Lighting Designer

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Jean Rosenthal 1912-1969 The first “Lighting Designer” “I remember how I felt each time I moved into the atmosphere of light Jean had created for me…till the last spot irised out on my face, and I was thankful for the cover of darkness to hide my tears.” ~Angela Lansbury http://www.susanscharfman.com/genius-passion-and-the-magic-of-light.html “Lighting affects everything light falls upon. How you see what you see, how you feel about it, and how you hear what you are hearing. Replace the ‘a’ with an ‘e’ and you get lighting effects!” ~Jean Rosenthal http://www.susanscharfman.com/genius-passion-and-the-magic-of-light.html She used light’s form, color, and movement to express the intention of a performance. “Light is tactile to me,” she said. “It has shape and dimension.” Integrating light into the overall texture of a production, Jean’s mantra was: “the most successful and brilliant work a lighting designer can do is usually the least noticeable.” Theatrical lighting today has its origins in her pioneering work. ~Susan Scharfman- Jean Rosenthal’s cousin http://www.susanscharfman.com/genius-passion-and-the-magic-of-light.html Innovations • technical engineer + artist • the position/job/title of the Lighting Designer- first “credited” lighting designer • approach to lighting dance- both ballet & modern dance (Balanchine, Martha Graham) • approach to lighting Musicals- lighting design for West Side Story, Fiddler On The Roof, Cabaret https://www.ibdb.com/broadway-cast-staff/jean- rosenthal-25879 Balanchine’s Four Temperaments opened and flopped because of overly elaborate European backdrops that Jean said were “clunky, outdated.” She rescued the production for the New York City company with her less is more blue cyclorama and unique lighting design. An instant success, Four Temperaments remains part of the New York City Ballet repertoire. Until his death, Balanchine never did another production without her. ~Susan Scharfman- Jean Rosenthal’s cousin http://www.susanscharfman.com/genius-passion-and-the-magic-of-light.html http://www.stagelightingprimer.com/index.html?slfs-right- frame.html&2 Lighting Paper Work The Light Plot- Lighting Plan (plan view) The Section Plot The Instrument Schedule The Channel Hook-Up The Focus Chart The Magic Sheet The Cue List or Cue Sheets examples-http://www.theatrecrafts.com/pages/home/topics/ lighting/lighting-design-paperwork/ http://livedesignonline.com/blog/spider-man-lighting- paperwork Fun Home Paper Work http://stage-directions.com/current-issue/28-feature/8291-time- and-memory.html McCandless Method https://www.d.umn.edu/~mharvey/th1501lightplot.html .

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Me and Orson Welles Press Kit Draft
presents ME AND ORSON WELLES Directed by Richard Linklater Based on the novel by Robert Kaplow Starring: Claire Danes, Zac Efron and Christian McKay www.meandorsonwelles.com.au National release date: July 29, 2010 Running time: 114 minutes Rating: PG PUBLICITY: Philippa Harris NIX Co t: 02 9211 6650 m: 0409 901 809 e: [email protected] (See last page for state publicity and materials contacts) Synopsis Based in real theatrical history, ME AND ORSON WELLES is a romantic coming‐of‐age story about teenage student Richard Samuels (ZAC EFRON) who lucks into a role in “Julius Caesar” as it’s being re‐imagined by a brilliant, impetuous young director named Orson Welles (impressive newcomer CHRISTIAN MCKAY) at his newly founded Mercury Theatre in New York City, 1937. The rollercoaster week leading up to opening night has Richard make his Broadway debut, find romance with an ambitious older woman (CLAIRE DANES) and eXperience the dark side of genius after daring to cross the brilliant and charismatic‐but‐ sometimes‐cruel Welles, all‐the‐while miXing with everyone from starlets to stagehands in behind‐the‐scenes adventures bound to change his life. All’s fair in love and theatre. Directed by Richard Linklater, the Oscar Nominated director of BEFORE SUNRISE and THE SCHOOL OF ROCK. PRODUCTION I NFORMATION Zac Efron, Ben Chaplin, Claire Danes, Zoe Kazan, Eddie Marsan, Christian McKay, Kelly Reilly and James Tupper lead a talented ensemble cast of stage and screen actors in the coming‐of‐age romantic drama ME AND ORSON WELLES. Oscar®‐nominated director Richard Linklater (“School of Rock”, “Before Sunset”) is at the helm of the CinemaNX and Detour Filmproduction, filmed in the Isle of Man, at Pinewood Studios, on various London locations and in New York City.
