Open Collections

UBC Theses and Dissertations

UBC Theses Logo

UBC Theses and Dissertations

Dancing at lughnasa : the memory flowing with the lighting Han, Won-Kyoon 2013

Your browser doesn't seem to have a PDF viewer, please download the PDF to view this item.

Item Metadata

Download

Media
24-ubc_2013_spring_han_wonkyoon.pdf [ 5.95MB ]
Metadata
JSON: 24-1.0073662.json
JSON-LD: 24-1.0073662-ld.json
RDF/XML (Pretty): 24-1.0073662-rdf.xml
RDF/JSON: 24-1.0073662-rdf.json
Turtle: 24-1.0073662-turtle.txt
N-Triples: 24-1.0073662-rdf-ntriples.txt
Original Record: 24-1.0073662-source.json
Full Text
24-1.0073662-fulltext.txt
Citation
24-1.0073662.ris

Full Text

DANCING AT LUGHNASA: The Memory Flowing with the Lighting by Won-Kyoon Han M.A., Dept. of Drama and Cinema, Cheong-ju University, 2007  A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF  MASTER OF FINE ARTS in THE FACULTY OF GRADUATE STUDIES (Theatre) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver)  April 2013  © Won-Kyoon Han, 2013  Abstract The purpose of this thesis is to document and describe the design process and final lighting design for the University of British Columbia (UBC) production of Dancing at Lughnasa. This play was written by Brian Friel. The production opened November 15th, 2012 in the Frederic Wood Theatre and ran until December 1st, 2012 as part of the Theatre at UBC 2012-2013 season. The show was directed by John Cooper and stage managed by Cat Robinson. The creative team included Carolyn Rapanos (Set and Properties), Andrew Tugwell (Sound) and Stephanie Kong (Costume). The Lighting Design was facilitated by Clayton Brown and Zickey Zhao (Assistant Lighting), and UBC undergraduate theatre students. The thesis begins with an introduction of the play. I then examine the progress of the lighting design, describing technically and conceptually how I developed a theme, a concept, and a plan. Finally, I summarize my own experience of the production. Images and photos of the design are included to support the explanations.  ii  Table of Contents Abstract .......................................................................................................................ii Table of Contents ......................................................................................................iii List of Figures .............................................................................................................v Acknowledgment.......................................................................................................vi Dedication .................................................................................................................vii 1. Introduction.............................................................................................................1 2. Design Process ......................................................................................................3 2.1 Initial Theme and Concept .............................................................................3 2.2 Meeting with Director and Set Designer ........................................................4 2.3 A Theme, A Concept, and A Plan ...................................................................7 3. Design Development ..............................................................................................8 3.1 Analysis of The Set Design ............................................................................8 3.1.1 The Ceiling Units ...........................................................................................8 3.1.2 The Floor in The Cottage...............................................................................9 3.1.3 The White Backdrop ......................................................................................9 3.1.4 The Grain Stalks and The Stone Fence ........................................................9 3.1.5 The Floor of The Yard ..................................................................................10  3.2 Discovering Challenges and Solutions ........................................................11 3.2.1 The Biggest Challenge: The Grain Stalks ...................................................11 3.2.2 Most Effective Solution: The Backdrop........................................................13 3.2.3 The Absence of The Walls ..........................................................................15 3.2.4 An Ambush: The Ceiling Units .....................................................................16 3.2.5 Isolating Michael ..........................................................................................16 3.2.6 Grotesque Look for Jack’s dance ................................................................18 3.2.7 A Tree ..........................................................................................................19  Chapter 4: From Set Up To The First Performance ...............................................21 Chapter 5: Conclusion .............................................................................................23 Appendices ...............................................................................................................24 Appendix A: Preliminary Cue Synopsis .............................................................24 Appendix B: Sample of Blocking Note ...............................................................26 Appendix C: Sample of Preliminary Photometry ................................................28 iii  Appendix D: Wish List ........................................................................................30 Appendix E: Lighting Plot ...................................................................................31 Appendix F: Instrument Schedule ......................................................................32 Appendix G: Channel Hook Up ..........................................................................36 Appendix H: Color Schedule ..............................................................................39 Appendix I: Magic Sheet ....................................................................................42 Appendix J: Cue Sheet-Final Version ................................................................43 Appendix K: Production Photos .........................................................................48  iv  List of Figures Figure 2.1: Color Rendering of The Initial Set Design ..................................................4 Figure 2.2: Sketch of The Set Design - Second Draft ..................................................4 Figure 2.3: Example of Shadows and Silhouettes with The Grain Stalks ....................6 Figure 3.1: The Set Model ............................................................................................8 Figure 3.2: The Color Rendering of The Floor ............................................................10 Figure 3.3 Test of Casting Shadow of The Grains ......................................................11 Figure 3.4: The Grain Stalks - Monologue..................................................................12 Figure 3.5: The Grain Stalks - Regular .......................................................................12 