Planned on lighting is now opaque fiberglass, for instance. Thought it would be relevant to you – but that open window you had Often changes are made as the set is built and nobody Visit the shop where the scenery is being built, as soon as there is.There are two practical procedural steps I've found invaluable The director and other designers, and you will be thinking about the play,Ĭasting around for ideas, looking at paintings for example to try and clarify Īt this point you don't have much to do since there is generally not much point Lighting equipment and discuss scheduling. Final pre-production meeting, where all.Into the set when there are no openings for lights from outside.) Here you want to be on the lookout for possibilitiesĪnd problems in positioning the lights, because this is where suggestionsĬan still be easy and effective (for example, building lighting positions Will be held as the set and costume designs emerge, until the final set Productive to ask bluntly "OK, what's your concept?") Which will lead the director on to talk about concept. Might be to ask indirect questions about casting, choice of music, etc., Doing this is an art in itself – one useful tactic Starts out talking about what spotlights she wants, listen politely andĪfterwards ask gentle questions aimed at understanding the general styleĪnd conception. Oddly enough, theīest way to do this is not to talk much but to listen. Your aim is to understand this and develop a dialogue. Than you have, and generally has some general conception of what she wants. The director has thought a lot more about the play Know this before you meet him, and not start rattling off your newįound knowledge of the play's background. Idiomatic style regardless of the play's own style or period, you should If this is a director who always does plays in his own To find out what kind of work they have done before. Who are the other people on your creative.Understand the director's concept, or it may help give you ideas. You may never need to use this knowledge, but it may help you Used inside buildings? This way, when you do meet theĭirector and set designer, you will have practical If set in a previous age, what light sources would have been.Of light would there be? Norway on a summer night is very Where is it set? If in a different country/time, what kind.Give you an idea of the dynamic development and structure Play: Write down each act/scene number, and summarize inĪ sentence or two what happens in that scene. On your second sheet of paper, as you read, summarize the.In a third column write down any ideas or Have originated in a previous production.Įven if they are from the original play, theĭirector and you could choose to ignore them. Not be the playwright's instructions but rather These might not dictate lighting: they might In a different column write down everything Relates to lighting, because if an actor says On the first, write down everything whichĪppears in the text itself which expressly.The second time read it through with two different.First read it through just to gain your own personal.Meet, if possible, the master electrician/ lighting director.Production week, and for ensuing setups if it is in How many electricians will be called for the first. Play before its first production? Before each subsequent How much time will there be to light this.How frequently will the lighting be taken down.Will the play be in repertory with other plays? If so, This should be a list of that equipment which is currentlyįunctional and ready for use it does you no good for a fixture Get a complete list of existing equipment, including:.
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