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Theatre 445: Lighting
7KHDWUH/LJKWLQJ :LQWHU 6DPSOH([DP)LUVW4XL] 6DPSOH([DP6HFRQG4XL] /HFWXUH7RSLFV_'HVLJQ3URMHFWV :RUNVKHHWV_/LJKWLQJ/LQNV Instructor: /DUU\:LOG, Assistant Professor of Theatre Office: JFAC 124A Phone: 626-2513 Office Hours: 2pm to 3pm, Monday through Friday E-mail address: [email protected] Course objective: To provide the student with a fundamental knowledge of the history, principles, procedures and techniques of theatrical stage lighting. Text: 7KHDWULFDO'HVLJQDQG3URGXFWLRQ $Q,QWURGXFWLRQWR6FHQH'HVLJQDQG&RQVWUXFWLRQ/LJKWLQJ6RXQG &RVWXPHDQG0DNHXS (4th edition) by J. Michael Gillette. (Mountain View, CA: Mayfield Publishing Company. 2000). Supplemental material: $%LEOLRJUDSK\RI6HOHFWHG/LJKWLQJ/LWHUDWXUH -HDQ5RVHQWKDO$3KRWR(VVD\RQ/LJKW 7KH/LJKW/DE Class Meetings: Tuesday and Thursday, 11:00am to 12:15pm in JC 129. Lecture Topics: x %ULHI+LVWRU\RI6WDJH/LJKWLQJ x /LJKWLQJDQGWKH&RPSXWHU x 7KH)XQFWLRQVDQG4XDOLWLHVRI/LJKW x &RORULQ/LJKW x 0RGHOLQJZLWK/LJKW x /LJKW3ORW/LVWVDQG6FKHGXOHV x /LJKWLQJ,QVWUXPHQWV(OOLSVRLGDO5HIOHFWRU6SRWOLJKW x )UHVQHO/HQV6SRWOLJKW x 3$5FDQ x )ROORZ6SRW x (OOLSVRLGDO5HIOHFWRU)ORRGOLJKW %RUGHU/LJKW x )LUVW/LWWOH4XL] x &RQWURO6\VWHPV x (OHFWULFDO7KHRU\DQG3UDFWLFH x $Q$SSURDFKWR/LJKWLQJ'HVLJQ x Lighting the Musical x /LJKWLQJWKH$UHQDDQG7KUXVW6WDJH x /LJKWLQJWKH'DQFH x Concert Lighting Paper Projects... x &UHDWLQJD/LJKWLQJ&RPSRVLWLRQZLWK9LUWXDO/LJKW/DE x 'HYHORSLQJD5HSHUWRU\/LJKW3ORW x 7KH)LQDO3URMHFW WorkSheets x *HO:RUNVKHHW x %HDP:ULJKW:RUN6KHHW x ,QVWUXPHQW&KRLFH:RUNVKHHW Each student is expected to... 1. $WWHQG a performance (or dress rehearsal) of both 7KH%XQJOHU (February 19 - 22) and 7KH/DUDPLH3URMHFW (April 23 - 26), 2. Demonstrate his/her ability to IRFXV a Fresnel lens spotlight, 3. )RFXV and VKXWWHU an Ellipsoidal Reflector Spotlight, 4. Create a SDWFK and H[HFXWH a series of Qs on the MainStage (6WUDQG0DQWUL[0;) console, 5.
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Staging Orson Welles
STAGING ORSON WELLES Matthew Christopher Gretzinger A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2010 Committee: Dr. Jonathan Chambers, Advisor Dr. Stephannie Gearhart Graduate Faculty Representative Dr. Scott Magelssen Dr. Cynthia Baron ii ABSTRACT Dr. Jonathan Chambers, Advisor In this study I consider the legacy of Orson Welles as a stage figure puppeted in a collective theatre of memory. The study builds on Jonathan Rosenbaum's observation that Welles remains a "mythical and ideological creature" and a "site for the acting out of various fantasies." Referencing Marvin Carlson's The Haunted Stage and Joseph Roach's Cities of the Dead, I apply their insights to three plays that feature Welles as a pivotal character: Jason Sherman's It's All True, Austin Pendleton's Orson's Shadow, and the Naomi Iizuka-Anne Bogart collaboration, War of the Worlds. My central concern is to consider the ways we remember and stage Welles and, in light of Rosenbaum's insight, to also question the myths and ideologies those stagings act out. A corollary to my interrogation of Welles's stage figure as a site of memory is my conviction that the collective memory of Welles's life and work might be staged more usefully. The plays considered approach Welles from different perspectives. However, all – to varying degrees – assess negative judgments. Welles's legacy has been subject to conflicting interpretations, and the arbitration of his historical and remembered significance is a process with important consequences.
