Theatre Design & Technology - Summer 1979 - 29

Suggested Hook-up
for Dances We Dance
Dimmer

Color

Focus

Clear
825
746 or 561
Clear
Clear
Clear
825
746 or 561
Clear
Clear
Clear

Full Stg. Stay off Legs, Pros. & Bkdrop
Full Stg. Stay off Legs, Pros. & Bkdrop
Full Stg. Stay off Legs, Pros. & Bkdrop
C.S. Stay off Bkdrop
S.L. Stay off Legs & Bkdrop
S.R. Stay off Legs & Bkdrop
Full Stg. Stay off Drop
Full Stg. Stay off Drop
C.S. from Back
D.S. Sides from Back
U.S. Sides from Back
Stay Off
HotSpot
Near % Line
Pros. & Bkdrop
Hot Spot
Stay Off
Near V. Line
Pros. & Bkdrop
U.C.
C.C.
C.C. from Back

1
2
3
4
5
6
7
8
9
10
11

F.0.H.1-4-9-12
F.O.H. 2-5-8-11
F.0.H.3-6-7-10
1P6-13
1 P1
1P17
1P2-7-12-16
1P3-8-11-15
2 P2-3; 3 P4-6
2 P1-4
3 P2-8

12

S.L. Stands 1

Changes

13

S.R. Stands 1

Changes

14
15
16

1P10
1P9
3P5
#1
S.L. Std. 2
#4
S.L. Std. 3
#1
S.R. Std. 2
#4
S.R.Std.3

17
18
19
20
21
22
23
24
25

Clear
825
Clear
Replug

Diag. U.S.R. Stay off Bkdrop

Replug

Oiag. D.S.R. Stay off Pros.

Replug

Diag. U.S.L. Stay off Drop

Replug

Diag. D.S.L. Stay off Pros.

Replug
505
3P3
1P4
Replug
516
3P 7
1P5
#4
Replug
522
S.L. Std. 2 1P14
#4
Replug
5022
S.R. Std. 2 4P1
Sky Blue

Must Reach
825
Cyc "Facets" D.L. Rocker

825 Cyc "Facets" D.L. Journey
825 Cyc "Facets" D.R. Bench
825 Cyc "Facets" U.L. Journey
Other Colors Replug

Chart IV

style and codification of goals in dance lighting. But the idea
of this project is not codification but inspiration. For this
reason I devote time to the why of each recommendation ....
If the lighting has grown organically from the dance, as it
should, the designer will be able to limit the plot and cues to
those which are necessary only for the specific piece. Thus,
where color control is generalized, this should be specific
unless great color control is needed. The lighting is part of the
dance, and suffers greatly when it is tacked on at the end or
near the end. The use of films and slides is the same-all
must grow from the piece as a single entity. Even when the
choreographer has no specific lighting idea, he/she generally
has a textural or concrete feeling about the piece which might
be used as a theme; the light must reflect the depth, not the
surface values of the piece. Any lighting that exists for effect
or to display lighting design is extraneous and should be cut.
Any experimentation should be the logical outgrowth of the
piece. Too many dances are destroyed by over-lighting or
ineptly handled cues-the designer or person responsible for
the lighting should use no more light than he/she can control,
even if this means dancing under worklights.
USITT Summer, 1979

Cue Sheet for Dances We Dance
Preset Black
Cue 1 Warn: With Curtain
2nd crash of music
(5) Go
Top Trapezoids
i F*
1Pcc Lav
i%
Cue 2 Warn: With Cue 1
(8) Go
Immed. Follow
Bottom Trapezoids
IF
1Pcc Lav
3/4
Cue 3 Warn: Right after Cue 2
(15) Go
B FOCS
%
S.L. Sides
Low Fronts
1%
F.O.H. Lav
i
D.L.
Cue 4 Warn: F lifts Btwice
x U.R. before B exit
(10) Go
Bottom Traps
!0
D.S. Sides
10
Cue 5 Warn: Fx U.L.
Anticipate Fexit /Iong bong in music
(5) Go
Top Traps
0
j 1/4
U.L. Sides
follow- B enters
(10)
Top Traps
iF
D.R. Sides
i 3/4
U.R. Sides
1/4
Cue 6 Warn: Bshakes arms legs 2nd lime
B attitude / breaks left
(15) Go
[%
S.L. Sides
Cue 7 Warn: B.O.U.S.
(15) Go
Anticipate Fon S.L.
Top Traps
10
S.R. Sides
F
Blue F.O.H.
I as necessary
Cue 8 Warn: B + Freaching out D.L.
(8) Go
as 0 to C.S.
Sides
10
[ 3/4
C.C. Back
BotTraps
10
Cyc I to balance
Cue 9 Warn: Fholds B- extension of leg
(1 ) Go
Music finish / begin bouncing
Top & Bottom Traps I F
S.L. Sides
i 3/4
Blue F.O.H.
I
Cue 10 Warn: B + Freach C.S.
(7) Go
as B legs reaches F/ plie
Fade to Black
Restore + Ride for Bows
At end of Bows
Bet. spec
D.L. Back

Blusky
3 Pcc Back

I

Floors

I '14

S.R.Sides
Backs
Blue

3/4
13/4
13/4

3/4

Lav Fronts cc 10
Floors exc U.R. 10

U.R. Floor
U.R. Sides

I'll

1Pcc C.L.r
D.L. Sides

1 111
1/4 +

1Pcc C.L.r

10

Bottom Traps
Backs

10

F
F

Backs
1Pcc Clr
Top Trap
F.O.H.

10
i %
3/4
10

S.R. Sides
Backs

iF
i 3/4

I
i 3/4

* Arrows indicate fade up or down to reading indicated.

Chart V

Over 90% of the work of the lighting designer is the setting
of the cues. Except where demanded by the dance or the
contextural change of the dance, one should not execute a
cue. The goa/ of lighting the dance is to light the dance-not
have the dancers accompany the light.
Generally, dance is the study of the body in movement and
the light is used to reinforce the movement, lines, and texture
Theatre Design & Technology

27
Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1979