Figure 3.6: The Backdrop - Monologue ......................................................................13 Figure 3.7: The Backdrop - Act One ...........................................................................14 Figure 3.8: The Backdrop - Act Two ...........................................................................14 Figure 3.9: The Window Gobo Effect..........................................................................15 Figure 3.10: The Ceiling Units Covered with Gobo ....................................................16 Figure 3.11: Source Four Follow Spot Kit ...................................................................17 Figure 3.12: Installed Source Four Follow Spot .........................................................17 Figure 3.13: Different Looks in The Same Scene Between Michael and Kate ...........18 Figure 3.14: End of Act One - Uncle Jack Drumming .................................................19 Figure 3.15: The Leaf Gobos .....................................................................................20 Figure 4.1: The Sample of Lighting Change Sequence .............................................22  v  Acknowledgment I would like to express my gratitude to Mr. Robert Gardiner and Mr. Brad Powers for their long term support, to Mr. Keith Smith and Mr. Jim Fergusson for their unlimited advice and support, and to Mr. John Cooper, Ms. Carolyn Rapanos, Mr. Andrew Tugwell, Ms. Stephanie Kong, and Ms. Cat Robinson for the opportunity to work on this production with such a great creative team. I would also like to thank the following individuals and organizations: The electrics crew including, Mr. Matthew Norman, Mr. Clayton Brown, Ms. Zickey Zhao, Mr. Chengyen Boon, Ms. Rebecca Burks, Ms. Hanaka Ebi, Ms. Diane Chu, Mr. Daniel Tessy, and Mr. Aiden McCann. The staff in the Department of Theatre including, Mr. M. Norman Young, Mr. Jay Henrickson, Ms. Deb Pickman, and Mr. Gerald van der Woude .  vi  Dedication To my mother who believes in my potential, supports my life, advises my works, and always loves me.  vii  1. Introduction Dancing at Lughnasa, by Brian Friel (January 1929 ~), an Irish dramatist, author and director, was first performed at the Abby Theater, in Dublin, in April 1990. It has become one of the most successful and universally acclaimed plays of the decade, earning its author, director and cast the most prestigious awards in Britain, the US and Australia. In 1998, Dancing at Lughnasa was adapted to the screen in a film directed by Pat O'Connor and starring Meryl Streep. This play is loosely based on the lives of Friel's mother and aunts who lived in Glenties on the west coast of Donegal. Lughnasa is a traditional Gaelic harvest festival celebrated on the first of August in honor of Lugh, the deity of storms and lightning, who triumphed over the sprits of the underworld. Dancing at Lughnasa is a memory play. Michael recalls the time of the Festival of Lughnasa in 1936 when he was seven years of age and lived with his mother, Chris, and her four sisters , including Kate, Maggie, Rose, and Agnes, in Ballybeg, Donegal. The play opens with a monologue by Michael. He introduces his mother and aunts, their first wireless radio nicknamed "Marconi" (which only works intermittently, bringing 1930s dance and traditional Irish folk music into the home at rather random moments and then equally randomly ceases to play), and Michael's uncle Jack, who has been a missionary in a leper colony in Uganda for the past twenty - five years, and has recently returned home. Michael also explains that he was a child born out of wedlock, and had only seen his father, Gerry Evans, a few times. Michael appears several times in the play addressing the audience directly in a series of monologues that introduce, explain, and conclude the story. In these monologues Michael explains to the audience the circumstances and history of his family, the eventual fate of each of the characters, and the significance of these memories. The entire play is thus presented as a depiction of Michael's nostalgic memories of this particular period in his childhood. A central theme of Dancing at Lughnasa is memory. The action of the play, which takes place in the later summer of 1936, is framed as a depiction of Michael's childhood memories. A good example of this is his closing monologue, where the character of Michael as a young man explains the significance of these memories: 1  “And so, when I cast my mind back to that summer of 1936, different kinds of memories offer themselves to me. But there is one memory of that Lughnasa time that visits me most often; and what fascinates me about that memory is that it owes nothing to fact. In that memory atmosphere is more real than incident and everything is simultaneously actual and illusory. In that memory, too, the air is nostalgic with the music of the thirties.” Act.2 Page 71  Brian Friel is interested in personal memory not as a means of reproducing factual incidents, but as a means of recapturing the atmosphere of the memory. Thus, for Friel, memory is simultaneously actual and illusory, because it is true to the emotional content of the memory without necessarily being true to the actual events that took place. Music is central to Friel's play because of the extent to which he associates nostalgic memories with the music of the thirties.  2  2. Design Process 2.1 Initial Theme and Concept On the first page of script, stage direction says: Around the stage and at a distance from Michael the other characters stand motionless in formal tableau. ~ They hold these positions while Michael talks to the audience.  At the beginning of the play, Michael’s monologue starts with: “When I cast my mind back to that summer of 1936 different kinds of memories offer themselves to me.~”  The effect of this monologue is as if Michael is telling us his family story with his old photos. During the reading of the monologue, I imagined old photos of my family: there were my mother, aunts, and grandmother. They looked very young and energetic in an already faded nostalgic photo, which was filled with amber and scratches. At the end of the play, the stage direction explains: The Characters are now in positions similar to their positions at the beginning of the play~  This play begins and ends with Michael's monologue, and during his monologue the audience will see the same tableau. I thought “nostalgic photo” can bring up the image of the tableau. Therefore, “nostalgic photo” was set as my first theme. After my initial reading of the script, I recalled my childhood, and the memory was so warm and peaceful. I feel my present experience is much colder than my childhood. The present is cold, quiet and lonely, but the past is warm, boisterous and together. It was a really strange feeling, and I decided to use this contrast in the lighting concept. When “contrast” came as an initial concept in my mind, I researched paintings and photos, and I was mesmerized with Edvard Munch’s “The Scream.” The Scream is very popular painting, but I had not been interested in this painting before. In the painting, there are dark orange clouds floating, and deep blue river flowing. The combination of amber and blue means cold and warm to me. In addition, the centre person looks much colder than the background.  