Saturday, July 10, 2004
Lighting It Up
More in our continuing series on what goes on behind the scenes to put a show together:
Each of the "Red" designers has agreed on two things:
1. Compromise is a huge part of being a successful designer
and
2. The set design is the first component to consider in a production’s overall blueprint
Meet lighting designer, Steve Mannshardts:
"Think of the set design as a canvas and the lighting design as the paint. The set designer gives me a shape, texture and base color and I add many things to the visual look to create more imagery."
I guess when you thrown in costumes & make-up, you're talking about muti-media art!
So, where does compromise come in? When you're reconciling artistic vision with physical reality.
Here's an example to look for when you see "Red."
Upstage you will see what we're calling the "opera box." It's literally an enclosed box with only the fourth-wall open to the audience, a "theatre" up on stage. Set designer Ching -Yi Wei envisioned this theatre to be lit, just as the actual theatre, with beautiful colors and textures.
But how would the light get in to this closed space? If you look around the Lucie Stern theatre you will see lights everywhere, but this "opera box" has only the one side open to access that light. Ultimately, to light this box as desired, there will need to be secret openings in the box to allow light in. The challenge is to maintain the impression of a closed box, yet have it lit with beautiful colors.
Yes, this presents Mannshardt with a challenge, but also the opportunity to really tap into his most creative impulses. And how are those creative impulses coming along? Well, in his own words:
"Imagine me, at this point in time, as a painter, standing in front of a blank canvas. I am laying out my work table with the various tubes of paint and brushes that I intend to use as I create these pictures. Right now, there are hundreds of images flashing through my mind that I want to create onstage. Only after ten days of technical rehearsals when I am painting, carving and sculpting with light, will I be able to answer that one. And that night, of course, would be opening night."
Each of the "Red" designers has agreed on two things:
1. Compromise is a huge part of being a successful designer
and
2. The set design is the first component to consider in a production’s overall blueprint
Meet lighting designer, Steve Mannshardts:
"Think of the set design as a canvas and the lighting design as the paint. The set designer gives me a shape, texture and base color and I add many things to the visual look to create more imagery."
I guess when you thrown in costumes & make-up, you're talking about muti-media art!
So, where does compromise come in? When you're reconciling artistic vision with physical reality.
Here's an example to look for when you see "Red."
Upstage you will see what we're calling the "opera box." It's literally an enclosed box with only the fourth-wall open to the audience, a "theatre" up on stage. Set designer Ching -Yi Wei envisioned this theatre to be lit, just as the actual theatre, with beautiful colors and textures.
But how would the light get in to this closed space? If you look around the Lucie Stern theatre you will see lights everywhere, but this "opera box" has only the one side open to access that light. Ultimately, to light this box as desired, there will need to be secret openings in the box to allow light in. The challenge is to maintain the impression of a closed box, yet have it lit with beautiful colors.
Yes, this presents Mannshardt with a challenge, but also the opportunity to really tap into his most creative impulses. And how are those creative impulses coming along? Well, in his own words:
"Imagine me, at this point in time, as a painter, standing in front of a blank canvas. I am laying out my work table with the various tubes of paint and brushes that I intend to use as I create these pictures. Right now, there are hundreds of images flashing through my mind that I want to create onstage. Only after ten days of technical rehearsals when I am painting, carving and sculpting with light, will I be able to answer that one. And that night, of course, would be opening night."
