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| onstage, area b/t each "leg" |
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| used to describe things that lie beyond the proscenium arch, closer to audience |
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| small lamps used in chandaliers |
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| walkways above the audience, numbered 1-3 beginning at the stage |
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| large, neutral-colored sheet that runs across the back of the stage onto which lights are projected |
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| a light that fills in shadows |
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| safety device directly behind the Plaster Line, drops down to keep smoke from audience and opens vents above the stage allowing smoke to escape, once made with asbestos |
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| tech galleries are located on each side of the stage, house spotlights and other equipment |
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| inserted into a light to throw an image onto the stage (example: tree branches, windows), only works with ERS |
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| area above the stage where most of the loading (of weights, scenery, lights, etc.) occurs, 60 ft above OBT stage |
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| House Curtains ("The Main Rag") |
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| the primary curtain, which closes before and after, & b/t acts or scenes |
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~we typically think of this as a lightbulb
~filaments heats up, glows & reacts with glasses in a bulb
~higher wattage = bigger lamp
~5+ watts for stage
~aforementioned chemical reaction causes carbon to build up over time turning the bulb gray |
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| proper stage lighting term fo an extension chord |
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| term used in place of "lightbulb" |
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| curtains that help adjust sightlines, preventing the audience from seeing electrics, scenery, costume changes, etc. |
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| electrical cord attached to lamp |
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| one flat side, one bowed or "convex" side |
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| official "edge" of the stage, right at the proscenium arch (doesn't include apron); all upstage and downstage measurements are taken from this |
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| horizontal masking curtains hiding lights over the stage, could also hide incoming flies (controls the sightline) |
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| controls sightline of the wings by masking curtains which conceal actors preparing to enter as well as set pieces preparing to enter |
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~small/light/fragile
~oil from skin can cause glass to bubble up like tumor & ultimately explode |
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| most revealing/sculpting form of light; lit from the side' dancers love this kind of light; makes a thin person look more obviously thin, a fuller person more obviously full |
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| way in which the audience is arranged so as to prevent them from seeing backstage activity |
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| Ellipsoidal Reflector Spotlight (ERS) |
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| reflector shaped like an ellipse, light produces as "F1" and then reflected at "F2" (see book for illustrations), long distance throw, has shutters |
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| primary type of ERS in our theatre |
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| originally developed for lighthouses, contains a spherical reflector, has a sled/carriage connecte to a focus knob, shorter throw |
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| parabolic aluminized reflector lamp ("PAR") |
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| parallel beams, often used as headlights for cars, aircraft landing lights, basically a lightbulb in a tin can, used in concert lighting, measure in 1/8 inches |
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| combines the attributes of Fresnal and PAR, oval-shaped, no shutters |
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| warm & colors often paired together. why? |
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| one color acts as dominant (key) & other as the recessive (fill) |
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| cons of too-low intensity & too-high intensity |
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| too low---doesn't read. too high---washed out performers |
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| help blend multiple colors & also acts as "eye-popper"; coming from a source straight ahead that perhaps help blend key & fill lights on a performer and also makes their eyes really stand out |
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| creates "halo effect"; hung behind and above performer |
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| an external attachment added onto a lighting instrument that doesn't have shutters & shapes a beam of light |
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| the lighting positions within the audience area |
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| car headlight in a tin can, lightweight, durable, a PAR |
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| furthest downstage flown lighting position |
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| lensless lighting instrument for lighting the cyc; can be single/grouped in 2's or 4's |
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| used for lighting the bottom half of the cyc and can be used where full lighting washes are needed |
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| gives the performer a dark/demon-like effect. makes them seem frightening or scary |
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| adapt one male plug to two female plugs |
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~Alternating current
~flow of electricity that moves forward and backwards, alternating periodically.
