RI - Elements and Notes

• You can include images
• Parenthetical references
• Make every word count
• The more specific, the better
• ((Grotowski's philosophies are fascinating))
• Notes Below the Cut

What might a lighting designer need to know in order to incorporate elements of contemporary shadow theatre into scenes 1 and 3 of Metamorphoses?

• Ariba LIVE 2013 Opening Performance. Prod. Pilobolus Creative Services. PilobolusDance. YouTube, 24 May 2013. Web. 23 Dec. 2013.
• Possible to use two-colored filters in front of light to create a split-screen effect for the light
• However, this leads to an unsightly division of color, so it is best to cover the split with a column-shadow of some form
• Explore the use of smaller lights to create a contrasting effect; consider using for scenes involving the gods
• could create a 'hole' in the shadow with this technique

Bear, B. E. "Some Advice on Stage Lighting." The Strand Archive. The Strand Archive, Sept. 1966. Web. 14 Nov. 2013.

• potentially outdated; reconsider use

Blood, Melanie. "Lighting Design." Lighting Design. State University of New York Geneseo, 2012. Web. 16 Dec. 2013.

• Intensity – how much light is given off by a single lighting instrument; wattage of bulb; setting of a dimmer
• Color – determined by gelatin (gel) placed in a metal frame in front of the lens of the instrument; bare instruments give off harsh light that will wash out details of stage objects, including faces
• Direction/Angle – where the light is placed in relation to the stage action; preserve 3D effect of stage objects with ambient lights
• Key light is the major source of light
• Fill lights are placed at different angles to light stage objects and actors from all sides
• Named in accordance with their relationship to the stage; top light, back light, side light, or front light
• Distribution/Shape - refers to where on the stage the light falls; some have diffused light, others have a focused beam or can be shaped with shutters
• selective visibility
• gobos or patterns can be used to shape the light beam
• Movement - created by shifts of light over time; rarely remain static for a whole scene
• able to subtly shift with the mood of the play
• dimmers control movement
• fade in or cross fade; the latter means to move slowly from one set of lights on at a certain intensity to a different set at a different intensity

Ghosts of the River. By Octavio Solís. Dir. Larry Reed. ShadowLight Productions, 2013. DVD.

• multiple sets premade; adjusted at different angles
• quick scene changes; gradual fading of lights
• timing is important; must be synchronized
• shadows should not be distracting; the main point of a performance is storytelling

Lord, William H. Stagecraft 1: A Complete Guide to Backstage Work. Colorado Springs, Colo: Meriwether Pub., 1991. Print.

Pe'er, Oriel. The Umbrella Project. Digital image. Pilobolus Blog. Pilobolus Dance Theatre, Sept. 2013. Web. 5 Jan. 2014.

• Use of colored lighting on props; effective
• In this example, an umbrella has light cast from within; able to project beautiful shadows onto the material
• Potentially use with other props
• Metamorphosis, the jar of water; light from within the jar?

Reid, Francis. The Stage Lighting Handbook. London: A&C Black, 1992. Print.

• Specific types of lighting; pg 58
• Remember to ask whether my report should delve into such specifics

Salzberg, Jeffery, and Judy Kupferman. "Stage Lighting for Students." Stage Lighting for Students. Stage Lighting Primer, Nov. 2012. Web. 23 Dec. 2013.

• Page number, line, stage direction, my ideas
• Make sure that the lighting does not conflict with the 'director's vision' or otherwise distract  from the main idea
• Step by step guide to how to approach lighting design; what sort of mood do you intend to create?
• Metamorphoses; ethereal yet jarringly modern
• How can I use the water on the stage to enhance my lighting?
• Refractions?
• Lights in the water?

Sayer, Rob. "Lighting & Shadow." On Stage Lighting. On Stage Lighting, 3 Dec. 2008. Web. 28 Oct. 2013.

• decent overview of shadows and lighting; disperses myths
• one shadow per lightsource; more lights =/= cancel out effect
• lights can be used to 'fill in' shadows, make them lighter, but it will cast another shadow itself
• light travels in straight lines
• tiny point source creates a hard-edged, solid shadow
• diffused light is used for a softer shadow; the more diffused and less harsh the light, the weaker and more blurred the shadow will be

Sayer, Rob. "Stage Lighting Focus Guide." On Stage Lighting. On Stage Lighting, 16 Nov. 2012. Web. 28 Oct. 2013.

• shadows depend on even cover of light; if an actor walks across the stage and there are black spots between the lights, the shadow will dip or disappear completely before reappearing
• varying intensities of light
• this is negative when it is a mistake, but it could be used for a nice effect if intentional
• dual shadows mean too much light
• when using backlight, the shadow should cut off about the top of the front row seats; otherwise, the light is shining in the audience's eyes
• audience is important to keep in mind when working with lighting and shadows

Shadowland. Dir. Jorge Delgadillo. Pilobolus Dance Theatre, 2013. Performance.

• Acknowledge as main source of inspiration?
• Mood is important; do I want to use one-color screens like they did?
• Smooth transitions is necessary for storytelling; cannot waste time readjusting lights in order for the shadows
• do not sacrifice the story for the shadows
• Lighting and shadows can be used to create illusions
• the illusion of more depth than the stage allows using cleverly calculated angles and paper cutouts; heavily depends upon the intensity of lighting

"ShadowStage Productions." ShadowStage Productions - The UK's First Professional Company Dedicated to Contemporary Shadow Theatre Techniques. Shadow Stage Productions, 2013. Web. 4 Nov. 2013.

• great information on contemporary shadow theatre, but often references the physical side of things
• 1980s; halogen lightbulb allows for contemporary shadow theatre to be
• wait for the workshop samples to come; amazing

"Stage Lighting Guide." Stage Lighting Guide. N.p., n.d. Web. 3 Nov. 2013.

• questionable whether I can use this source or not, but it provides good information
• fundamentals; stark lighting can washout actors' features, but it creates good shadows
• How bright would the light shine through the projection screen? Would it cast unwanted light upon the actors themselves?

The Wild Party. By John M. March. Dir. Larry Reed. ShadowLight Productions, 2008. DVD.

• Similar style to The Ghosts of the River; revision of same techniques
• Transitions in time to music were effective in keeping to the tone and mood; the voices coming from shadows was extremely jarring
• do not use voices with shadow?
• should shadows only be used when the narrator explains the situation?

Williams, Bill. "Stage Lighting Design 101." Stage Lighting Design 101. N.p., 1999. Web. 16 Dec. 2013.

Zimmerman, Mary, David R. Slavitt, and Ovid. Metamorphoses: A Play. Evanston, IL: Northwestern UP, 2002. Print.

• The set calls for water upon the stage (pg3)
• The “large painting of the sky” upstage could be a projection, upon which shadows could be cast
• The chandelier; would it actually cast light?
• In scene III, when the actors 'turn into seabirds', how will I do this with both the pool of water and shadows?
• do I sacrifice one for the other?