3  2.2 Meeting with Director and Set Designer I met set designer Carolyn Rapanos before meeting with director John Cooper. She showed me beautiful set sketches. Carolyn’s set was beautiful, with lovely decorative elements in the cottage, rows of grain stalks as exterior of the cottage, a square white backdrop, and three big ceiling units. (Figure 2.1: Color Rendering of The Initial Set Design and Figure 2.2: Sketch of The Set Design - Second Draft)  Figure 2.1: Color Rendering of The Initial Set Design  Figure 2.2: Sketch of The Set Design - Second Draft 4  I was glad that the cottage was designed without walls. The absence of walls gave me more opportunity for atmospheric lighting inside the cottage. And the ceiling pieces were a great design choice, but they presented a special challenge for designing general light in the cottage. Moreover, the grain stalks and white backdrop suggested that I could create different lighting atmospheres. She explained a painting plan: the cottage floor would be stone, and outside would be soil and mown grass. She and I had very similar color ideas for the contrast between inside and outside. The existence of two contrasting moods or ideas can suggest conflict, and that conflict can suggest another atmosphere. The contrast of the cold cottage interior and warm exterior along with the contrast of the present and the past are like the thesis-antithesis-synthesis paradigm of the Hegelian Dialect. I got a very simple but strong concept of lighting color from that meeting: using two different color tones to make two different images for present and past, and inside and outside. I thought this concept could give a clear image to the audience, and I realized that this concept was not wrong after the first meeting with the director John. From the director’s notes: The dramatic conflicts of this play argue governing religion against a more organic paganism, the natural against the civilized, obediency against insurrection, order against chaos, structure against inevitable collapse. ~ And from these conflicts arise questions I find deeply meaningful, indeed necessary. ~ How do we walk through change? ~  When he explained this idea, he told me what he thought about the image of the first tableau. He told me that a low lighting angle with amber light for the stalks of grain in the yard could cast long shadows, creating an effect of sunset in harvest season. Nevertheless, Michael should be lit with cool tones. Michael would be inside of the cottage, so this area could be cool also. Furthermore, whenever adult Michael comes for monologues, the stage lights should change to the first tableau. I discussed my color concept with John, and he agreed with it, so I defined my concept of color. John also wanted to make a grotesque look for the end of Act One during Michael’s monologue, when Uncle Jack plays drum with two kite sticks and performs a Ugandan ceremonial dance. I understood this part as the scene with the most dramatic  5  conflict. Past and present, catholicism and paganism, Uganda and Ireland, warm and cold, and life against death, are all in conflict. Other than these special scenes, John asked me to make very natural looks. There is very famous dance scene in the middle of Act One. I wanted to emphasize that scene somehow, because the scene takes almost three minutes and is very fascinating, but John didn’t want to do something special even for this scene. I suggested emphasizing the scene a few more times, and he finally accepted some part of my ideas. John gave me a chance to use the backdrop as drawing paper, and he liked low angle lights on the grain stalks. Carolyn, the set designer, said that she tried to strike a balance between realistic and stylized. She also tried to add some organic, beautifully chaotic, and warm shapes to contrast with the more unsaturated and cold interior of the cottage. She thought it would be great to see what I might be able to do with shadows and silhouettes of the grain stalks. She sent a photo (Figure 2.3: Example of Shadows and Silhouettes with The Grain Stalks) representing the concept, and John suggested that the  lights create an effect similar to this photo.  Figure 2.3: Example of Shadows and Silhouettes with The Grain Stalks 6  2.3 A Theme, A Concept, and A Plan I made a concrete concept (contrast) and theme (old photo), for the lighting design. After meeting with John, I read the script few more times and watched many movies, to visually explore my theme. I got a really good idea from the movie The Phantom of The Opera (2004, directed by Joel Schumacher). The first scene of the movie is black and white, and as the famous chandelier flies up, the image is transformed into full color. I thought this scene is very similar to Dancing at Lughnasa’s first scene because both begin in the present and jump to the past. I decided to use this effect whenever Michael starts and finishes his monologues. I thought Michael should be isolated by using a different angle of light for him. In my opinion, this would make clear images for the audience and also create good contrast between past and present. However, this change should be very smooth and slow, like falling into nostalgia. Jennifer Tipton once said : 99% of the audience will not see the lighting, but 100 % will feel it.  I wanted to implement this idea. Very quiet, smooth, and natural - but very definite - changes were in my mind as the plan for the lighting transitions. The concept and the theme were supported by this plan. I explained to John about this plan and he liked it, so I was able to start expanding the design idea and developing a lighting plot.  7  3. Design Development 3.1 Analysis of The Set Design Carolyn brought a set model to the first read through. (Figure 3.1: The Set Model)  Figure 3.1: The Set Model  I explored the set design to get more effective ideas. It was divided into two parts; the cottage and the yard. The cottage could be separated into the ceiling units and floor, and the yard could be separated into the white backdrop, the grain stalks, the stone fences, and the floor. 3.1.1 The Ceiling Units When John and I discussed the movement between the main acting areas, such as from the cottage to the yard and vice versa; we decided the lighting was to follow  8  these transitions imperceptibly. I wanted to add some more effects to this lighting shift, so I chose the ceiling units. As the acting focus moved outside the cottage, my plan was to light the ceiling units with gobos, which would disappear when the focus moved to the cottage again. 3.1.2 The Floor in The Cottage The cottage’s floor looked cold already. The inside of the cottage needed three different looks. The first was for Act One, which is a warm day, but according to my concept the cottage should be colder than outside. The second was for Act Two, which needed to be warmer than Act One, and the third was for Michael’s monologues. Therefore, I needed warm and cold for general lighting, and specials for the monologues. 