THE SEAGULLLIGHT DESIGNER

BY: BLAKE KELSO

VISIBILITY Spot lights on the actors performing at the

time is key for the audience to feel the truthfulness of what is going on.

This also helps with the characters costumes and props.

For example, when Nina and Treplev have their deep conversation about one another’s love in act IV. They will be highlighted during their conversation so the audience can see their emotions.

SHAPE AND FORM

To give the set shape and form, lighting is critical.

In this play having background lights reflecting off of the lake behind the house and hitting off the furniture, door, and window gives the audience a visual of the full scene and also gives off a realistic connotation

Focus and CompositionSince electric lighting was developed only 15 years prior to the plays setting date, focusing on particular spots on the stage to enhance performances is key.

Dimming the lights on objects that are not important at the time help keep the audience focused on the scene at hand.

The lights above follow each actor onstage as they walk and talk to give the audience easy visuals of what is happening.

In act II when Dorn, Masha, and Arkadina are all talking with one another outside of the house at Sorin’s estate. There has to be lights reinventing the natural sunlight while keeping focus on the actors moving about. Some side lighting will need to be used as well to keep actors, not speaking at the time, in the picture.

Mood and Style In the play the

mood starts off easy but then quickly jumps to a sad depressing mood.

To capture this, the lights on stage are dim with some sharp lights on heightened arguments.

The style is realistic To make the play

realistic the lights have to be of natural color with nothing over the top. Using some replicated evening sunlight piercing through the window helps with this. The only other color of light I used was red to show the death of the seagull.

Time and Place

Keeping the lights dim with the sunset in the back ground throughout the majority of the play shows how the play is conducted in the evening time.

This play has indoor lighting to show the audience scenes from inside Sorin’s house and also the replicated sunlight for scenes just outside the house.

Rythm

Having lights that can move during an act adds rhythm to the play and helps it flow better for the audience.

In the play Treplieff has a dead seagull and tosses it at Nina’s feet. It is paramount for the lights to be able to stay on the bird for the audience to see its effectiveness.

Reinforcing the Central Image Creating the correct

mood and style during scene changes is a big part of keeping the central image in the audiences mind.

In this play love and love loss is a major part of the play so through scene changes you do not want to brighten up the stage because that will change the sad mood into something diff erent. Keeping the dim lighting and fi xating the brighter lights on the live actors while their acting keeps the central image.

SOURCES

http://philosykil.wordpress.com/ http://www.crescent-theatre.co.uk/photo_

auditorium_stage.htm

http://www.behance.net/gallery/Almost-Maine-Set/1882273

http://blog.redbeacon.com/2012/10/ http://jim-milley.wix.com/photography http://www.somersetcountygazette.co.uk/

news/10411709.Dead_seagull_dumped_on_bin_in_Taunton_street/