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A Brief Outline of the History of Stage Lighting
A Brief History of Stage Lighting Página 1 de 13 A Brief Outline of the History of Stage Lighting Reference: Bel Geddes, Norman. Miracle in the Evening . Garden City, NY: Double Day and Co., Inc. 1960 Bergman, Gosta Mauri. Lighting in the Theatre . Stockholm: Almqvist & Wiksell International. 1977 Fuchs, Theodore. Stage Lighting. New York: B. Blum. 1963 (1929) Hartman, Louis. Theatre Lighting: A Manual of the Stage Switchboard . New York: DBS Publications. 1970 (1930) Owen, Bobbi. Lighting Designers on Broadway: 1915-1990 . New York: Greenwood Press. 1991. Owens, Bobbi. Scene Designers on Broadway . New York: Greenwood Press. 1991. Pendleton, Ralph. The Theatre of Robert Edmond Jones . Middletown, CT. Wesleyan University Press. 1958 On the Internet: Kliegl Bros.Collector's Society Lighting Equipment - Lighting Designers - Lighting Educators - Time Line: 1880... Lighting Equipment General Illumination: Candle - Oil Lamp - Gas - Electric Specific Illumination: Lime Light - Arc Light - Electric Spotlight General Illumination General illumination provides a diffuse, shadow less, wash of light over the entire stage space. Candle Italy - 1580-1618: Candles are introduced in both the academic ( Teatro Olimpico ) and court ( Teatro Farnese ) theatres. England - 1600s: Used in the private (indoor) theatres and Ingo Jones' (1573-1652) Court Masques . 1660s: Reintroduced during the English Restoration. Mounting Positions: Chandeliers over both the stage and the house, Front edge of the stage (footlights), and "Ladders" between each pair of side wings. Oil Lamp 1780s: Swiss chemist Aime Argand develops the modern oil lamp which soon replaces the candle as the primary light source. Mounting Positions: The same as with candles-- Chandeliers , Foot lights , and Ladders in the wings.
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Creating West Side Story
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SETTING the SCENE: DIRECTORIAL USE of ANALOGY in TWENTIETH-CENTURY AMERICAN SHAKESPEARE PRODUCTIONS by LAWRENCE RONALD TATOM B
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Orson Welles' Intermedial Versions of Shakespeare in Theatre, Radio and Film
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Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Hcweii Information Company 300 Nonfi Z ee b Road. Ann Arpor. Ml 48106-1346 USA 313761-4700 800/521-0600 Order Number 9427826 The rise of directorial influence in Broadway Shakespearean production: 1920-1950 Weiss, Steven Marc, Ph.D. The Ohio Stato University, 1994 UMI 300N.ZeebRd.
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Orson Welles' Intermedial Versions of Shakespeare in Theatre, Radio and Film by Clara Fernindez-Vara B.A
Orson Welles' Intermedial Versions of Shakespeare in Theatre, Radio and Film by Clara Fernindez-Vara B.A. English Studies Universidad Aut6noma de Madrid, 2000 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER 2004 © 2004 Clara Fernaindez-Vara. All rights reserved The author hereby grants MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. Signature of author: adg!!r--- Comparative Media Studies July 27th,2004 Certified by: Peter S. Donaldson Professor of Literaure, Section Head, Literature Thesis Supervisor Accepted by: Henry Jenkins Prof ss iterature and Comparative Media Studies MASACHURES INs'rFu. Chairman, OF TEOHNOLOGY Director of Comparative Media Studies FEB 1" 2008 ARCHIVES LIBRARIES ORSON WELLES' INTERMEDIAL VERSIONS OF SHAKESPEARE IN THEATRE, RADIO AND FILM by Clara Fernindez-Vara B.A. English Studies, Universidad Aut6noma de Madrid (Spain), 2000 Thesis Supervisor: Peter S. Donaldson Submitted to the Department of Comparative Media Studies in partial fulfilment of the requirements for the degree of Master of Science in Comparative Media Studies at the MassachusettsInstitute of Technology, September 2004. © 2004 Clara Fernindez-Vara. All rights reserved The author thereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document
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Study Guide-West Side Story
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Dissertation Is to Determine That Voice And, in So
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