A Lighting Design Process for a Production of Eurydice Directed by Dr
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A LIGHTING DESIGN PROCESS FOR A PRODUCTION OF EURYDICE DIRECTED BY DR. BETH KATTELMAN Thesis Presented in Partial Fulfillment of the Requirements for The Degree Master of Fine Arts in the Graduate School of The Ohio State University By Matthew James Hazard, B.A. Graduate Program in Theatre The Ohio State University 2011 Masters Examination Committee: Professor Mary Tarantino, Advisor Dr. Beth Kattelman Dean Mark Shanda, Arts and Humanities Copyright by Matthew James Hazard 2011 Abstract Sarah Ruhl’s Eurydice is a unique script which challenges the director, cast, and audience with a story of young love, loss of a loved one, and the eternal question: what happens when we die? The show is set in two worlds: the natural world and the underworld. The majority of the show occurs in an underworld that according to Ruhl “resembles the world of Alice in Wonderland more than it resembles Hades.” While in the underworld, the story often visits Orpheus back in the natural world. Differentiating between these locations is central to the lighting design of Eurydice. The design process began on Tuesday, November 23rd, 2010, at our first production meeting when the creative team discussed the previously distributed director’s concept. With one more meeting before the holiday, we looked at preliminary scenic and costume renderings. In January, our production meeting process began in earnest, with the design collaboration moving forward. The rehearsal process began on Wednesday, March 30th, 2011 with a meeting of the director, cast, designers, stage managers, dramaturg, and others. All of this preparation was aiming for the show opening on Thursday, May 5th, 2011. In the following chapters I will discuss the production situation, the director’s concept, script analysis, my design process, and a comprehensive evaluation of the design. For this production we used the 2008 Samuel French version of Eurydice. ii Dedication This document is dedicated to my Mom and Dad who have supported me unfalteringly in everything I have ever attempted in my life. iii Acknowledgements I must first thank everyone who worked very hard to make Eurydice a beautiful and successful production. This includes the director, Beth Kattelman, who took the script to heart and provided us all with . direction. She was the guide when we needed one and a very interested observer when we did not. The entire design team was friendly and approachable throughout and this atmosphere inevitably morphed into a creatively successful production. Everything on stage came together physically because of the tireless dedication of our technical director, Chad Mahan, who did a spectacular job out of the spotlight. I am thankful that Eric Mayer can find an answer to nearly any question within or outside of the University. Throughout the years a number of lighting graduate students have come through our program and completed their thesis productions. I know I learned something in some way from each and every one of them. I sincerely hope the opposite was true. These students include Kristopher Jones, Nan Zhang, Jim Hutchison, Drew Ward, Anjeanette Stokes, Russ Blain, Hannah Rosner, Jason Banks, Greg Owen, Matt McCarren, Jordan Kardasz, Anthony Pellecchia, Alex Kyle-Dipietropaolo, and Jarod Wilson. iv I want to thank the Design Technology faculty at our Department who has been inspiring over the years through their instruction and design work of their own. I like to think I have learned much from simply observing. I especially want to thank my advisor of twenty years, Mary Tarantino. As a person, Mary has been there for me in any way needed for half of my life. As an artist, she has answered any and all questions I have ever had whenever I had them. v Vita 2000…………………………B.A. Theatre, The Ohio State University, Columbus, OH 2004…………………………Lighting Design, Rock and Roles Shakespeare* 2004…………………………Lighting Design, Ghost Stories of the Blacksmith Curse* 2005…………………………PVSee Lighting Fixture selected for Exhibition at USITT Tech Expo 2005…………………………Lighting Design, Cowboy Mouth* 2006…………………………Lighting Design, The Coronation of Poppea 2007…………………………Lighting Design, La Calisto 2007…………………………Lighting Design, The Elixir of Love 2007…………………………Lighting Design, Woman in Black 2007…………………………Lighting Design, English Therapy* 2008…………………………Lighting Design, The Magic Flute 2008…………………………Lighting Design, The Labyrinth of Desire* 2008…………………………USITT Ohio Valley Peggy Ezekiel Award of Distinction 2008………………………....Lighting Design, Letters Home (Theatro Technis, London) 2008…………………………Lighting Design, Noises Off* 2009…………………………Received certification as an ETCP Entertainment Electrician vi 2009…………………………Lighting Design, The Marriage of Figaro 2009…………………………Lighting Design, Woman in Black 2009…………………………Lighting Design, Palmer Park* 2010…………………………Lighting Design, Faramondo 2010…………………………Lighting Design, Shipwrecked! The Amazing Adventures of Louis de Rougemont (as told by himself) 2011…………………………Lighting Design, Eurydice* 2011…………………………Lighting Design, Hamlet * Indicates a production for The Ohio State University Department of Theatre Fields of Study Major field of study: Theatre Other studies: Lighting Design and Technology, Lighting Console Programming, International Theatre, Photography, Theatre Education vii Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iii Acknowledgments.............................................................................................................. iv Vita ..................................................................................................................................... vi List of Tables .......................................................................................................................x List of Figures .................................................................................................................... xi List of Production Paperwork ............................................................................................xv List of Plates .................................................................................................................... xvi Chapter 1: The Producing Situation .....................................................................................1 Chapter 2: The Director’s Concept and Design Approach ..................................................6 Chapter 3: Script Analysis and Design Research ..............................................................13 Chapter 4: The Production Process ....................................................................................32 Chapter 5: Evaluation of the Design ..................................................................................53 References ..........................................................................................................................61 Research Image Citations ..................................................................................................62 Appendix A: The Director’s Concept ................................................................................64 Appendix B: Lighting Design Concept..............................................................................67 Appendix C: Production Paperwork ..................................................................................68 viii Appendix D: Additional Figures ......................................................................................105 Appendix E: Plates ...........................................................................................................131 ix List of Tables Table 1. Conventional Lighting Fixtures .............................................................................2 Table 2. Automated Lighting Fixtures and Accessories ......................................................2 x List of Figures Figure 1. Set in the Pre-show Cue .....................................................................................10 Figure 2. The Nearly Completed String Room ..................................................................19 Figure 3. Apollo Pattern MS-1315 Dismay .......................................................................20 Figure 4. Research Image: River Near Nantes, France at Night ........................................22 Figure 5. Research Image: Son Doong Cave in Vietnam ..................................................23 Figure 6. Research Image: Son Doong Cave in Vietnam ..................................................23 Figure 7. Research Image: Night’s Song by Ashayaa .......................................................24 Figure 8. Research Image: Nasty Man’s Apartment ..........................................................25 Figure 9. Research Image: Photo for the Fall by Elena Kalis ............................................26 Figure 10. Research Image: Photo for the String Room ....................................................27 Figure 11. Research Image: Gates of Hell .........................................................................28 Figure 12. LED Ribbon Tape.............................................................................................29 Figure 13. Photo of LED Ribbon Tape under Corrugated Plastic Test .............................30 Figure 14. White Model Test Shot for Nasty