Steps to success: A recipe for theatre lighting

My practice as a theatre artist requires working to a strict schedule sometimes. Specific procedures have to be in place in order to work safely… including assembling and dis-assembling lighting rigs.

Creating a 3 point lighting set up…

1. Get a number of different light sources (torches, lamps, natural light)
2. Decide on subject for the scene
3. Place subject in scene
4. Identify key, fill, and side lights
5. Place key light
6. Place kill light
7. Place side light
8. Add coloured gels or diffusers as appropriate
9. Use my eye to judge the visual qualities
   1. Is this the look I want?
      1. If answer is yes, document it by filming or taking a photo.
      1. If the answer is no, re-position lights to achieve desired effect.
10. Document scene by taking photos or filming in order to show people later
11. Pack away lights
12. Pack away subject and scene props

I reflect here by recognising that…

• I need to know my subject in order to facilitate workshops and run arts activities for others
• I can work methodically, but also recognise the power of free working and creative thought should play an equal role
• Having technical knowledge as a base is important within my practice… but the artistic interpretations are necessary in order to translate messages to the audience and make the biggest impacts

Inspired by…

Paule Constable

Paule Constable is a lighting designer based in the UK who uses LED and traditional tungsten fixtures (lights) to make scenes ‘pop’. Her work inspires me to use silhouettes and focus on lighting actors and props.

Her method of lighting starts with an artistic vision working with a director- she then draws mock-up designs and plans on mood boards. Once designs are agreed, she makes sure all the lighting plans are in place for the riggers to use to install the lights. She then programmes the lights at a theatre lighitng control desk so a lighting operator can be cued by a stage manager to change the lighting states and scenes.

Paule’s work as a woman also inspires me, as not many females are seen as ‘technicains’ and often are stereotyped as being costume, set design or makeup and hair roles within the theatre.

Her work inspires me to break the boundaries of who I am as a technician and as an artist- presenting myself and my work in ways that allow me to be the most authentic versions of myself.