~U.S.: we use a standard of 110 volts (multiplied by whole numbers with each increase) |
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| Direct current, like a battery. |
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| most economical conductor |
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| copper, but it is expensive currently |
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~became more economically favorable, but broke down as it conducted electricity
~aluminum wiring led to a large amount of electrical fires |
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| The 3 basic components of electricity are |
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| the source, the path (circuit/conductor), and the user |
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| Silicon Core Rectifier (SCR) |
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~controls the current sent to a light
~Two are used per light. The electronic dimmer was hooked up to the computers. |
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| When we put a gel in front of a beam of light |
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| we are filtering the beam of light. A red gel, for example, filters out all other wavelengths except for red (allowing only red light to hit the stage). |
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| In light, the three primary colors are |
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| The three primary colors combine to make |
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| Light is filtered and then combined by |
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| Every light has its own... |
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| circuit and dimmer. (In OBT/Glaize, 192 dimmers. supposed to have twice that, but budget cuts) |
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| Channel 10 lights at 50% of available light. |
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| ...a time is automatically set. (this board, default is set to 3 seconds [0% to the full cue in 3 seconds]) |
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| how to record (desired cue number) |
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| Enter allows one to write or rewrite (in which case you push enter twice) a cue |
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| The purpose of all design in the theatre is... |
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| ... to create an environment that visually communicates to the audience the director/choreographer’s vision |
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| McCandless general strategy for scene design |
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1. Read/listen in one sitting. Observe gut reactions, no notes.
2. Re-read/listen in one sitting. Take specific notes.
3. Meet with director/choreographer; find their vision
4. Meet with other designer(s). project must be cohesive
5. See a run-through. Observe choreographic patterns; see the pictures that the director has created.
6. Begin light plot.
~Divide stage into 8’ diameter lighting areas. has to be an odd number (center stage has own lights)
~Each area gets 2 lights ur most pleasing angle of illumination
~Pick warm & cool sides
~2-fer/patch by color and direction
7. Finish the light plot.
~Add side light from both directions
~Add back light.
~Light the cyc.
~Add patterns if/where appropriate.
~Add practicals (fake fire in the fireplace, chandelier)
~Add specials where appropriate
8. Sit down w/ stage manager, meet with director. Cue the script with stage manager.
9. Do cue-to-cue & re-write the cues with necessary tweaks. |
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| important parts to drafting a light plot |
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o The light plot must be drafted to consistent scale
o plot shows all architectural features of theatre
o plot is in ¼ inch scale; a ground plan of the space, & shows light positions and obstacles. title block shows the name of the show, space, director, designer, tech director, etc.
o If the plot doesn’t have a title block, you could hang the wrong show
o plot has footmarks measured out from centerline so we can tell where to hang the lights
o plots have a key to identify the symbols.
o After plot is done, it is up to the theatre to hang it. The light designer doesn’t come back until final focus. |
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| Another important piece of paper, in addition to the light plot, is |
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| ...the instrument schedule, which is a checklist with instrument number (assigned in the plot) position, type, circuit, colors, focus, and any special notes. |
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| No Broadway theatres own... |
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Definition
| ...lights, lighting boards, masking, equipment like twofers, or anything of that stuff |
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| All the info we need is condensed in... |
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| ...the magic sheet, which is then used to cue the show. |
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| USAA: : United Scenic Artists of America |
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• If one working for Broadway, one have to be member this union
• doesn't guarantee employment; guarantees certain set salaries.
• protects against producers taking unfair advantage of designers |
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| IATSE: International Alliance of Theatre and Stage Employees |
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Definition
• To be admitted, have to pass test (on scenery, lighting, sound both written & practical.)
• the crew that designers work with. generally do the “grunt work” for the design process.
• Standard call is 4 hours
• Because of the strength of IATSE, people get credited:
~Gaffer: gaffes down cables so people aren’t tripping
~Best Boy: in charge of trailer full of lighting equipment
~Clapper-Loader: in charge of loading cameras w/ film & of “clapper” that starts the takes of the scenes. |
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| In non-proscenium staging, this means dividing the lighting area by four and getting our most pleasing angle of illumination ; dance lighting |
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| when we set up stage (complete with alleys with masking), we’re going to have a boom on each side for each alley. We hang three lights which are... |
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~one low called a shin buster (18” off the floor), one mid-level (about shoulder height), and one overhead.
---shin buster makes dancers look like they’re not touching the floor and also lights the under-planes during the extensions of the dancer’s arms and legs (more of a three-dimensional quality).
---shoulder-height lights the whole body.
---head provides light for lifts/other extensions.
---Ideally, each is in a circuit/channel by itself. If some grouping is unavoidable: shin-shin-shin, mid-mid-mid, head-head-head |
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