3.1.3 The White Backdrop Everything in the set was natural and organic, except the white backdrop. Even if the cottage didn’t have walls, everybody knew it was a cottage, but the white backdrop was incongruous. On the one hand the backdrop didn’t have any natural or organic things, and also it didn’t have any symbols, but on the other hand, this set piece could be made into anything by lighting. I planned to use this as a starting point to change scenes. After trying this idea, John didn’t like my plan and asked me to start the lighting changes from Michael, because he thought the audience would lose their focus on the actors, and I agreed. 3.1.4 The Grain Stalks and The Stone Fence As I discussed with John at the first meeting, I wanted to create lighting similar to the grains photo. (Figure 2.3, p.6) In addition, I wanted to try side lights to emphasize the grain. In fact, these were the hardest goals to accomplish; I wasn’t able to create the effects of Carolyn’s photo, and had to choose a second plan. Nonetheless, the second plan was good enough to evoke nostalgia. 9  3.1.5 The Floor of The Yard Carolyn also sent me the floor color rendering of the yard. (Figure 3.2: The Color Rendering of The Floor)  Figure 3.2: The Color Rendering of The Floor  She added Ugandan symbols around the edge. I thought about using gobos with these symbols for the end of Act One, when Uncle Jack drums and dances. However, I did not end up using this effect because of blocking. Uncle Jack danced a bit far from the symbols, and I didn’t like the idea of making his area wider. In terms of lighting looks, the yard needed; warm day look for Act One, evening look for Act Two, and unrealistic look for Michael's monologues.  10  3.2 Discovering Challenges and Solutions I discovered several technical challenges in the set and the lighting ideas. The lighting challenges arising from the set ideas included the grain stalks, the backdrop, the absence of walls, and the ceiling units. Technical challenges arising from the lighting ideas included isolating Michael, different looks for the present and the past, the creation of a tree, and the grotesque look for Jack’s dance. 3.2.1 The Biggest Challenge: The Grain Stalks As discussed above, I could not make the effect that John and Carolyn wanted to have for long shadows of grain. After doing simple photometries, I realized it wasn’t possible to re-create exactly the same effect as the photo. I tried a test to make big shadows in front of the grain. (Figure 3.3: Test of Casting Shadow of The Grains)  Figure 3.3: Test of Casting Shadow of The Grains  This test showed that it was difficult to see the shadows. However, I liked the effect of side lighting, so I decided to use side light without any color, and I added top 11  light with amber. This combination created a sufficiently unreal atmosphere. Fortunately John and Carolyn understood the challenge of the situation, and they liked the solution. (Figure 3.4: The Grain Stalks - Monologue and Figure 3.5: The Grain Stalks - Regular)  Figure 3.4: The Grain Stalks - Monologue  Figure 3.5: The Grain Stalks - Regular 12  3.2.2 Most Effective Solution: The Backdrop I asked Carolyn to use a scrim for the backdrop, because I thought light on both sides of a scrim could create more beautiful looks. However, due to budget, the piece was built of wood and painted, so I could not use any backlight. I used LED Seladors as front light to smoothly change colors on the backdrop and create a more effective atmosphere. I also used two different gobos for present and past, and cast shadows of the grains on the backdrop. (Figure 3.6: The Backdrop - Monologue, Figure 3.7: The Backdrop - Act One, and Figure 3.8: The Backdrop - Act Two)  Figure 3.6: The Backdrop - Monologue  13  Figure 3.7: The Backdrop - Act One  Figure 3.8: The Backdrop - Act Two 14  3.2.3 The Absence of The Walls The absence of walls in the cottage made me happy at first, but I realized later it was complicated for general lighting both inside and outside the space. I needed to use many ERS lights (Ellipsoidal Reflector Spotlight, such as a Source Four) to make a boundary line for the imaginary walls. According to the photometric studies (Appendix C), a shutter cut of ERS at the boundary line would cause dark spot for actors if the lights were hung in the most convenient positions. I tried to soften lights from FOH 2, so even when they spilled over the edge of the cottage floor, the audience would not notice it. As a result, there were few dark spots. I suggested that John change some blocking to avoid a particular dark spot, and he made the change. The stage directions require that the cottage have a window, but without walls we needed a window gobo, which made a dynamic look in the cottage. (Figure 3.9: The Window Gobo Effect) I used the window gobo all the time except for the monologue  scenes.  Figure 3.9: The Window Gobo Effect 15  3.2.4 An Ambush: The Ceiling Units The ceiling units were challenging for lighting. The pieces were located diagonally across the stage from left to right, and I was not able to do a definitive photometric study on paper because angle of the ceiling units could be changed during set up. So my solution was to add extra lights. I added too many lights to focus in the available time, so I deleted several from the lighting plot. During cue to cue, I noticed that there were many dark spots in the cottage. The Technical Director, Keith Smith, suggested that we hang a few more lights on FOH one, and this worked well. As previously mentioned, I also lit the ceiling pieces with gobos for a more effective lighting shift between inside and outside. (Figure 3.10: The Ceiling Units Covered with Gobo)  Figure 3.10: The Ceiling Units Covered with Gobo  3.2.5 Isolating Michael The lighting change from present to past and past to present was the most important factor in the lighting design for this show. Michael has a total of five 16  monologues, during which I wanted to isolate Michael from the set and other actors. He moved during his monologues, so top light was not helpful at all. The first solution was to use a follow spot with a color filter, so that he would look colder than the other actors. The Frederic Wood Theatre has two follow spots, but I didn’t want to use these. In my opinion, they would have destroyed the mood, and would have made Michael appear flat. Instead, we borrowed a Source Four follow spot kit. I have always been interested in using a Source Four as a follow spot, and was glad to have an opportunity to use it for this show. (Figure 3.11: Source Four Follow Spot Kit)  Figure 3.11: Source Four Follow Spot Kit  Figure 3.12: Installed Source Four Follow Spot 17  We installed this fixture at the centre of FOH 2 with a 19 degree lens tube, doughnut, and Lee 203 color filter. (Figure 3.12: Installed Source Four Follow Spot) I also tried not to light the other characters’ faces during the monologues: I used Source Four PAR top lights for each actor. ( Figure 3.13: Different Looks in The Same Scene Between Michael and Kate)  Figure 3.13: Different Looks in The Same Scene Between Michael and Kate  3.2.6 Grotesque Look for Jack’s dance I made three different gobos of Ugandan symbols, and used two kinds of color filters. I also needed to add top lights for Jack, but I didn’t like using a cone shaped beam. Strong and straight beams would be best in