted by the light and is barely viable, this suggests she is disappearing/ascending to heaven in a dream like state. However if this scene was to play out to an Asian audience using the same colours. They could think she has died or been consumed by a spirit. As white light has connotations of death and phantoms in their culture. Also psychologically some people believe a white flash of light is what you see right before you die. 

http://vimeo.com/43818725

Fantasy

Plot:
"How to Train Your Dragon is a series of twelve children's books written by British author Cressida Cowell. The books are set in a fictional Viking world and focus on the experiences of protagonist Hiccup and his tribe as they train Dragons as pets." 
How to Train Your Dragon originally by Cressida Cowell is a children's novel that has been reproduced in many formants over many years. "In March 2012, Global Creatures teamed up with Dreamworks to launch a live theatrical show based on the film "How To Train Your Dragon." Spinifex  Group was contracted to develop the graphic content for the entire show. The brief was to take the movie from it's original look and portray it in a more illustrative style." Even though in this adaptation does not have a lot of lighting design incorporated in it the whole set, apart from the dragon is projection mixed with lighting. The designers have tried to create a fantasy world that the audience can experience. They have used high key lighting together with dark tones to create a mysterious a fanciful atmosphere. They used blue side light to create this depth.

They have also used follow spots and spot lights to highlight the actors and the dragon. This is to draw in the audiences attention. This light, because it's from directly above has created multiple shadows.

Tradegy

Tragedy is a form of drama based on human suffering that invokes in its audience an accompanying catharsis or pleasure in the viewing. 
http://www.theatrecrafts.com/files/LSI_april_2011_frankenstein.pdf

Frankenstein National Theatre Live:

 "Triangular in form, the ceiling consists of a mirrored surface below which hang just over 3100 assorted light bulbs. Conceived by Boyle, set designer Mark Tildesley and lighting designer Bruno Poet it was intended to “represent the forces of electricity harnessed by Frankenstein, and to provide a dazzling light for the moment the creature is born and opens his eyes for the first time,” the lighting designer explains." “My dream was to have individual control of each bulb; we researched various ways of achieving this, but it was looking unaffordable. I called Dave Isherwood at White Light for advice, and he was brilliant - he found a very low-cost 12-way dimmer rack from NJD which would let us afford 1000 dimmers. So we divided the surface of the ceiling into 1000 equally sized ‘pixels’ and paired together whichever bulbs hung within each pixel. I realised that I had created a monster of wiring, cabling, patching and control; I was staggered by everyone’s enthusiasm to make it work!”

This is the lighting design for just the light bulbs. 

The lighting inside the mechanics and behind the actors reflects the industrial age the show is set in. Also the way the light hits the smoke adds to this mechanical and claustrophobic atmosphere of the Victorian industrial age.

Musical

"Musical theatre is a form of theatre that combines songs, spoken dialogue, acting, and dance. The story and emotional content of the piece – humour, pathos, love, anger – are communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole. Musical spoon feeds the audience with pre assumed endings, solutions and imaginings.
Evita:

Evita is commonly known within the theatre world with an iconic image. 
This iconic image is predominantly due to the lighting and what style effect and meaning it creates for the audience. The main themes of the musical Evita is power and success. In this particular scene Eva is speaking to her people and wanting them to remember and respect her. Eva is standing on the balcony with warm indoor lights shining from behind the windows which reflects her loving and passionate nature. There is also a bright which light that shines on to and from behind her. In western societies white has connotations of hope, prosperity and power. It is a strong and forceful tone. The light is extremely powerful and harsh in the audiences eyes this makes the audience feel intimidated and in awe of her, as if she is a shining beacon of hope for the people. This translates the themes of the narrative well. 

As you can see more clearly in this shot they use spotlights on Eva and they flash them on full at moments to give the illusion of camera flashes. This suggests she is being photographed by lots of photographers which in turn reflects the narrative and the themes of the show.  This artistic and effective use of the spotlights is very different to how films would be lit in the same situation. They would have actual cameras and flashes on the actors and the camera would follow the camera lights and the actors.  They may also have a light box/board on the actors to highlight their faces with a high key light to further this effect. They also would not have the light shining behind the character. Musicals like to spoon feed the audience to the characters intentions and their ideals. This is done through the lighting, props and set. In television of films you have to guess more, you rely on the acting and the character development. You are able to do this because television shows and films tend to be longer and more drawn out in terms of character development. Theatre is fast paced and the director wants the audience to quickly understand what is happening.  Also the placement of the audience effects this concept. A theatre audience is usually far from the stage and needs bigger signals that are achieved through lighting and props. Where as in Television and Film the audience are either surrounded by the screen or are close to their television set. 

