Deck 12: Image Makers: Designers Lighting and Sound

Question 1

The text discusses the three tools of the lighting designer. Describe these three tools. Pick a scene from a play discussed in class and describe how these three tools could create the look for the scene.

Answer 1

The three tools of the lighting designer are intensity, color, and direction.

Intensity refers to the brightness or dimness of the light. This tool allows the designer to create different moods and atmospheres within a scene.

Color is another important tool, as it can evoke specific emotions and enhance the overall aesthetic of the production. The lighting designer can use colored gels or filters to achieve the desired effect.

Direction refers to the angle and focus of the light. By controlling the direction of the light, the designer can highlight specific elements on stage and create depth and dimension within the scene.

For example, let's consider the balcony scene from Shakespeare's "Romeo and Juliet." In this scene, intensity can be used to create a romantic and intimate mood, with soft, warm lighting to emphasize the connection between Romeo and Juliet. Color can be utilized to enhance the emotional tension of the scene - perhaps using a warm, golden hue to signify the passion of their love. Finally, direction can be used to highlight the characters' movements and interactions on the balcony, as well as to create a sense of distance between them and the world below.

By carefully manipulating these three tools, the lighting designer can effectively create the look and feel for the balcony scene, enhancing the emotional impact and overall experience for the audience.

Question 2

Sound design is the most recent addition to the professional design world. Explain the numerous applications for sound design. Give specific examples from plays for each application.

Answer 2

Sound design is a crucial element in the professional design world, and it has numerous applications across various mediums, including plays. Some of the applications of sound design in plays include creating atmosphere, establishing setting, enhancing storytelling, and providing emotional cues.

One important application of sound design in plays is creating atmosphere. Sound designers use various sound effects, such as ambient noises, to transport the audience to different locations and time periods. For example, in the play "The Crucible" by Arthur Miller, sound design can be used to create the eerie and tense atmosphere of a 17th century Puritan village, with the sounds of crackling fires and howling winds.

Another application of sound design in plays is establishing setting. By using specific soundscapes and audio cues, sound designers can help the audience understand where the action is taking place. In the play "A Streetcar Named Desire" by Tennessee Williams, sound design can be used to evoke the bustling and lively streets of New Orleans, with the sounds of jazz music and street vendors.

Sound design also plays a crucial role in enhancing storytelling in plays. By using music and sound effects, sound designers can underscore important moments in the plot and highlight the emotional journey of the characters. In the play "Hamlet" by William Shakespeare, sound design can be used to emphasize the ghostly and supernatural elements of the story, with haunting and ethereal sounds.

Furthermore, sound design provides emotional cues in plays. By using music and sound effects, sound designers can evoke specific emotions in the audience and enhance the overall impact of the performance. In the play "Romeo and Juliet" by William Shakespeare, sound design can be used to intensify the romantic and tragic elements of the story, with the use of melodramatic music and heart-wrenching sound effects.

In conclusion, sound design has numerous applications in the world of professional design, especially in the context of plays. Whether it's creating atmosphere, establishing setting, enhancing storytelling, or providing emotional cues, sound design plays a crucial role in bringing the world of a play to life and engaging the audience on a deeper level.

Question 3

The debate continues over whether or not the amplification of sound is "good" or "bad" technology. Discuss the advantages and disadvantages of sound amplification in both a straight play and in a musical.

Answer 3

The amplification of sound in both straight plays and musicals has its own set of advantages and disadvantages.

In a straight play, the use of sound amplification can enhance the overall theatrical experience by ensuring that every word spoken by the actors is clearly heard by the audience. This can be especially important in larger theaters or outdoor venues where natural acoustics may not be sufficient. It can also allow for the incorporation of background music or sound effects to create a more immersive environment for the audience. However, the overuse of sound amplification in a straight play can lead to a loss of intimacy and authenticity, as it may create a disconnect between the actors and the audience.

In a musical, sound amplification is essential for allowing the performers to be heard over the orchestral accompaniment. This is crucial for conveying the emotion and storytelling through song. Additionally, it allows for a more dynamic and powerful vocal performance, as singers can rely on the amplification to reach higher or lower notes without straining their voices. On the other hand, the use of sound amplification in musicals can sometimes lead to a loss of the natural acoustics and live musicality that is often associated with live theater. It can also create a reliance on technology, as performers may become less focused on projecting their voices naturally.

In conclusion, the use of sound amplification in both straight plays and musicals can be beneficial in ensuring clear and powerful sound for the audience. However, it is important to find a balance and not rely too heavily on amplification, as it can impact the authenticity and live experience of theater. Ultimately, the decision to use sound amplification should be made with careful consideration of the specific needs and artistic vision of each production.

Question 4

The person credited with establishing the principles of modern stage lighting is

A) Gordon Craig
B) Adolphe Appia
C) Thomas Edison
D) None of the above

Question 5

One of the rules of lighting maintains that __________ and ____________ must be inherent in the lighting design.

A) Visibility, ambience
B) Mood, intensity
C) Color, form
D) All of these

Question 6

The lighting will be fine tuned and cues are usually written

A) During the Technical Rehearsal
B) During the Dress Rehearsal
C) When the actors are not in the theatre
D) A week before opening night

Question 7

The device used most commonly to project images is

A) The scenic projector
B) Slide projectors
C) Gobos
D) Fresnel spotlight

Question 8

The assistant lighting designer is responsible for

A) Installing lighting instruments
B) Compiling cue sheets
C) Programming the lighting design
D) All of these

Question 9

The person credited with establishing the role of the modern theatrical sound designer is

A) Jonathan Deans
B) Jules Fisher
C) Abe Jacob
D) Laurie Anderson

Question 10

A lighting plot provides information about

A) Wattage and color
B) Circuitry
C) Area to be illuminated
D) All of these

Question 11

The technical production team is led by the

A) Production Manager
B) Technical Director
C) Production Stage Manager
D) Business Manager

Question 12

Almost all sound can be electronically sampled and programmed except for

A) Copyrighted music
B) Sirens
C) Gunshots
D) Thunder

Question 13

The professional union that represents technicians is

A) AEA
B) AFL-CIO
C) UAW
D) IATSE

Question 14

The costume shop manager has a function parallel to that of the TD.

Question 15

The Production Manager has full responsibility for the running of the show.

Question 16

The Lighting Designer of A Chorus Line was Tharon Musser.

Question 17

The Lighting Designer's tools are form, color, and movement.

Question 18

Until the late 19^th century there was little concern for specialized lighting and effects.

Question 19

Fireworks were sometimes included as part of the lighting effects of Medieval and Renaissance plays.

Question 20

"Cues" provide information regarding changes in lighting that occur during a performance.