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DANCING AT LUGHNASA: The Memory Flowing with the Lighting by Won-Kyoon Han M.A., Dept. of Drama and Cinema, Cheong-ju University, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS in THE FACULTY OF GRADUATE STUDIES (Theatre) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2013 © Won-Kyoon Han, 2013 Abstract The purpose of this thesis is to document and describe the design process and final lighting design for the University of British Columbia (UBC) production of Dancing at Lughnasa. This play was written by Brian Friel. The production opened November 15th, 2012 in the Frederic Wood Theatre and ran until December 1st, 2012 as part of the Theatre at UBC 2012-2013 season. The show was directed by John Cooper and stage managed by Cat Robinson. The creative team included Carolyn Rapanos (Set and Properties), Andrew Tugwell (Sound) and Stephanie Kong (Costume). The Lighting Design was facilitated by Clayton Brown and Zickey Zhao (Assistant Lighting), and UBC undergraduate theatre students. The thesis begins with an introduction of the play. I then examine the progress of the lighting design, describing technically and conceptually how I developed a theme, a concept, and a plan. Finally, I summarize my own experience of the production. Images and photos of the design are included to support the explanations. ii Table of Contents Abstract .......................................................................................................................ii Table of Contents ......................................................................................................iii List of Figures .............................................................................................................v Acknowledgment .......................................................................................................vi Dedication .................................................................................................................vii 1. Introduction .............................................................................................................1 2. Design Process ......................................................................................................3 2.1 Initial Theme and Concept .............................................................................3 2.2 Meeting with Director and Set Designer ........................................................4 2.3 A Theme, A Concept, and A Plan ...................................................................7 3. Design Development ..............................................................................................8 3.1 Analysis of The Set Design ............................................................................8 3.1.1 The Ceiling Units ...........................................................................................8 3.1.2 The Floor in The Cottage ...............................................................................9 3.1.3 The White Backdrop ......................................................................................9 3.1.4 The Grain Stalks and The Stone Fence ........................................................9 3.1.5 The Floor of The Yard ..................................................................................10 3.2 Discovering Challenges and Solutions ........................................................11 3.2.1 The Biggest Challenge: The Grain Stalks ...................................................11 3.2.2 Most Effective Solution: The Backdrop ........................................................13 3.2.3 The Absence of The Walls ..........................................................................15 3.2.4 An Ambush: The Ceiling Units .....................................................................16 3.2.5 Isolating Michael ..........................................................................................16 3.2.6 Grotesque Look for Jack’s dance ................................................................18 3.2.7 A Tree ..........................................................................................................19 Chapter 4: From Set Up To The First Performance ...............................................21 Chapter 5: Conclusion .............................................................................................23 Appendices ...............................................................................................................24 Appendix A: Preliminary Cue Synopsis .............................................................24 Appendix B: Sample of Blocking Note ...............................................................26 Appendix C: Sample of Preliminary Photometry ................................................28 iii Appendix D: Wish List ........................................................................................30 Appendix E: Lighting Plot ...................................................................................31 Appendix F: Instrument Schedule ......................................................................32 Appendix G: Channel Hook Up ..........................................................................36 Appendix H: Color Schedule ..............................................................................39 Appendix I: Magic Sheet ....................................................................................42 Appendix J: Cue Sheet-Final Version ................................................................43 Appendix K: Production Photos .........................................................................48 iv List of Figures Figure 2.1: Color Rendering of The Initial Set Design ..................................................4 Figure 2.2: Sketch of The Set Design - Second Draft ..................................................4 Figure 2.3: Example of Shadows and Silhouettes with The Grain Stalks ....................6 Figure 3.1: The Set Model ............................................................................................8 Figure 3.2: The Color Rendering of The Floor ............................................................10 Figure 3.3 Test of Casting Shadow of The Grains ......................................................11 Figure 3.4: The Grain Stalks - Monologue ..................................................................12 Figure 3.5: The Grain Stalks - Regular .......................................................................12 Figure 3.6: The Backdrop - Monologue ......................................................................13 Figure 3.7: The Backdrop - Act One ...........................................................................14 Figure 3.8: The Backdrop - Act Two ...........................................................................14 Figure 3.9: The Window Gobo Effect ..........................................................................15 Figure 3.10: The Ceiling Units Covered with Gobo ....................................................16 Figure 3.11: Source Four Follow Spot Kit ...................................................................17 Figure 3.12: Installed Source Four Follow Spot .........................................................17 Figure 3.13: Different Looks in The Same Scene Between Michael and Kate ...........18 Figure 3.14: End of Act One - Uncle Jack Drumming .................................................19 Figure 3.15: The Leaf Gobos .....................................................................................20 Figure 4.1: The Sample of Lighting Change Sequence .............................................22 v Acknowledgment I would like to express my gratitude to Mr. Robert Gardiner and Mr. Brad Powers for their long term support, to Mr. Keith Smith and Mr. Jim Fergusson for their unlimited advice and support, and to Mr. John Cooper, Ms. Carolyn Rapanos, Mr. Andrew Tugwell, Ms. Stephanie Kong, and Ms. Cat Robinson for the opportunity to work on this production with such a great creative team. I would also like to thank the following individuals and organizations: The electrics crew including, Mr. Matthew Norman, Mr. Clayton Brown, Ms. Zickey Zhao, Mr. Chengyen Boon, Ms. Rebecca Burks, Ms. Hanaka Ebi, Ms. Diane Chu, Mr. Daniel Tessy, and Mr. Aiden McCann. The staff in the Department of Theatre including, Mr. M. Norman Young, Mr. Jay Henrickson, Ms. Deb Pickman, and Mr. Gerald van der Woude . vi Dedication To my mother who believes in my potential, supports my life, advises my works, and always loves me. vii 1. Introduction Dancing at Lughnasa, by Brian Friel (January 1929 ~), an Irish dramatist, author and director, was first performed at the Abby Theater, in Dublin, in April 1990. It has become one of the most successful and universally acclaimed plays of the decade, earning its author, director and cast the most prestigious awards in Britain, the US and Australia. In 1998, Dancing at Lughnasa was adapted to the screen in a film directed by Pat O'Connor and starring Meryl Streep. This play is loosely based on the lives of Friel's mother and aunts who lived in Glenties on the west coast of Donegal. Lughnasa is a traditional Gaelic harvest festival celebrated on the first of August in honor of Lugh, the deity of storms and lightning, who triumphed over the sprits of the underworld. Dancing at Lughnasa is a memory play. Michael recalls the time of the Festival of Lughnasa in

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