                                             

Vaudeville

Vaudeville was a theatrical genre of variety entertainment popular in the United States and Canada from the early 1880s until the early 1930s. Each performance was made up of a series of separate, unrelated acts grouped together on a common bill. Types of acts included popular and classical musicians, dancers, comedians, trained, magicians, female and male impersonators, acrobats, illustrated, jugglers, one-act plays or scenes from plays, athletes, lecturing celebrities, minstrels, and movies. A vaudeville performer is often referred to as a vaudevillian .



 Shaw & Lee Vaudeville Legends (1949) was a Vaudeville stage show that's main priority was to entertain a wide audience. Comedy sketches, gags and music acts were among the types of performances put on at a Vaudevillian theatre. The lighting for theses types of shows are extremely simplistic and they are what established the iconic image of theatre lighting, (The spotlight on a stage curtain). Unlike most narrative, musical or theatrical productions the stage curtain remained closed as was often used as a gag in most acts.  A simple spot light is shone on either side of the actors and one in the centre. This type of lighting creates two shadows of the performer and gives a very distinctive style to the performance. Also because of the bright use of like the actors would wear heavy make-up and eye-liner to extrude their features as the light would often be so harsh that it would wash out their faces. There was no way of controlling the intensity or direction of the light. In these early years the performers would often just stand in a large spotlight that did not move in anyway. this meant that the actors could not move.

Judy Garland - Too Hot - For Easter Parade - That's Entertainment

Taken from the style of Vaudeville Judy Garlands performances adopted a similar lighting style. The modernisation of the genera saw the use of follow spots and the reduction of shadows. As the introduction of colour film was born they would also now experiment with muted tones and back light. This stylised the performances and made them more polished. As you can see in this performance of Too Hot for Easter Parade by Judy Garland they have used blue sidelight as back light to bring her off the curtain and one follow spot to highlight her. She can now move around the stage to deliver her performance. Unlike Film and Television they use very simple lights to show a music performance instead of 'oversyleising' the performance. For example in the film Shame one of the main characters performers at a local bar a very warm orange light is used and she is only lit from one side so there is a dramatic darker tone on one half of her face. In theatre they would not normally have this as they would want the entire face to be lit unless it was for a dramatic effect that reflected the characters inner emotions. 

 

Retail

Example One

Shop or Retail Outlet: Hollister

1.      Name the lights used to achieve the overall appearance / atmosphere:

Spotlights, Pin Spots and Fresnel’s with narrowed barn doors.

2.      Discuss the mood and atmosphere created (including the use of colour / semiotics)

         The use of dark tones with very minimal use of colour like brows, dark blue and warm autumn yellows creates a very dark, comforting and relaxing atmosphere.  This is because these colours and tones have certain connotations. For example yellows and warm oranges make a customer or audience feel calm and relaxed. Also because the use of the lighting is very minimal, so minimal in fact that they use one Fresnel, spotlight or pin spot to light one item or a selection of items, this focuses the customer’s attention on to certain products and makes you want to buy them. Also because there is no general cover in the shop and the walls are painted black the customers feel encased in an experience with dark shadows and illuminated shapes. It’s unlike many other shopping experience and makes the customers feel they want to buy something.

 

 Discuss specials & effects (e.g. lamp shades, lights on flex etc)

         Hollister also like to create a homely effect with arm chairs and carpets in the centre of their shop. This section is highlighted with living room side lamps which have very dimmed warm yellow bulbs in them. This adds to the enclosed and comforting experience.  Also as you walk in the shop there is a an elaborate hanging light with small lamps on which is extremely different to most other shops and adds to unique experience of going into this shop.

Example Two

Shop or Retail Outlet: Starbucks

1.      Name the lights used to achieve the overall appearance / atmosphere

      Lamps, celling lamps, pin spots.

2.      Discuss the mood and atmosphere created (including the use of colour / semiotics)

    “Our new approach to store design means that our designers are looking at each store individually to ensure that it looks distinctively local. This represents a new level of coffee-house comfort, meaning that no two Starbucks will ever be entirely the same.” Starbucks Website

The interior design of Starbucks tries to mimic the feel, mood and style of a comforting home. Colours people usually associate with comfort and warmth are used such as reds, yellows, orange and dark browns create a very calming and pleasant atmosphere to enjoy coffee in. This use of colour makes Starbucks a more appealing place to sit and have a coffee than say a regular café that uses simple open white light and yellow walls because the human consciousness associates a pleasant experience with certain colours and decoration.

