Picture 1: This is a picture of the fly space in the ES Theater. I like how all the drapes/curtains are numbered so it is easier and more organized for the crew to know which curtain they need to pull up/bring down easier.

Picture 2: This is a picture of the bleachers in the ES Theater. I like how the seating is flexible and how the bleachers are moveable. Flexible seating is better than fixed seating as different directors might have different ideas that might require different seating positions.

Picture 3: This is a picture of the spotlights in the MS/HS Theater. I found this very interesting as I did not expect the spotlights to be so big and far away from the stage. I learned that the spotlights were big because they needed to be powerful enough to reach the stage and they were far away because they produced a lot of noise. This noise would affect the audience, thus they are in an enclosed room far away from the stage/audience.

Picture 4: This is a picture of the fly space in the MS/HS Theater. This was different compared to the fly space in the ES Theater as it was not numbered. I found it very cool because the fly space was almost doubled the actual theater’s space. The fly space has to be bigger than the theater so it can fit all of the curtains/drapes so it can be out of view of the audience.

Picture 5: This is a picture of the dimmer room in the MS/HS Theater. This is where the crew can dim all of the lights in the whole theater. I liked this as it was very interesting how each light had its own dimmer panel.

Picture 6: This is a picture of the dimmer room in the ES Theater. I found the difference between the ES Theater and the MS/HS Theater’s dimmer room to be big. The one in the MS/HS Theateris older and also slightly more difficult to operate whereas the one in the ES Theater is newer and easier to operate.

Costumes are an important part of any theatrical production. From simple all-black clothing in a modern theatre piece to an elaborate Elizabethan costuming in a Shakespeare period piece, costumes communicate a wealth of information to the audience. The COSTUME DESIGNER is responsible for creating the costume “look” of the show. Working closely with the Director, the Costume Designer uses their knowledge, skills, and experience to bring the Director’s vision to life.

Factors of Costume Design:

1. Age
2. Gender
3. Social Status
4. Occupation
5. Geographic Location (culture)
6. Occasion/Activity
7. Time of Day
8. Season – Weather
9. Historical Period
10. Psychological Factors/Personality/Emotions

How would you summarize the responsibilities of a Costume Designer?

• they are in charge of not only the costumes but also the actor’s makeup and hair
• they collaborate with many people like tailors, sowers, artisans, etc.
• they support the Director’s vision of the play
• they research for a lot of information and handle many deadlines

What is this clip about?

This short clip is about “How light brings out the life in plants”. I wanted to experiment with lights around my house to see what I could come up with. I used a normal beige tinted lamp and put it at the bottom of the mirror. This resulted in the tall shadows of the leaves on the wall. I held a lamp that had a magnifying glass in it, which created a circular shape, and added two colored plastic sheets into it. This created a yellow, green, and pink light. I started moving the light into the frame when the music started and slowly moved it closer to emphasize the main focus on the plants. I envisioned the yellow light to be a sun because when the light reaches the plants, they look more alive and brighter.

What did you previously know about lighting design?

I knew that there were different types of lighting angles and colors that could affect what emotions are conveyed to the audience. I also knew that lighting design is very important in theatre because it always amplifies everything and sometimes even helps the audience understand what is happening.

What do you know now about lighting design?

After doing this project, looking at other people’s work, and getting feedback from my peers, I have learned a lot about lighting design. Shadows that are created by different angles of lighting can make something look very mysterious. Blackouts and flashing lights also add a lot of tension and eerieness to the video/play. Moving lights can also add life/movement to motionless objects. Overall I have learnt how lighting design plays a big part in adding emotions and ideas to any type or art piece!

Lighting Design – The concept that a designer creates to provide light onstage to support the mood or atmosphere of the play

Light Plot – The map that shows where all of your lighting instruments are placed and where they will be lighting

Lighting Grid – Up above the stage, it is a system of bars and electricity that power the lights

Lighting Board – The control panel that powers the lights; when they turn on and off and at what intensity

Cyclorama – The large white ‘sheet’ at the back of the stage that can be lit or projected on

Backlight – Lighting from the back

Sidelight – Lighting from the side

Top light – Lighting from above

Front light – Lighting from the front

Footlight – Lighting that is placed on the floor in the front

Spotlight – A single source of light focused on a single subject

Fill light – Light sources that add lighting in and around the set/scenery/stage – they ‘fill in’

Wash – A large group of lighting that can ‘wash’ the stage in light that you can bring up at once together

Lighting angle – The angle of the lighting instrument in relation to the subject, usually 45°

Gobo (or pattern) – A pattern (in olden days it was a circle of metal) that blocks light to give you a shape onstage

Gel (or color gel) – The color that you want the instrument to throw onstage (or light onstage)