this area, I thought. I tried using a Beam Projector, a lensless lighting fixture with very little beam spread. The effect of the Beam Projector was what I wanted. (Figure 3.14: End of Act One - Uncle Jack Drumming)  18  Figure 3.14: End of Act One - Uncle Jack Drumming  3.2.7 A Tree The stage directions require a sycamore tree that sways when Gerry goes up the tree to fix the radio. However, there was no tree in our set, so we needed something representing a tree. I made a plan to use a leaf gobo and make it seem to sway by using an I-Cue. Also, Carolyn had a plan to drop sycamore leaves from the gallery above the stage. John thought that two effects were too much for one short moment, and he asked me cut my idea, so I used two fixed leaf gobos down stage left. (Figure 3.15: The Leaf Gobos)  19  Figure 3.15: The Leaf Gobos  20  Chapter 4: From Set Up To The First Performance After the first stumble through, I started to write a cue synopsis (Appendix A), based on the blocking notes (Appendix B) and analysis of the set, and I sent the synopsis to John. He liked the cue progression, and again requested more theatrical looks for the monologue scenes. The synopsis gave me a wish list of the lighting fixtures needed to accomplish my conceptual ideas. (Appendix D) With my wish list, I was ready to being drafting. I used Vectorworks Spotlight 2012 for my lighting plot. (Appendix E) I am not entirely comfortable using Vectorworks, but it allows one to easily create all the required paper work. The instrument schedule, channel hook up, and color schedule in Vectorworks can be copied and pasted to Excel or other programs. (Appendix F through H) I also made a magic sheet in Vectorworks. (Appendix I) A magic sheet is always helpful during lighting programming, so I usually spend time to make a clear one. The hang and focus was done by a student crew led by Clayton Brown and myself, been under the supervision of production staff members Keith Smith and Jim Fergusson. I expanded my cue synopsis into cue sheets. Shortly after that, I attended a paper tech session with the director, stage manager, and sound designer to discuss the placement and calling of the lighting and sound cues. From that meeting, I made final cue sheets (Appendix J) and pre programmed the lighting board, following the cue sheets. I set light levels with John after I programed initial looks in the board. I was glad that he liked most of the lighting looks. He wanted me to change the starting point of the lighting shift from the present to past, and I did so, and I concentrated on emphasizing the lighting change between the present and the past. (Figure 4.1: The Sample of Lighting Change Sequence)  During cue to cue and technical rehearsals, I had several notes from John, mostly to make longer fade times for emphasis shifts when scenes went outside and then back into the cottage. I continued to finesse the times for lighting shifts until the first performance.  21  Photos by Won-Kyoon Han  Figure 4.1: The Sample of Lighting Change Sequence  22  Chapter 5: Conclusion To visualize a concept is always a challenge, especially when the concept must be clear for many unspecified people in an audience. The main lighting concept of Dancing at Lughnasa was “contrast.” I developed all the design ideas based on this concept, which I thought would make very clear images. I don’t know if the idea was clear for everyone in the audience, but from my point of view the design progress resulted in a communication of visual contrasts in the lighting. Lighting design for Dancing at Lughnasa really helped remind me how to face a play’s ideas. As Michael looks back on his childhood, I reviewed my past designs. For a while, when I designed a show, I focused on creating good-looking effects, and then found a well-fitted concept for that effect. The reason I chose this path was that I thought it created a good lighting state faster. I always used the same idea in every show and was in a dilemma about how to find new ideas. Finally, I met this masterpiece, Dancing at Lughnasa, which reminded me how important it is to walk on the right path for art. I was really lucky to have a chance to work with director John Cooper. He always waited for my answers, and accepted ideas. The entire artistic collaboration with the director and other designers was great, and all of the technical aspects of the process occurred smoothly without incident. This experience has not only reminded me of the way of lighting design, but also has shown me more possibilities to improve my theatrical life. Dancing at Lughnasa remains as the best play for me.  23  Appendices Appendix A: Preliminary Cue Synopsis  Q  P  Line/Action  Description  Note  1  #  House)open  House))+)Preset (Gobo)on)the)side)of)Roof/) Back)drop#Amber,)Grain)shadow/ Window)Gobo)  2  #  House)to)half  House)50%  3  #  House)out  Black)out  Slowly)and)separately)  Follow)spot)move  11  1  SM)Q  Michael)area)Blue/ Michael)follow/ Back)drop#Blue,)Grain)shadow/ Grain)side,)shadow)gobo/ Blue)from)SL/ Window,)side)lights)(Amber))on)Character  13  2  4th)line Michael#”And)when)I)cast~”  Michael)area)dim)down  14  2  28th)line Michael#”~to)observe)him.”  15  8  17th)line Maggie#”~tchook# tchookeeeee...”  17  9  19  20  20  21  22  22  23  6th)line Michael#”~out)of)wedlock.” 3rd)line Maggie#”#it)was)this)time~” 19th)line Maggie#”Yaaaah”  Follow)spot)out/ Back)drop)change)to)sky/ All)lights)change)to)Act.1)basic Back)drop)change)to)grain)shadow/ Michael)follow/ House,)Outside)dim)down/ House)window)gobo/ Blue)on)Outside/ Grain)side,)Roof)gobo/  Slowly)and)separately  Slowly)and)separately  same)as)Q14  Smoothly)but)rapidly  House)colder/ Outside)general)wash)dim)down)bit  Slowly  Amber)on)House)and)table)lights)up  Very)slowly  Music)stops  same)as)Q19)but)warmer  Rapidly  26  8th)line Maggie#”In)the)garden”  Outside)lights)up)as)Q14/ House)colder)(Dim)down)  Till)Gerry)enters  25  34  Chris)and)Gerry)out  same)as)Q22  Slowly  27  36  same)as)Q14  Till)Chris)enters  same)as)Q22  Slowly  29  13th)line Maggie#”...Kate,)love...” 4th)line 37 Chris#”~your)mother’s)eye!”  24  Q  P  Line/Action  Description Back)drop)change)to)grain)shadow/ Michael)follow/ House,)Outside)dim)down/ House)window)gobo/ Blue)on)Outside/ Grain)side,)Roof)gobo/ Amber)on)Jack/ Uganda)pattern/ Grain)shadow)gobo/ Side)on)Jack  Note  31  41  18th)line Kate#”~cardigan?”  33  42  Jack)picks)up)sticks  35  42  37  42  39  #  SM)Q  Intermission)+)House)in  50  #  SM)Q  Intermission)+)House)out  51  43  SM)Q  Act.2)basic/ House)brighter)than)Outside  *Basically)the)same)as) Act.1)basic)but)more) amber)and)darker  53  49  Outside)lights)up  Slowly  55  53  57  54 Agnes)dashes)in)to)the)house  59  57  Agnes)leads)her)into)the) house  61  59  25th)line Kate#”~heads)ever)again...?”  63  61  31st)line Michael#”~to)myself”  Same)as)Q)53  Smoothly)but)rapidly  65  70  21st)line Maggie#”~God,)I’ve) forgotten!”  Same)as)Opening  Slowly)and)separately  67  71  End)of)line  Black)out  Slowly)and)separately  69  #  SM)Q  Curtain)call  70  #  SM)Q  Black)out)on)Stage)+)House)  30th)line Michael#”~into)a) depression.” End)of)line Kate#”~go)for)our)walk”  33rd)line Maggie#”~Military)Two# step.” 32nd)line Agnes#”~I’m)telling)you.”  