Design The Crucible Lighting Designing

Hi, my school is going to be doing a production of the Crucible. I have been asked to design the lighting for the production and wondered if anybody has any advice on how to do this, in terms of equipment i have 24 channels, with about 6 profile spots, 2 Fresnel spots, 2 PC's a few quarter F/PC's 4 LED DMX par cans and a simple pan tilt gobo. we are doing all of the acts, we will be cutting a few of the long speaking parts but keeping in all the main scenes. Any advice on lighting techniques and moods to create would be greatly appreciated.

Many Thanks and i look forward to your help

Charlie Baigent
 
Hi there Charley.
I'd make a quick suggestion of reading over the script and taking notes. Try to get an idea of color for each scene over all. Really pay attention to the imagery in your head as you read the script, and write it down even if it seems a little weird. As you read a scene also, picture the actors saying the lines. See if you can focus in on the lighting and where it's coming from is it bright, is it dark, what are the colors? How do the images make you feel? Don't get to crazy immersed in the technology just yet, start with the looks.
 
I agree with Goph, don't focus on the technology, and what you have quite yet (but keep it in the back of your mind)

This is how I normally go about doing a lighting design.

I normally read the script once without making many notes. Just read it to see what goes on what I pick up etc.
Then I re-read it, and mark down what places make sense for a light que/change.
By this time I've figured out the mood of the play, the certain acts, I've started to get a small understanding of how the scenes flow into each other and what the important moments may be.
Then I'll sit in rehearsal and make notes of blocking that seems important. If I can, I'll see two or more run through of the entire play. I'll change light cues based on what happens at rehearsal and what I can feel out there.
Is there a lot of action happening at one particular spot on the stage? Can I get the director to set people there? (dont be afraid to ask to change the blocking to make the show look better).
Do actors flip on and off a light switch? (okay I know that the Crucible takes place before electricity but maybe your production has been set modern day?)
Talk with the director about their intent, what ideas they may have, which scenes they see as the most important / pivotal to the story. They've read the script more times than you have, they may help you figure out what they want by saying stuff like "dark and moody" or "like a sunlit cold day in new york". Write down those buzz words they use and try to figure out what they mean by it.

When it comes to figuring out angles, color, etc. This is kind of what goes through my mind...

My first concern is always lighting the actor, making sure their face and body can be seen.
After that I consider the different angles of light and what effects they have.
A light coming from about 45 degrees in the air will look pretty natural to the audience.
While a light sitting on the floor in front / below the actor will make the actor look creepy (like a flashlight under the face).
Of course, what angles you can have are based on where you have lighting positions, where you have circuits / where you can run power to.
After deciding on angles, figuring out what colors, what moods do you remember reading? How could the lights on stage match that mood? what did the director say about certain scenes? Did they want a green wash there? how will that tie into the rest of your design? is that the only moment in the play you want that, maybe you want it more other places? Did they actually want a green wash or did they want a green wash because they wanted to portray an idea and that's how they decided it should look? (will that green look good on your actor's?)


Most places have these things, of course the implementation of color choice and specials make each lighting setup different.
-front
-side SR
-side SL
-top
-back

And of course, any of the things I've said here are not solid facts. Lighting DESIGN is an art form, and therefore you can use artistic license to do whatever you really want. Since we are working in theater, we have the unique position of collaborating on art, always. Never is a show only about lighting, set, costumes, actors, etc. A show is everything coming together to tell a story.
 
Hi, my school is going to be doing a production of the Crucible. I have been asked to design the lighting for the production and wondered if anybody has any advice on how to do this, in terms of equipment i have 24 channels, with about 6 profile spots, 2 Fresnel spots, 2 PC's a few quarter F/PC's 4 LED DMX par cans and a simple pan tilt gobo. we are doing all of the acts, we will be cutting a few of the long speaking parts but keeping in all the main scenes. Any advice on lighting techniques and moods to create would be greatly appreciated.

Many Thanks and i look forward to your help

Charlie Baigent

Based on the very limited inventory, I'd suggest using the Profile Spots as warm front light to give you area control, use the fresnels for an even Front "Blue Wash" for the night scenes or to add in a somber/darker mood, the LED PARs as top/back to give you overall control of the environment (color/mood). You simply don't have enough fixtures to do anything elaborate in terms of Sidelight, McCandliss, etc. The most important thing above all else-- Make sure the actors faces can be seen! NOTHING upsets an audience more than lighting that is too dim to see the actors clearly. Once you've given yourself the ability to do that--THEN look at things you can do to enhance the design by adding in other elements.
 
Thank you everyone for excellent advice, i will be taking on board all of your advice! I'm going to read through the script over and over again and make notes as you said. Thank you Brandofhawk for all of that info I will be following all of that. Thank You, I will let you know how i get on with it :)

Charlie Baigent
 
Re: Led Par Cans

You should probably coordinate with the other designers as well.
Who is doing costumes and what colors can you eliminate from your or their design to avoid clashy uglyness?
Talk to the director about what he wants to see, while its your design, its his or her vision.
 

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