Lighting moments 10, 11, 12

Lighting moment 10:

I was sitting in my room the other day with my blinds up. It was the early afternoon and it was only beginning to get dark. I was deeply immersed in a paper that I was working on, and after an hour of intently working on the paper, I looked up, out my window, and realized that it was completely dark. The gradual coming on of darkness is something that could be especially effective in theatrical and dance lighting.

This could be replicated in a dance space by slowly dimming the lights in isolated patches in the space. Over the course of time, as the lighting dims, the space could go from being completely light to completely dark, without the audience recognizing any sudden shifts in lighting.

Lighting Moment 11:

The other night, as I was leaving the music library, I noticed how the slowly falling snow affected the light patterns on the ground. The weak, yellow light of the lamps on campus, create large circles around their sources. As the snow became more intense, the granular variations in the circle of light became more and more pronounced.

The recreation of this is something that, techinically, I'm not sure how to re-create. The first idea that comes to mind is a concept of moving Gobos. An artificial recreation of this could be achieved by stacking Gobos on top of Gobos over time. This would create the time-lapse of intensity and also stay true to the paterns on the floor created by the snow.

Lighting Moment 12:

I woke up the other night in the early morning and couldn't fall back asleep. I went on my computer and messed around on the internet for a while. After about a half hour of messing around on the internet, I realized that I hadn't bothered to turn any lights on. I examined the light surrounding me at the computer.

Everything was illuminated with a blueish-chrome hue. The shape of the light was circular and did not light a clear pattern on any surfaces. The effect reminded me of a dim sidelight, dramatically shadowing it's surroundings but not making an explicit shape on the floor.

Lighting Moments 10, 11, 12 AV 360

10) Two days ago I had a dream in which I was going through a black tunnel with blue rectangular slits/ openings/ windows on the walls. I couldn't get out through the side blue things, but I was running through the tunnel trying to get somewhere. Who knows where. I probably would just project blue rectangles on the cyc from the front (maybe a stripy gobo with a blue gel could do the trick) and if I wanted to recreate the running, I could go horizontally across the stage. I could even have like 10 people running back and forth!

11) I saw this video of Alessandra Ferri (the ballet dancer) and she was dancing on this little rectangular stage on the beach with a bright light shining on her from each corner. It would be really awesome (and hard?) to put another stage on the stage. It seemed like Ferri was dancing for herself at her favorite place. Maybe the dancer could set up the lights (fresnels or something kind of soft but strong) at each corner. Then when she is done, she moves the lights. It would also be nice to create a blue watery effect (with the BAX & high sides) on the real floor so it seems like she is at the beach or near some body of water.

12) After watching the matrix trilogy, I think it would really cool to try out some neon colors onstage. Maybe with a neon green grid gobo shining on the floor. Maybe neon yellow specials to create 9 yellow circles on the floor to travel around in. Maybe neon rays shining in all places like a club (nah, that would cheesy). I'd probably go with the neon grin grid because it reminds of something high tech and sophisticated. I don't think any other lighting would be necessary. Well maybe some front light since we want our dancers to be seen!

Sophia Levine, DANC 360, Lighting Moments 10-12

Lighting Moment 10
As I walked the path that cuts in front of Twilight Hall, I noticed that the morning sunlight caught the filaments of hundreds of spider webs that bridged the tips of the grass.

The only way I can think of to make this happen onstage is to have fishing wire making webs across the stage and sporadically places sidelights that travel through. What a tripping hazard it would be for the dancers though!

Lighting Moment 11
We used to drive to our lake house at Conneaut Lake so that we would arrive just in time for the sunset. I would curl up in the back seat and close my eyes. The sunlight would filter through my eyelids creating a warm red/orange glow.

I am not sure how you could create this lighting mood onstage. Maybe some sort of backlit scrim would do the trick.

Lighting Moment 12
Here’s a silly one. I recently moved into a new room and for the first time have a full length mirror to model in. My mentor Tyra tells me to learn my angles, to catch the light with my best features. To take full advantage of my room’s beauteous down pool—created by a school-issued energy-saving white fluorescent bulb—I tilt my right or left cheekbone to the sky. My face becomes a sculpture of shadow and light. In essence I move my face so that the down pool becomes sidelight. Oh how I love sidelight!

To create this effect onstage: sidelight sidelight sidelight. Opposing sidelight with complementary colors could further enhance the sculpting effect.

Lighting Moment 12, Cat 360

In class the other day, my professor used the projector and after he was done with it three spot of light that looked like a ven diagram continued to shine on the board. The circle on top was a light green, like keylime, but a bit more vibrant. The two on the bottom were a light blue and in between them the colors mixed so they faded into each other.

This could be recreated on the floor, on the cyc and/or dancers, or a special screen. Any of these options could be recreated in a variety of different sizes and one could use any of the lights to make them; which you used would simply depend on the size and how concentrated or diffused you want the light to be.
If I ever used this design I would want to use it on the floor and make three large pools of lights. People lower to the level of the stage floor might not be able to see the effect as well, but I would hope the color change would show up on the dancers when they passed through/danced in the "diagram."