Slowly)and)separately  Separately  same)as)Q14 Black)out  Branch)sway)starts Branch)stops House)colder/ Outside)general)wash)dim)down)bit Back)drop)change)to)grain)shadow/ Michael)follow/ House,)Outside)dim)down/)House)window) gobo/ Blue)on)Outside/)Grain)side,)Roof)gobo/  Very)slowly  Slowly)and)separately  25  Appendix B: Sample of Blocking Note  26  27  Appendix C: Sample of Preliminary Photometry VECTORWORKS EDUCATIONAL VERSION  Dancing  at  Lughnasa    -­  Photometric  FOH  2  -­  Strand  6x12 Yard  -­  General  wash  VECTORWORKS EDUCATIONAL VERSION  28  VECTORWORKS EDUCATIONAL VERSION  Dancing  at  Lughnasa    -­  Photometric  FOH  1  -­  Source  4  50 Cottage  -­  General  wash  VECTORWORKS EDUCATIONAL VERSION  29  Appendix D: Wish List Item Name 8_4BD 6_4BD 6_TH Etc Source 4 26° Etc Source 4 36° Etc Source 4 50° Source 4 PARNel Source 4 PAR NSP Selpa21 6" Fresnelite 8" Fresnelite Alt6x12 Alt6 x 9 Etc Source 4 19° PAR 64 Body External Moving Mirror E3_5x12 16BP 3" Fresnel 8_2BD  Inventory Amt 0 0 0 28 22 16 6 6 7 14 18 16 17 13 16 7 10 4 0 0  Used 9 16 6 16 12 16 5 6 5 11 16 5 5 1 13 1 9 3 2 0  Remaining -9 -16 -6 12 10 0 1 0 2 3 2 11 12 12 3 6 1 1 -2 0  30  Appendix E: Lighting Plot  31  Appendix F: Instrument Schedule  Position FOH 1  Unit # 1 2 3 4 5 6 7 8 9 10 11 12  Dimmer 74 71 69 67 68 66 64 65 62 61 59 55  Inst Type Source 4 50deg Source 4 36deg Source 4 50deg Source 4 50deg Source 4 36deg Source 4 50deg Source 4 36deg Source 4 50deg Source 4 50deg Source 4 50deg Source 4 50deg Source 4 50deg  Color R119 R132 R119 R09/132 R132 R119 R132 R09/132 R119 R09/132 R119 R09/132  Wattage 575W 575W 575W 575W 575W 575W 575W 575W 575W 575W 575W 575W  Channel 11 31 12 45 32 13 33 46 14 47 15 48  Purpose PA White House Front PA White PA Warm House Front PA White House Front PA Warm PA White PA Warm PA White PA Warm  FOH 2  1 2 3 4 5 6 7 8 9 10 11 12 13 14 15  34 33 30 32 27 29 28 26 25 21 22 23 19 20 18  Strand 6x12 Alt 360Q 6x12 Strand 6x12 Alt 360Q 6x12 Strand 6x12 Strand 6x12 Source 4 19deg Alt 360Q 6x12 Strand 6x12 Strand 6x12 Alt 360Q 6x12 Strand 6x12 Strand 6x12 Alt 360Q 6x12 Strand 6x12  R119 R119 R119 R119 R09/132 R119 R132/3208 R119 R09/132 R119 R119 R09/132 R119 R119 R09/132  750w 750W 750w 750W 750w 750w 575W 750W 750w 750w 750W 750w 750w 750W 750w  6 1 7 2 41 8 100 3 42 9 4 43 10 5 44  Apron white Apron white Apron white Apron white Apron warm Apron white Follow spot Apron white Apron warm Apron white Apron white Apron warm Apron white Apron white Apron warm  DS Bridge  2 3 4 5 6 7 8 9 10 11 12 12 13 14 15  120 118 115 114 111 110 107 104 102 100 97 99 98 96 95  Source 4 50deg S4 PAR NSP Source 4 36deg Source 4 50deg PAR 64 Source 4 50deg 6" Fresnelite Source 4 36deg 8" Fresnelite Source 4 26deg Source 4 26deg Source 4 26deg Source 4 26deg 8" Fresnelite 8" Fresnelite  OW R20 L202 OW R83 OW OW R132 R09 R41 R23 R41 R41 OW R09  575W 575W 575W 575W 1Kw 575W 1Kw 575W 1Kw 575W 575W 575W 575W 1Kw 1Kw  28 136 71 29 83 156 16 37 49 143 115 144 145 17 50  DSL GW Tableau top House Cool DSL GW House Warm Back Roof touch DSL GW Door area SR Warm Uganda Shape B Grain shadow Uganda Shape Uganda Shape DSL GW SR Warm  32  Position  Unit # 16  Dimmer 93  Inst Type PAR 64  Color R83  Wattage 1Kw  Channel 82  Purpose High side Blue  US Bridge  1 2 2 3 4  106 121 92 119 117  Source 4 26deg Source 4 26deg Source 4 26deg Source 4 26deg Source 4 36deg  R23 OW R23 OW L202  575W 575W 575W 575W 575W  112 152 116 153 72  I Grain shadow Tree C Grain shadow Tree House Cool  5 6 7 8 9  116 113 112 108 103  Source 4 50deg Beam projector 6" Fresnelite PAR 64 Source 4 26deg  OW R357 R02 R357 R20  575W 500w 1Kw 1Kw 575W  157 138 61 88 137  Roof touch Michael top House Warm Lavender wash Tableau top  LX1  1 2 3 4 5 6 7 8 9 10 11 12 13 14 15  139 138 141 135 134 140 136 126 127 128 129 123 122 124 125  Source 4 36deg Source 4 50deg 6" Fresnelite 6" Fresnelite 6" Fresnelite 6" Fresnelite 6" Fresnelite PAR 64 S4 PAR NSP 8" Fresnelite Source 4 36deg S4 PAR NSP 8" Fresnelite 8" Fresnelite PAR 64  L202 OW OW R02 L202 OW R02 R357 R20 OW OW R20 OW R09 R83  575W 575W 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 575W 1Kw 575W 575W 1Kw 1Kw 1Kw  73 158 34 63 74 35 62 89 133 18 161 132 19 51 84  House Cool Roof touch House GW House Warm House Cool House GW House Warm Lavender wash Tableau top CSR GW Window Tableau top CSR GW SR Warm High side Blue  LX2  1 2 3 4 5 6 7 8 9 10 11 12  171 163 172 166 161 173 169 160 167 168 170 162  Source 4 PARNel 6" Fresnelite 6" Fresnelite 6" Fresnelite 8" Fresnelite PAR 64 8" Fresnelite 8" Fresnelite S4 PAR NSP 8" Fresnelite 8" Fresnelite PAR 64  R362 L202 OW R02 OW R357 OW R09 R20 OW R09 R83  575W 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 575W 1Kw 1Kw 1Kw  125 75 36 64 20 90 21 52 134 22 53 85  House Tableau House Cool House GW House Warm CSR GW Lavender wash CSR GW SR Warm Tableau top CSR GW SR Warm High side Blue  LX3  1 2 3 4 5  154 156 155 157 146  6" Fresnelite PAR 64 8" Fresnelite PAR 64 8" Fresnelite  OW R357 OW R57 OW  1Kw 1Kw 1Kw 1Kw 1Kw  23 91 24 97 25  USR GW Lavender wash USR GW House Warm Back USR GW  33  Position  Unit # 6 7 8 9 10  Dimmer 165 152 147 153 164  Inst Type 8" Fresnelite S4 PAR NSP 8" Fresnelite 8" Fresnelite PAR 64  Color R09 R20 OW R09 R83  Wattage 1Kw 575W 1Kw 1Kw 1Kw  Channel 54 135 26 55 86  Purpose SR Warm Tableau top USR GW SR Warm High side Blue  LX4  1 2 3 4 5  149 150 301 321 341  PAR 64 Source 4 50deg Selador Selador Selador  R57 OW  1Kw 575W 216 216 216  96 162 201 202 203  House Warm Back Backdrop cloud Backdrop colour Backdrop colour Backdrop colour  6 7 8  361 381 148  Selador Selador Source 4 36deg  L200  216 216 575W  204 205 163  Backdrop colour Backdrop colour Backdrop touch  SL Arch  1  89  Alt 360Q 6x9  R132  750W  103  J Grain side  SL Boom-1  1  90  Source 4 26deg  R23  575W  113  J Grain shadow  SL Door Boom  1  85  Source 4 26deg  R132  750W  102  I Grain side  2  82  PAR 64  R357  1Kw  87  House Warm Back  1  54  Source 4 26deg  R132  750W  101  H Grain side  2  51  Source 4 26deg  R23  575W  111  H Grain shadow  1  143  Source 4 PARNel  R362  575W  124  House Tableau  2 3 4  144 142 145  Source 4 PARNel Source 4 PARNel Source 4 PARNel  R362 R362 R362  575W 575W 575W  121 122 123  House Tableau House Tableau House Tableau  SR Arch  1  86  Alt 360Q 6x9  R132  750W  106  C Grain side  SR Boom-1  1  87  Alt 360Q 6x9  R132  750W  107  D Grain side  SR Boom-2  3  130  Alt 360Q 6x9  R132  750W  108  E Grain side  SR Boom-3  4  193  Alt 360Q 6x9  R132  750W  109  FG Grain side  SR Door Boom  1  78  Source 4 26deg  R132  750W  105  B Grain side  2 3  76 75  S4 PAR NSP PAR 64  R20 R83  575W 1Kw  131 81  Tableau top High side Blue  SL FOH 1 Boom  SL Gallery  34  Position  Unit #  Dimmer  Inst Type  Color  Wattage  Channel  Purpose  SR FOH 1 Boom  1  50  Source 4 26deg  R132  750W  104  A Grain side  2  47  Source 4 26deg  R23  575W  114  Grain shadow  1  131  Source 4 26deg  R23  575W  117  D Grain shadow  3 4  132 133  Source 4 26deg Source 4 26deg  R23 R23  575W 575W  118 119  E Grain shadow FG Grain shadow  1 2  194 194  3" Fresnel 3" Fresnel  OW OW  100W 100W  110 110  Backdrop shadow Backdrop shadow  SR Gallery  Ground  35  Appendix G: Channel Hook Up  Ch.  