Theatre Design & Technology - Winter 1998 - 63

usitt
light, color, intensity, movement and the intended composition of \-isual elements on stage_ This is
a generalized rersion of the information that \rill be fully expressed in the scene breakdO\n1.
Evidence of research (see number 4) may be provided, such as photographs, movies or other
works of art, to justify the designer's conceprual approaches to the project. For instance, a specific painting can be the primaty visualization tool used in the conceptualization process.
2_ SCE:'\"E BREAKDOWWCUE Sy\OPSIS
The scene breakdown/cue synopsis, also known as the lighting score. is a complete breakdown of the play, by act, scene and page number, indicating time of day, season, action, location and so on. These notes should discuss the relationship of light source to object being
lit (angle or point of distribution), color, isolation, washes, quality of light, key and fill, texture and so on.
3. COMMUNICATION TOOLS
The lighting designer must be able 10 communicate abstract ideas about the quality of light
envisioned for a piece and how that lighting will evolve over the course of the production. A
commonly used communication tool is known as a '·storyboard.·· It is a rendered presentation of how the project's lighting will appear in key moments during the performance. (Film
and television directors and designers also use storyboards to map out camera shots.)
Painted renderings of the lighting design can be wonderful tools, however, there is no
point in showing a rendering that does not accurately communicate your thoughts. Abstract
graphics or nonpictorial collages about value, texture, color and pattern are far more effective in communicating ideas than poorly drawn stick figures.
Certain ideas may be effectively depicted by using high contrast, white-on-black
sketches. (see example on page 63) Other possible communication tools include a series of
photographs, a lit scenic scale model, or a computer simulation. (see examples of a computer-produced storyboard on page 63) Whatever communication tools are chosen, they
must accurately represent to other members of the production team exactly how the designer visualizes the lighting for the project.
4. EVIDEKCE OF RESEARCH
Research for a lighting design may include inspirational research that focuses on photography, studio art work, or color in motion. It may also incorporate research that helps the designer establish realistic Lighting by providing information ranging from a description of
illumination from particular fixtures to how a sunset looks at the equator. Adesign may also
require research about specific engineering or product information in order to create particular effects on the stage.
5. CE\TERLIJ\"E SECTIO\
The method of assigning paper Lighting projects in the classroom may suggest that the plan view
Light plot is the most important drawing for a Lighting designer. However, the centerline section is
also important because it must be completed, at least in its rough form, before a Light plot can be
created. Smaller rough sections and rotated sections are also important for placing booms or determining instrumentation. It may be useful to have some rough sections in the portfolio that indicate beam angle calculations.
The centerline section is a graphic drawing in II2-inch or il4-inch scale showing the performance space, the scenery, the hanging positions and Lighting angles for instruments along the
centerline of the lightplot. The dra\ring shO\rs a side vier of the performance space on a plane
perpendicular to the floor, resting on the centerline. All trims should be clearly indicated, including a specification of where trim is to be measured from. The sections should also show all
siglllLines from audience seats.
The centerline section is used to check sightlines and to measure throw distances and lighting angles. An accurate section can also anticipate complications wh.ich often arise when having
to light around scenic units or on multi-level stages. It is essential for determining the placement

TD&T

WINTER

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Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1998

Contents
Theatre Design & Technology - Winter 1998 - 1
Theatre Design & Technology - Winter 1998 - 2
Theatre Design & Technology - Winter 1998 - 3
Theatre Design & Technology - Winter 1998 - Contents
Theatre Design & Technology - Winter 1998 - 5
Theatre Design & Technology - Winter 1998 - 6
Theatre Design & Technology - Winter 1998 - 7
Theatre Design & Technology - Winter 1998 - 8
Theatre Design & Technology - Winter 1998 - 9
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
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