Drama 16 Stage Lighting

Source: http://s298.photobucket.com/user/monicapeeper/media/five-2.jpg.html

This photo terrifies me. I think there’s a theme in images that scare me– I’m afraid of lack of visibility and even though this area is well lit, the visibility for what’s around the corner at the end of the hallway is not available. I also hate fluorescent lights because they make me feel self-conscious, nervous, and under pressure. I think the lights in this hallway are also set up to encourage movement– I get the sense that there’s no choice when you enter this hallway, you can’t go back. You have to go to the end.

Source:  https://www.pinterest.com/pin/280278776783504902/

Lack of visibility is something that really scares me. The fog in this picture detracts from the visibility, and the swirling of the abandoned roller coaster makes me feel dizzy and uncomfortable. I also feel like the color in this photo is so washed out and monochromatic that it makes everything disorienting and spooky.

1) March 2, ~9:00PM; Adams Playhouse

2) The lighting design for Richard II, Act 3 scene 3

3) In 3.3, I am part of the group that watches Richard and Aumerle at the top of Flint Castle. I understood the concept of the McCandless “warm and cool” lights, but I’m glad I got to see it in action (I am right, right??) At the top of Flint Castle, Richard and Aumerle are lit by a blue-white light and a yellow-white light. Correct me if I’m wrong, but I think the blueish light is the warm and the yellowish is the cool. I always associate blue with cool and yellow with warm, so it was exciting to see them working in reverse.

3/4/15, 10:30pm, Adams Playhouse

I really adore the lighting for 5.5 of Richard II — the scene where Richard is alone in his cell. The choice to have the light pour in from the floor instead of the ceiling reinforces that his world has been turned upside down. It is so cathartic and actually very helpful as an actor to have such ambient lighting to find the headspace of the character.

The lighting is intense, as it shoots through the trapdoor, but also warm and gentle. It lends itself to introspection and rite of passage; perfect for a man finally realizing that no man will “be pleas’d / Till he be eas’d with being nothing.”

This lighting (a la Nic Christopher) always makes me think “spooky.” It was chosen for the final scene of “Bat Boy,” after all the murders and the sick revelations. I call this “spooky,” as opposed to “scary,” because there is something mysterious and ominous about it. There is nothing popping out — no red to suggest lots of blood and gore — but there is something unsettling about the blue and purple hitting the faces of the actors. The shadows on Deanna and Tyler are particularly effective, as we have seen them go from a seemingly normal husband and wife to liars, phonies. That, and the eerie musical finale to the show, will always feel “spooky” to me.

Found at coolestwallpaper.com

Night in the forest, fog and an off green light in the distance=spooky. Reminiscent of a alien invasion scene in a movie, something from X-Files or American Gothic it just says don’t go in here alone if at all. The light silhouettes the foreground and sweeps across the landscape highlighting a thick fog. Usually light helps illuminate, but here it serves to remind us how much we really can’t see and in these woods what we can’t see will…?