Discuss specials & effects (e.g. lamp shades, lights on flex etc)

    This is also reflected through the lighting, the types of lights and the use. For example even though every Starbucks store is very different in terms of style and lighting they all use the same principle lighting effects. Lamps beside tables and chairs with dimmed warm orange and yellow bulbs, very low-slung celling lamps with blown glass that is usually coloured yellow, orange or red.

Example Three

Shop or Retail Outlet: Debenhams

Name the lights used to achieve the overall appearance / atmosphere

           Oversized celling lamps, strip lights, box lights, pin spots, Strip Name lighting.

 Discuss the mood and atmosphere created (including the use of colour / semiotics).

          Colours aren't really used in Debenhams as it is a multi-retail outlet which has to cater for many company’s items. So the use of tone and style usually reflects different sections of the store. However they do still use a general cover of bright o/w light that suggests a very clean and sophisticated look to the store.  Debenhams uses very gender stereotypical colours for their sections. They use the light to bounce of these colours which creates the atmosphere. For example they will use off whites for the men’s section that bounce of dark blues, blacks, greens and brown and very white lights that bounce of shades of pink, red and purples for the women’s section. Subconsciously the average shopper is draw to each section of the shop that has the lighting and aesthetics that please them the most.  

            Discuss specials & effects (e.g. lamp shades, lights on flex etc)

           Different lamps are also used to separate each shopping outlet in Debenhams and they are also very ‘gender specific’. For example rustic celling lamps are used in the Men’s section and elaborate crystal and blow glass are used in the women’s section. In contrast to Hollister who has a very stylized and modern approach to the design of their store that mainly appeals to younger people, Debenhams style of lighting and design could be argued to appeal more to middle aged and older customers as they are used to a certain experience when shopping.

 Example Four

Shop or Retail Outlet: Lipsy London

 Name the lights used to achieve the overall appearance / atmosphere

Light boxes, coloured strip lights, pin spots and parcans

   Discuss the mood and atmosphere created (including the use of colour / semiotics)

             The colours used in this shop are designed to stereotypically appeal to teenage girls and young adult women who have love fashion and catwalks. For example bright neon pinks, blues and open whites. The colours use create a very over stylized fashion world that appeals to most teenage girls, they reflect the clothes, make-up and jewellery they sell.

         Discuss specials & effects (e.g. lamp shades, lights on flex etc)

               Neon signs are used for the product name and the dressing rooms, these are used to reflect the fashion and celebrity world that is stereotypically associated with bright lights and glamour. They also use a light box strip in the ceiling that illuminates a crowd of photographers that mimics the look of a runway. This is done because the shop caters for fashion models and reality show celebrities.  They also use Parcans and multicoloured pin spots along to side of the ‘runway’ to add to this look. By doing this they are attracting people into an experience that mimics a world they want to be a part of. Subconsciously they see these lights and then the expensive dresses and want to buy them.

      Example Five

Shop or Retail Outlet: Lush

1.      Name the lights used to achieve the overall appearance / atmosphere

        Celling Lamps and pin spots.

Discuss the mood and atmosphere created (including the use of colour / semiotics)

     The lighting in Lush is designed to reflect the natural handmade and organic produce they sell. For example colours that have connotations with nature are used to reflect this. They bounce of the hard wood surfaces and the panelled flooring to create and bright and clean space that still has a comforting feel. For example yellows and orange light bounce of the natural wood to create and ‘sun beam’ effect.

Discuss specials & effects (e.g. lamp shades, lights on flex etc)

      The use of low slung lamps that are made of tin have very warm incandescent light that gives the shop a very urban bright glow that reflects the products intentions. Lush is all about healthy living that is natural and organic. The design of the shop reflects this. White tin lamps are associated with dated beauty salons and kitchens from the 1950’s, this choice of lamp reflects the produce. Handmade soaps with no artificial or harmful chemical substances that people wouldn't have been able to get hold of in the 1950’s.