Dim  Inst Type  Wattage  Color  Position  Unit #  Purpose  1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 28 29 31 32 33 34 35 36 37 41 42 43 44 45 46  33 32 26 22 20 34 30 29 21 19 74 69 66 62 59 107 96 128 122 161 169 168 154 155 146 147 120 114 71 68 64 141 140 172 104 27 25 23 18 67 65  Alt 360Q 6x12 Alt 360Q 6x12 Alt 360Q 6x12 Alt 360Q 6x12 Alt 360Q 6x12 Strand 6x12 Strand 6x12 Strand 6x12 Strand 6x12 Strand 6x12 Source 4 50deg Source 4 50deg Source 4 50deg Source 4 50deg Source 4 50deg 6" Fresnelite 8" Fresnelite 8" Fresnelite 8" Fresnelite 8" Fresnelite 8" Fresnelite 8" Fresnelite 6" Fresnelite 8" Fresnelite 8" Fresnelite 8" Fresnelite Source 4 50deg Source 4 50deg Source 4 36deg Source 4 36deg Source 4 36deg 6" Fresnelite 6" Fresnelite 6" Fresnelite Source 4 36deg Strand 6x12 Strand 6x12 Strand 6x12 Strand 6x12 Source 4 50deg Source 4 50deg  750W 750W 750W 750W 750W 750w 750w 750w 750w 750w 575W 575W 575W 575W 575W 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 575W 575W 575W 575W 575W 1Kw 1Kw 1Kw 575W 750w 750w 750w 750w 575W 575W  R119 R119 R119 R119 R119 R119 R119 R119 R119 R119 R119 R119 R119 R119 R119 OW OW OW OW OW OW OW OW OW OW OW OW OW R132 R132 R132 OW OW OW R132 R09/132 R09/132 R09/132 R09/132 R09/132 R09/132  FOH 2 FOH 2 FOH 2 FOH 2 FOH 2 FOH 2 FOH 2 FOH 2 FOH 2 FOH 2 FOH 1 FOH 1 FOH 1 FOH 1 FOH 1 DS Bridge DS Bridge LX1 LX1 LX2 LX2 LX2 LX3 LX3 LX3 LX3 DS Bridge DS Bridge FOH 1 FOH 1 FOH 1 LX1 LX1 LX2 DS Bridge FOH 2 FOH 2 FOH 2 FOH 2 FOH 1 FOH 1  2 4 8 11 14 1 3 6 10 13 1 3 6 9 11 8 14 10 13 5 7 10 1 3 5 8 2 5 2 5 7 3 6 3 9 5 9 12 15 4 8  Apron white Apron white Apron white Apron white Apron white Apron white Apron white Apron white Apron white Apron white PA White PA White PA White PA White PA White DSL GW DSL GW CSR GW CSR GW CSR GW CSR GW CSR GW USR GW USR GW USR GW USR GW DSL GW DSL GW House Front House Front House Front House GW House GW House GW Door area Apron warm Apron warm Apron warm Apron warm PA Warm PA Warm  36  Ch.  Dim  Inst Type  Wattage  47 48 49 50 51 52 53 54 55 61 62 63 64 71 72 73 74 75 81 82 83 84 85 86 87 88 89 90 91 96 97 100 101 102 103 104 105 106 107 108 109 110  61 55 102 95 124 160 170 165 153 112 136 135 166 115 117 139 134 163 75 93 111 125 162 164 82 108 126 173 156 149 157 28 54 85 89 50 78 86 87 130 193 194 194 51  Source 4 50deg Source 4 50deg 8" Fresnelite 8" Fresnelite 8" Fresnelite 8" Fresnelite 8" Fresnelite 8" Fresnelite 8" Fresnelite 6" Fresnelite 6" Fresnelite 6" Fresnelite 6" Fresnelite Source 4 36deg Source 4 36deg Source 4 36deg 6" Fresnelite 6" Fresnelite PAR 64 PAR 64 PAR 64 PAR 64 PAR 64 PAR 64 PAR 64 PAR 64 PAR 64 PAR 64 PAR 64 PAR 64 PAR 64 Source 4 19deg Source 4 26deg Source 4 26deg Alt 360Q 6x9 Source 4 26deg Source 4 26deg Alt 360Q 6x9 Alt 360Q 6x9 Alt 360Q 6x9 Alt 360Q 6x9 3" Fresnel 3" Fresnel Source 4 26deg  575W 575W 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 575W 575W 575W 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 1Kw 575W 750W 750W 750W 750W 750W 750W 750W 750W 750W 100W 100W 575W  111  Color  Position  Unit #  R09/132 FOH 1 R09/132 FOH 1 R09 DS Bridge R09 DS Bridge R09 LX1 R09 LX2 R09 LX2 R09 LX3 R09 LX3 R02 US Bridge R02 LX1 R02 LX1 R02 LX2 L202 DS Bridge L202 US Bridge L202 LX1 L202 LX1 L202 LX2 R83 SR Door Boom R83 DS Bridge R83 DS Bridge R83 LX1 R83 LX2 R83 LX3 R357 SL Door Boom R357 US Bridge R357 LX1 R357 LX2 R357 LX3 R57 LX4 R57 LX3 R132/3208 FOH 2 R132 SL FOH 1 Boom R132 SL Door Boom R132 SL Arch R132 SR FOH 1 Boom R132 SR Door Boom R132 SR Arch R132 SR Boom-1 R132 SR Boom-2 R132 SR Boom-3 OW Ground OW Ground R23 SL FOH 1 Boom  10 12 10 15 14 8 11 6 9 7 7 4 4 4 4 1 5 2 3 16 6 15 12 10 2 8 8 6 2 1 4 7 1 1 1 1 1 1 1 3 4 2 1 2  Purpose PA Warm PA Warm SR Warm SR Warm SR Warm SR Warm SR Warm SR Warm SR Warm House Warm House Warm House Warm House Warm House Cool House Cool House Cool House Cool House Cool High side Blue High side Blue House Warm Back High side Blue High side Blue High side Blue House Warm Back Lavender wash Lavender wash Lavender wash Lavender wash House Warm Back House Warm Back Follow spot H Grain side I Grain side J Grain side A Grain side B Grain side C Grain side D Grain side E Grain side FG Grain side Backdrop shadow Backdrop shadow H Grain shadow  37  Ch.  Dim  Inst Type  Wattage  112 113 114 115 116 117 118 119 121 122 123 124 125 131 132 133 134 135 136 137 138 141 142 143 144 145 152 153 156 157 158 161 162 163 201 202 203 204 205  106 90 47 97 92 131 132 133 144 142 145 143 171 76 123 127 167 152 118 103 113 94 105 100 99 98 121 119 110 116 138 129 150 148 301 321 341 361 381  Source 4 26deg Source 4 26deg Source 4 26deg Source 4 26deg Source 4 26deg Source 4 26deg Source 4 26deg Source 4 26deg Source 4 PARNel Source 4 PARNel Source 4 PARNel Source 4 PARNel Source 4 PARNel S4 PAR NSP S4 PAR NSP S4 PAR NSP S4 PAR NSP S4 PAR NSP S4 PAR NSP Source 4 26deg Beam projector Beam projector Beam projector Source 4 26deg Source 4 26deg Source 4 26deg Source 4 26deg Source 4 26deg Source 4 50deg Source 4 50deg Source 4 50deg Source 4 36deg Source 4 50deg Source 4 36deg Selador Selador Selador Selador Selador  575W 575W 575W 575W 575W 575W 575W 575W 575W 575W 575W 575W 575W 575W 575W 575W 575W 575W 575W 575W 500w 500w 500w 575W 575W 575W 575W 575W 575W 575W 575W 575W 575W 575W 216 216 216 216 216  Color  Position  Unit #  R23 US Bridge R23 SL Boom-1 R23 SR FOH 1 Boom R23 DS Bridge R23 US Bridge R23 SR Gallery R23 SR Gallery R23 SR Gallery R362 SL Gallery R362 SL Gallery R362 SL Gallery R362 SL Gallery R362 LX2 R20 SR Door Boom R20 LX1 R20 LX1 R20 LX2 R20 LX3 R20 DS Bridge R20 US Bridge R357 US Bridge R22 US Bridge R22 US Bridge R41 DS Bridge R41 DS Bridge R41 DS Bridge OW US Bridge OW US Bridge OW DS Bridge OW US Bridge OW LX1 OW LX1 OW LX4 L200 LX4 LX4 LX4 LX4 LX4 LX4  1 1 2 12 2 1 3 4 2 3 4 1 1 2 12 9 9 7 3 9 6 10 11 11 12 13 2 3 7 5 2 11 2 8 3 4 5 6 7  Purpose I Grain shadow J Grain shadow Grain shadow B Grain shadow C Grain shadow D Grain shadow E Grain shadow FG Grain shadow House Tablo House Tablo House Tablo House Tablo House Tablo Tablo top Tablo top Tablo top Tablo top Tablo top Tablo top Tablo top Michael top Jack top Jack top Uganda Shape Uganda Shape Uganda Shape Tree Tree Roof touch Roof touch Roof touch Window Backdrop cloud Backdrop touch Backdrop colour Backdrop colour Backdrop colour Backdrop colour Backdrop colour  38  Appendix H: Color Schedule  Color #  Position  Unit Number  Inst Type  Gel Size  L200 L202  LX4 DS Bridge LX1 LX1 LX2 US Bridge LX1 LX1 LX2 US Bridge DS Bridge DS Bridge LX1 LX2 LX2 LX3 LX3 FOH 1 FOH 1 FOH 1 FOH 1 FOH 2 FOH 2 FOH 2 FOH 2 FOH 1 FOH 1 FOH 1 FOH 1 FOH 1 FOH 2 FOH 2 FOH 2 FOH 2 FOH 2 FOH 2 FOH 2 FOH 2 FOH 2 FOH 2 DS Bridge  8 4 5 1 2 4 4 7 4 7 10 15 14 8 11 6 9 10 4 12 8 12 5 15 9 1 3 9 6 11 11 10 2 1 4 14 8 13 3 6 9  Source 4 36deg Source 4 36deg 6" Fresnelite Source 4 36deg 6" Fresnelite Source 4 36deg 6" Fresnelite 6" Fresnelite 6" Fresnelite 6" Fresnelite 8" Fresnelite 8" Fresnelite 8" Fresnelite 8" Fresnelite 8" Fresnelite 8" Fresnelite 8" Fresnelite Source 4 50deg Source 4 50deg Source 4 50deg Source 4 50deg Strand 6x12 Strand 6x12 Strand 6x12 Strand 6x12 Source 4 50deg Source 4 50deg Source 4 50deg Source 4 50deg Source 4 50deg Alt 360Q 6x12 Strand 6x12 Alt 360Q 6x12 Strand 6x12 Alt 360Q 