I really like the history piece about doing different types of shows at different times of days. That's a precursor to lighting shows based on the emotion of them. The lighthouse light part was interesting to me, because I have seen different lighthouse lights up north, and I have noticed that they have rings like that. Wow that's amazing that just the oil from your finger can burn so hot it will explode. The voice changing light was cool, I feel like that could have interesting implications in a production.
--Oh for a dance or concert, that makes more sense.
Who does physics in elementary school? I'm with you Grace.
"Are there people who farm lights" Said Delia. "I'm sorry I really don't know" Grace ;P
Dealing with the short intro videos. Maybe you wouldn't use a backlight if the ensemble was being a part of the scenery.
He left the LED light on and its bugging me.
I love that forest light filter effect when it is done on stage. (Why are people self-conscious about their questions, these are great questions!) I am sitting here watching and a question will come into my head and right then someone asks it!
The lighthouse part was probably my favorite thing he discussed! I've never really learned names of different lights, so hearing him discuss the Farnell light and how it sort of revolutionized theatre lighting was super interesting.
I was also kind of surprised to learn that LED's are not lightbulbs, because I was always under the impression that they were.
The color growing/diode thing was also interesting. I never realized how much science was actually involved in lighting. I think this is cool because it shows that if someone loves science and theatre, this is a possible career path for them!
Highlight + Shadow = Outdoor illumination is actually pretty common in shows I've seen!
The part about spectacle (Cirque) vs. Theatre was interesting. I've seen Cirque and obviously seen theatre and I've never really thought about the difference between the two.
I love that he mentioned distracting lighting because as an audience member that is one of the most annoying things for me. I have really sensitive eyes and I just don't think flashing lights into the audience should be done more than needed.
I enjoyed the overview of the history of lights. It gave an idea of how the lights we have today came about. I enjoyed learning about how they have manipulated light sources like the sun or the light bulb created by Thomas Alva Edison. In school we learn the significance of these lights in people's everyday lives but making that connection to how the theatre used these lights was interesting.
I like the question asked about what is next to come in lighting technology. Video mapping (like Curious Incident) would make for totally different,new looking shows. I see it as a huge field to explore, and I can't see what happens next.
I appreciated the sneak peek into Wicked's lighting design. Which I found super cool too! It makes so much sense once he points out how Elphaba is lit in different shades than Glinda, but something you wouldn't pick up on unless you were looking for it.
I also appreciated what he said he ultimately looked for in a show's lights, that it move the story along and be part of it without taking away.
He starts off the workshop by saying that a lot of the lighting process happens in your head. And that you need to see it in your mind before you actually see it in real life. That point really stuck with me throughout watching the video because I hadn't ever really thought about it that way before. When you're trying to figure out how you want to use lighting during a show, you probably don't have a live example of the show to go off of, and you really have to see it in your head and come up with the ideas before the show makes it to the state, which is an incredibly creative skill that I imagine can be very difficult.
He talked about distracting lighting with also really stuck with me. After seeing Curios Incident, and The Bodyguard, which both heavily used bright flashing lights, I realized it really wasn't very enjoyable. They tend to give me head ache, which take me out of the show and I end up having to look away, and I miss what happens on stage. Unless they are truly needed, I really don't think they are necessary.
I loved this workshop because I always pay attention to the lighting of a show. I think it is amazing that an audience can be used, solely by the tone emitted through the lighting on stage, and I will try to use this workshop in my future reviews of shows to further delve into the different technical aspects of a show.
Makeup for missing the workshop ((this is embarrassingly late, I'm so sorry))
I have worked with Mitch frequently at Youth Performance Company for work days and things so I am used to hearing his thoughts in a more casual setting, but it's really interesting hearing him explain lighting in a classroom setting.
I really like that he started off by explaining the history of theatre and lighting in theatre. Not only is it really interesting but it shows how much theatre has drastically changed over time, and stayed the same in some ways, too. I also like how he touched on the way that the sun affects the mood of the piece being performed because, while it makes sense, I guess it's not something I really would have thought of before.
The sound-changing light is so cool to me. I didn't know that that even existed but I think it's really cool. Also it makes sense that all the colors combines would make white. I've never (consciously) seen one of those actually used on stage so I'm curious as to how it works, because it seems like it would be really hard to control. Maybe that's why it is rarely used on stage.
--Oh, dance or concert, that makes more sense because if it's pre-recorded then the sound won't be different every night
I liked hearing him answer the "what makes good lighting" question because that's the kind of thing he has taught me when programming lighting before but hearing him explain it versus demonstrating it is a lot different but equally interesting. Also because he knows so much about blending lights and colors and everything that it's really cool to watch and listen to him talk about it because he's so passionate about it.
Hearing him talk about the lighting in Cabaret was also interesting because I noticed that the lighting related to the mood of the show when I watched it but hearing him explain it in more detail helped connect the dots a little more.
I'm glad someone asked about the impact costumes have on lighting. I remember taking a lighting workshop last year where the woman leading it talked about how lighting in professional theatre works with the actors and what they look best under and I've always been curious about how that works and Mitch explained it really well.
I really liked what he said about how every lighting choice has a purpose and how lighting affects the story. We think about that with things like set and music style and acting style but it's not the first thing that comes to mind when we think about lighting even though it's really important.
I really like this workshop because he talks about simple, yet really important things that will help us write our reviews because it will give those of us who primarily perform instead of doing tech a better understanding of what to look for when reviewing tech.
The most interesting part of this workshop for me was the way that certain characters would have to use different lighting. I never thought about the fact that Wicked would involve separate lighting schemes for each character. It really cast it in a different..light.
Another key part of this was the speaker's passion. When someone asked a technical question, not only did he know what he was talking about, but he was pumped to tell us the details about the program DMX and what it does.
The Legally Blonde story also spoke to me, because I know if I were a director I would not have thought of those elements when creating my show. Now, if I wish to make a production, I will know to consider how the actors will look cast under certain lighting, and how my set will look under what lighting.
I am also glad to know about the costumes, since costume work is my true passion. The way that lights need to catch certain costumes (Like Elphaba's black dress in Wicked) is a element I never considered in my own costume design.
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