Lighting Design > Theater > The Glass Menagerie (12/2015)
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One Act – The Glass Menagerie
One Act To Cinematic Event is a class opened by CalArts Film/Video School, instructed by Deborah LaVine and guest artist James Franco. In-class analysis of The Glass Menagerie, written by American playwright Tennessee Willians, results in performances formally structured, designed and re-imagined through unique casting and staging concepts devoid of preconceived notions around iconic characters and familiar Williams’ tropes. Students learn to analyze scripts, create successful methods for directing actors and communicating with production designers.
In the class of Fall 2015, there were students from different métiers – Film Directing, Theater Acting, Theater Scenic, Lighting, Costume Design, Theater Management, Dance and Music Composing, participating and collaborating their professions in this play. The performance venue was in Film Studio in CalArts. Production period lasted a full semester and presented in the end of the semester.
The scenic structure was two identical stages placing diagonally on two corners of the space; the story was told in parallel, and the lines was spoken alternately or simultaneously by two sets of characters on two stages. Above the stages were projection screens showing live images on the opposite stage. Aside the stages were dancers interpreting the leading character’s sentiment. Cellist played background music or created sound effects live by the stage.
I read the script, watched the movie version and generated my interpretation and design ideas before discussing with directors and other designers. On the following meetings, we tossed ideas back and forth, adjusting our approaches to meet the reality – time, space and budget. Since each scene was directed by different directors, having different actors (skin colors, heights and costumes), I had to considered how to construct the rig for fitting various needs efficiently.
In technical way, I basically doubled the lighting instruments, placing them ideally to create the identical looks on two stages. The venue was a cube with white interior, which caused the light reflecting and bouncing significantly. Meanwhile, the influences by the projection and cameras’ flashlight were all being considered and adjusted to make a desirable ambience. At certain scenes which were on nighttime or power cut situation, the balance and compromise between lighting and video projection became an essential issue. Knowing the gear’s value and applicability well was also crucial for a lighting designer.
This was my first theatrical lighting design piece, also work as a major role in a production in an unfamiliar culture. Conflicts and exhaustions did frustrate me at some points; however, learning the unspoken rules and language in this field as well as experiencing the unique CalArts style’s experimental collaboration were extremely challenging, meaningful and valuable.
One Act To Cinematic Event is a class opened by CalArts Film/Video School, instructed by Deborah LaVine and guest artist James Franco. In-class analysis of The Glass Menagerie, written by American playwright Tennessee Willians, results in performances formally structured, designed and re-imagined through unique casting and staging concepts devoid of preconceived notions around iconic characters and familiar Williams’ tropes. Students learn to analyze scripts, create successful methods for directing actors and communicating with production designers.
In the class of Fall 2015, there were students from different métiers – Film Directing, Theater Acting, Theater Scenic, Lighting, Costume Design, Theater Management, Dance and Music Composing, participating and collaborating their professions in this play. The performance venue was in Film Studio in CalArts. Production period lasted a full semester and presented in the end of the semester.
The scenic structure was two identical stages placing diagonally on two corners of the space; the story was told in parallel, and the lines was spoken alternately or simultaneously by two sets of characters on two stages. Above the stages were projection screens showing live images on the opposite stage. Aside the stages were dancers interpreting the leading character’s sentiment. Cellist played background music or created sound effects live by the stage.
I read the script, watched the movie version and generated my interpretation and design ideas before discussing with directors and other designers. On the following meetings, we tossed ideas back and forth, adjusting our approaches to meet the reality – time, space and budget. Since each scene was directed by different directors, having different actors (skin colors, heights and costumes), I had to considered how to construct the rig for fitting various needs efficiently.
In technical way, I basically doubled the lighting instruments, placing them ideally to create the identical looks on two stages. The venue was a cube with white interior, which caused the light reflecting and bouncing significantly. Meanwhile, the influences by the projection and cameras’ flashlight were all being considered and adjusted to make a desirable ambience. At certain scenes which were on nighttime or power cut situation, the balance and compromise between lighting and video projection became an essential issue. Knowing the gear’s value and applicability well was also crucial for a lighting designer.
This was my first theatrical lighting design piece, also work as a major role in a production in an unfamiliar culture. Conflicts and exhaustions did frustrate me at some points; however, learning the unspoken rules and language in this field as well as experiencing the unique CalArts style’s experimental collaboration were extremely challenging, meaningful and valuable.