6x12 Alt 360Q 6x12 Alt 360Q 6x12 Strand 6x12 Strand 6x12 Strand 6x12 Source 4 36deg  6.25" 6.25" 7.5" 6.25" 7.5" 6.25" 7.5" 7.5" 7.5" 7.5" 10 1/8" 10 1/8" 10 1/8" 10 1/8" 10 1/8" 10 1/8" 10 1/8" 6.25" 6.25" 6.25" 6.25"  R02  R09  R09/132  R119  R132  6.25" 6.25" 6.25" 6.25" 6.25" 7.5" 7.5" 7.5" 7.5" 7.5"  6.25" 39  Color #  R132/3208 R20  R22 R23  R357  R362  R41  Position  Unit Number  Inst Type  Gel Size  FOH 1 FOH 1 FOH 1 SL Arch SL Door Boom SL FOH 1 Boom SR Arch SR Boom-1 SR Boom-2 SR Boom-3 SR Door Boom SR FOH 1 Boom FOH 2 DS Bridge LX1 LX1 LX2 LX3 SR Door Boom US Bridge US Bridge US Bridge DS Bridge SL Boom-1 SL FOH 1 Boom SR FOH 1 Boom SR Gallery SR Gallery SR Gallery US Bridge US Bridge LX1 LX2 LX3 SL Door Boom US Bridge US Bridge LX2 SL Gallery SL Gallery SL Gallery SL Gallery DS Bridge DS Bridge  2 5 7 1 1 1 1 1 3 4 1 1 7 3 9 12 9 7 2 9 11 10 12 1 2 2 3 4 1 2 1 8 6 2 2 6 8 1 2 1 4 3 11 12  Source 4 36deg Source 4 36deg Source 4 36deg Alt 360Q 6x9 Source 4 26deg Source 4 26deg Alt 360Q 6x9 Alt 360Q 6x9 Alt 360Q 6x9 Alt 360Q 6x9 Source 4 26deg Source 4 26deg Source 4 19deg S4 PAR NSP S4 PAR NSP S4 PAR NSP S4 PAR NSP S4 PAR NSP S4 PAR NSP Source 4 26deg Beam projector Beam projector Source 4 26deg Source 4 26deg Source 4 26deg Source 4 26deg Source 4 26deg Source 4 26deg Source 4 26deg Source 4 26deg Source 4 26deg PAR 64 PAR 64 PAR 64 PAR 64 Beam projector PAR 64 Source 4 PARNel Source 4 PARNel Source 4 PARNel Source 4 PARNel Source 4 PARNel Source 4 26deg Source 4 26deg  6.25" 6.25" 6.25" 7.5" 7.5" 7.5" 7.5" 7.5" 7.5" 7.5" 7.5" 7.5" 6.25" 7.5" 7.5" 7.5" 7.5" 7.5" 7.5" 6.25"  6.25" 6.25" 6.25" 6.25" 6.25" 6.25" 6.25" 6.25" 6.25"  7.5" 7.5" 7.5" 7.5" 7.5" 6.25" 6.25" 40  Color # R57 R83  Position  Unit Number  Inst Type  Gel Size  DS Bridge LX3 LX4 DS Bridge DS Bridge LX1 LX2 LX3 SR Door Boom  13 4 1 6 16 15 12 10 3  Source 4 26deg PAR 64 PAR 64 PAR 64 PAR 64 PAR 64 PAR 64 PAR 64 PAR 64  6.25"  41  Appendix I: Magic Sheet  42  Appendix J: Cue Sheet-Final Version  Dancing at Lughnasa - Cue list Cue 1  Page Line -  U 5  D  F  WON-KYOON HAN Line/Ac0on SM Q  Descrip0on House + Preset  2  -  -  6  3  -  -  5  4  -  -  3  11  1  -  10  8  With Music  11.1  -  -  10  6  F  12.1  -  -  30  25  F  12.3  -  -  8  5  F  12.5  -  -  6  13  2  4  14  2  28  6  1  14.5  -  -  7  2  F  14.7  -  -  8  6  F  15  -  -  6  F  16  6  28  25  Maggie-”~word of love?”  Outside up  Both  17  7  2  25  Agnes-”~finished this week”  Inside down  Outside  18  8  17  3  18.3  -  -  5  19  -  -  7  20  9  6  2.5  3  SM Q  House to Half  SM Q  House out Preset out  F 1st Michael Monologue  Follow spot  F 6  Michael-”And when~”  Michael area down  Michael-”~to observe him” Change to Act.1 - Inside  Inside  2.5 Maggie-”~tchook-tchooke” 2nd Michael Monologue Follow spot 4  F F  2.5  Michael-”~out of wedlock”  Q. 17  Outside 43  Dancing at Lughnasa - Cue list Cue  Page Line  U  D  F  WON-KYOON HAN Line/Ac0on  Descrip0on  22  9  36  30  Kate enters House  Q. 16  Both  24  10  8  35  Michael exits  Q. 14  Inside  26  14  1  12  Kate-”~mentioned again”  Q. 17  Outside  27  -  -  15  F  28  15  5  15  Kate-”~...jelly...”  Q. 14  Inside  29  -  -  15  F  30  20  3  40  Inside up  Inside  31  -  -  30  32  21  Warmer Inside, Outside  Dance  33  -  -  33  34  22  17  3  Q. 14  Inside  35  -  -  3  F  36  23  38  30  Agnes-”~please Kate”  Q. 16  Both  38  26  8  16  Maggie-”In the garden”  Q. 17 (Window up)  Outside  40  34  3  12  Chris and Gerry exits  Q. 14  Inside  41  -  -  30  42  36  13  25  Q. 17  Outside  43  -  -  25  44  37  6  12  Q. 14  Inside  45  -  -  10  46  41  18  7  8  30  Maggie-”it was this time” F  19 1’20 1’40 1’40  Maggie-”Yaaah” F  3  2  25  Music stop  F 25  Maggie-”...Kate, love...” F  18  Chris enters House F  4  Kate-”~cardigan”  3rd. Michael Monologue Follow spot 44  Dancing at Lughnasa - Cue list Cue  Page Line  U  D  F  WON-KYOON HAN Line/Ac0on  46.1  -  -  7  46.2  -  -  6  46.3  -  -  7  46.5  -  -  6  48  41  36  20  49  -  -  12  50  42  30  8  51  -  -  8  52  42  39  5  2  Kate-”~for our walk”  52.3  -  -  5  2  F  52.5  -  -  2  F  53  -  -  54  -  -  5  54.5  -  -  5  99  -  -  5  100  -  -  5  100.5  -  -  3  101  43  -  6  3  SM Q  101.3  -  -  6  4  F  102  -  -  6  4  F  102.5  -  -  5  8  5  F  4  F  5  F  3rd. Michael Monologue Descrip0on  F 15  10  Jack picks up sticks  Top on Jack  Jack dance  Q. 16  Both  F 6  Kate-”~into a depression” F  5 4  Black out  F 3  SM Q  Intermission in House in  F  3  SM Q  House to Half  SM Q  House out Intermission  F Act.2 - Inside  Inside  F 45  Dancing at Lughnasa - Cue list Cue  Page Line  103  48  39  105  50  1  106  51  18  107  54  109  U  D  F  20  WON-KYOON HAN Line/Ac0on  Descrip0on  Jack-”~Maggie?”  Outside up  Both  Chris and Gerry enters  Inside down  Outside  20  Gerry-”and saw the box.”  Q. 103  Both  4  30  Agnes enters House  Q. 101  Inside  56  14  20  Maggie-”~to find her”  USR  USR up  111  57  12  30  Rose enters House  Q. 101  Inside  113  59  25  6  4  Kate-”~ever again?”  4th. Michael Monologue  Follow spot  113.1  -  -  8  6  F  114  -  -  8  115  61  31  7  Q. 103  Both  115.5  -  -  12  F  117  64  28  23  Gerry enters Outside  Q. 105  Outside  119  65  16  8  Gerry enters House  Q. 101  Inside  120  -  -  8  121  67  2  18  Q. 103  Both  121.5  -  -  8  F  122  69  31  45  Kate-”~heat in the sun”  Dee Amber  Evening  123  70  21  16  13  Maggie-”~I’ve forgotten”  5th. Michael Monologue  Follow spot  123.3  -  -  8  6  F  123.5  -  -  5  3  F  124  -  -  9  18  F 4  20  Michael-”~to myself”  F 10  Chris-”~that’s all I did”  F 46  Dancing at Lughnasa - Cue list Cue  Page Line  U  D  F  WON-KYOON HAN Line/Ac0on  125  71  39  4  3  With Music  125.5  -  -  4  2  F  125.7  -  -  3  2  F  125.9  -  -  3  1  F  126  -  -  2  130  -  -  5  131  -  -  5  131.5  -  -  5  Descrip0on Black out  F  3  SM Q  Curtain Call  SM Q  House Preset  F  47  Appendix K: Production Photos  Act One - The First Monologue (Opening)  Act One - The Cottage  48  Act One - Main Look Outside  Act One - The Second Monologue 49  Act One - Sisters Dance  Act One - The Third Monologue (End of Act One) 50  Act Two - The Cottage From Stage Left  Act Two - The Fourth Monologue 51  Act Two - Main Look Outside  Act Two - The Fifth Monologue (Ending)  52  Chris and Gerry - Dancing (Left)  Michael - The Second Monologue (Right)  53  Jack and Kate - End of Act One (Left)  Gerry and Jack - End of Act Two (Right)  54  

Cite

Citation Scheme:

        

Citations by CSL (citeproc-js)

Usage Statistics

Share

Embed

Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                        
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            src="{[{embed.src}]}"
                            data-item="{[{embed.item}]}"
                            data-collection="{[{embed.collection}]}"
                            data-metadata="{[{embed.showMetadata}]}"
                            data-width="{[{embed.width}]}"
                            async >
                            </script>
                            </div>
                        
                    
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:
http://iiif.library.ubc.ca/presentation/dsp.24.1-0073662/manifest

Comment

Related Items