![]() ![]() The Lighting Archive is now presenting lighting paperwork from the world of "ROLLING REPERTORY" (a different show on stage every night of the week and a preparatory rehearsal onstage of something different during the day). The lighting design must fit into available equipment and time. This style of commercial theatre with its large budget, lengthy production periods and nothing changing during the run enables the lighting designer to try new equipment, focus and cue it elaborately and then leave it be for the run.Īmerican REGIONAL Theatres and Opera companies, like Broadway, do one show at a time but they own most of their lighting inventory and their production schedules are short and fixed in advance. The lights and their focus are maintained by the electrics crew for the duration of the run of the show, which in some cases is many years. Lighting equipment can be hung in locations customized for the specific needs of the scenery a diagonally hung cyc lighting position for a diagonally hung backdrop. Everything is either rented or purchased for the show. ![]() Because a dance company is always on tour, time is unusually tight: a light plot can never really be larger than something that can be hung and focused in a day next day, old cues reviewed in the morning the new ballet cued in the afternoon during spacing and a run Opening that night.īROADWAY and other COMMERCIAL forms load into essentially empty theatres seating, a front curtain, a system for hanging and brick walls. DANCE designers must work in the light plots that accomplish the lighting for the other works in the repertory of the company and other works on the same program. ![]() In fact, the aesthetic choices available to lighting designers are severely impacted (or enriched) by the milieu in which they work. Lighting designers do not work in a vacuum. Explanation of Genres Catagories and Description of The DocumentsĪN EXPLANATION OF GENRES CATAGORIES and why they matter. ![]()
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