Amended lighting plan with socket numbers

Evidence of me leading a plotting (technical) session

As my lighting design was for all of the drama exam pieces many of them required spot lights so I decided to use as many as the space would allow. This photo displays the final focusing of all four of the spotlights

This lighting state is a generic general cover I used for indoor lighting in a waiting room/ office set up. However I also added in the three front fresnels that you can see in the bottom of this picture on the floor as the waiting room they were in was in a prison and I wanted to create a harsh and intense feeling on stage. All three of the fresnels were Open White and were focsed on the widest beam possible. 

This picture shows how we checked the lights behind the window and made sure that the light was not too intense on their face as the light was in close proximity of their faces. It also shows a different  style general wash that is a lot colder and more uncomfortable looking. It also shows how I isolated the chairs in the centre of the stage with a blue tinted light which adds to the uncomfortable and harsh atmosphere I wanted to create.  

This picture shows the director of the drama exams commenting on and compromising on this lighting state. She wanted to create a dramatic and uncomfortable look to the performance so she asked me to add in the blue back light only and very minimal general wash mid stage so that only they were highlighted. However she was not entirely happy with how that looked and wanted it to be brighter still, however still keeping with the cold and depressive look to the stage so I suggested she added the white side light on stage right. 

This picture shows a scene in one of the drama performances where the director was demonstrating to me where she wanted the light to hit the actors as they lay on the bed. and that the figure dressed in white was supposed to personify a good moral conscience or a guardian angel. So like before she wanted a general cover but with certain positive connotations. So I again added in the same bright white side light only this time the meaning of the light was slightly changed. 

This is a video that shows how my general cover worked. If you follow the boys shadow you can see that his shadow splits from 2 to 3 and then back again. Focusing the lights in a three point general cover is important as it means the light will constantly hit the actors body no matter where they are on stage. It also means that there wont be any shadows on their faces or bodies. (Unless this is wanted then you could remove individual lights to create this.



This video shows me using someone to find the centre of the down stage right general cover beams so that I can get the right amount of coverage. I am asking the person at the top of the ladder, who is altering the light for me, to focus and adjust the beam angel and width so that it does this.

Evidence of me leading a rigging session

These are some pictures of me talking to the riggers at the top of the ladder and telling them where I want each light to be plugged into. They also add in the gells I have selected. It is very important for me to lead the rigging session effectively and efficiently so that every light is rigged quickly and correctly. It was there fore important that I had all the relevant documents such as Colour Call ( list of the gell colours, how many that are needed and for which light) , Lighting Plan (where the light is in relation to the rig) and Focus notes ( which way and where each light is to be focused). It was also important to have effective communication skills during this session as there were allot of people to organise and manage.

Amended Focus Notes and Colour Call

Amended Focus Notes: For my focus notes I had to change a few things. For example I took out the intensity column and added in a gel one instead because the light intensity changed a lot to what I had originally designed. I also had to change the focusing of one of the general cover lights as I did not need a centre Fresnel on the upstage bar. I also made the focusing column more detailed so that the riggers would be clearer on what they had to do. During the rigging session I also slightly changed the focusing on the lights behind the window so that they we're pointed more towards the back of the flats rather than their faces. I did this because the light was shining through the gap and on to the corner of the flats on either side of the stage. I also altered the focusing of the side boons so that the light was angled up more towards the 'set'. I did this because the light was hitting the floor and the back wall too much.



There were not any changes to my colour call as all the gels I had picked were in stock.

Colour call from Anna Brown

Evaluation

There were many positive aspects to my rigging and plotting sessions I was in charge off. I felt that I was prepared and had a good team to work with. For example they were able to follow the colour call I had made and cut out all the gells needed. My general cover worked very well as the two tones allowed the director to choose from different atmospheres. Also the colours that I had picked for my side light was good as it gave the director a lot of options to choose from in the plotting session. I also feel that because I kept the lighting design quite simple while adding in the specific elements that the directors wanted I was able to create a design that was flexible and was able to encompass all their needs for the different plays within the exam.

The only thing that I would re consider and would like to have done better was the time it took to rig all of the lights and what order I rigged the lights in. I thought it would be good to rig the lights in groups, e.g general wash, back light, sidelight however the technician recommended that if I work bar by bar I can take lights down that I can use later on instead of going back and forth in the rig. I there fore think it would be good if next time I were to look at the rig before the rigging session and work out what I can use already and what I need to move so that I have a clear idea of how it is going to work on the day. This I feel would have made the session a lot more efficient and it would have been less confusing for me. It would have also been important to be more than 2 steps ahead of what we were currently rigging as it would have made me feel more confident and sure of where I was and I would have been able to get lights ready in advance before they were going to be rigged.