Lighting and Sound Design Unit
Technical Theatre Design Grade 10
Enduring Understanding:
Lighting enhances the action and mood of a play. How do the colors and intensity of lighting influence the audience's viewing of the show? With research into instrumentation, gel colors, and dimming, you will be able to understand the need for light in a show. How the lighting works in physics is just as important to this understanding. We will explore the differences in light as it reacts to an actor onstage.
Essential Questions:
How do you read a play for design? What do you think of lighting and/or sound in theatre? How can lights and/or sound affect the audience? What makes the lighting and/or sound in a show matter so much?
Students will know:
Students will be able to:
Assessments:
Activities for ALL students:
Activity 1 -
Read and interpret a one act play script as a lighting designer. Take notes and pay attention to the subtleties in the author's words. Draw conclusions based on context clues.
Activity 2 -
Devise rough ideas in a script analysis based on notes taken. do research on textures and colors pasting or drawing them into a design file. Keep this design file for future reference.
Activity 3 -
Draw to scale a topographical view of the set and an elevation of the set/stage. Place a map of the lighting areas in parchment/tracing paper over the set/space design.
Activity 4 -
Students will create an instrument catalog and cue sheet for your lighting design.
Activities for MOST students:
Will have a well researched concept for their interpretation of the play.
Will respond and inquire during peer critiques.
Take and create a presentation for their design.
Activities for SOME students:
Will have thoroughly completed research and samples of gels that they plan to use.
Will have conferred with Costume and/or Set designer to assess and determine best coloration of the lighting.
Determined the quantity and cost of renting the instruments and controls to get their desired effects.
Will exceed their own expectations and push the limits of what they think is possible.
Create a presentation that is worthy of an IE presentation at Thespian Conference (see extended rubric below).
Content Standards:
TH:Cr1.1.HSI
a. Apply basic research to construct ideas about the visual composition of a drama/theatre work.
b. Explore the impact of technology on design choices in a drama/theatre work.
TH:Cr1.1.HSII
a. Investigate historical and cultural conventions and their impact on the visual composition of a drama/theatre work.
b. Understand and apply technology to design solutions for a drama/theatre work.
TH:Pr5.1.HSIII
b. Explain and justify the selection of technical elements used to build a design that communicates the concept of a drama/theatre production. - See more at: TH:Re9.1.HSII
a. Analyze and assess a drama/theatre work by connecting it to art forms, history, culture, and other disciplines using supporting evidence and criteria.
b. Construct meaning in a drama/theatre work, considering personal aesthetics and knowledge of production elements while respecting others’ interpretations.
c. Verify how a drama/theatre work communicates for a specific purpose and audience.
Instructional Resources:
To develop a lighting inventory - Go to ETC Lighting's Fixture website: https://www.etcconnect.com/Products/Lighting-Fixtures/Source-Four/
and Lee filters gel website: http://www.leefilters.com/lighting/colour-list.html. You are working on additive lighting (multiple instruments to achieve a single color). Therefore, you will need multiple instruments focussed in each area (at least 2 per area). If you wish to change the color of an area, you will require more instruments focused in that area.
List your instrument type - Source Four or Special*
Then the area you will light with it - 1 - 12 (based on your lighting plot)
In the description portion of the table, please enter specifically what type of Source Four it is: 50, 36, 26, or 19 degree ellipsoidal (spot) or a parnel (flood). All instruments should be rigged with a 575W lamp. Keep in mind that the closer the ellipsoidal, the larger the degree must be i.e. hung directly above the playing area on the first electrical batten you should use a 50 degree instrument, instruments in the cove of a standard size proscenium theatre are typically 36 or 26 degrees.
*Special lighting such as industrial blacklights, chandeliers, and strobes can be listed as "specials".
For the Gel Color please list it as L# for instance, Bastard Amber is L162. It should be listed as "Bastard Amber L162."
To provide lighting texture you can choose a gobo. These pieces of stamped metal or etched glass can give you a shape or pattern on your set. Place the number of your gobo in the gobo section of your inventory.
To determine channel, decide into which dimmer channel the instrument will be plugged. Using a 1 to 1 patch is the easiest (Area 1 is plugged into channel 1).
Technical Theatre Design Grade 10
Enduring Understanding:
Lighting enhances the action and mood of a play. How do the colors and intensity of lighting influence the audience's viewing of the show? With research into instrumentation, gel colors, and dimming, you will be able to understand the need for light in a show. How the lighting works in physics is just as important to this understanding. We will explore the differences in light as it reacts to an actor onstage.
Essential Questions:
How do you read a play for design? What do you think of lighting and/or sound in theatre? How can lights and/or sound affect the audience? What makes the lighting and/or sound in a show matter so much?
Students will know:
- How to read a script as a lighting and/or sound designer.
- How to design a light and/or sound plot on paper.
- The importance of lighting areas in regards to instrumentation.
- Names and uses of basic drafting and lighting and/or sound tools.
Students will be able to:
- Interpret a script as a lighting and/or sound designer.
- Create a lighting and/or sound plot and area plot representative of her/his design.
- Generate the paperwork associated with lighting and/or sound cues in relation to the script.
Assessments:
- Group critique
- NIEs standard rubric for technical design.
Activities for ALL students:
Activity 1 -
Read and interpret a one act play script as a lighting designer. Take notes and pay attention to the subtleties in the author's words. Draw conclusions based on context clues.
Activity 2 -
Devise rough ideas in a script analysis based on notes taken. do research on textures and colors pasting or drawing them into a design file. Keep this design file for future reference.
Activity 3 -
Draw to scale a topographical view of the set and an elevation of the set/stage. Place a map of the lighting areas in parchment/tracing paper over the set/space design.
Activity 4 -
Students will create an instrument catalog and cue sheet for your lighting design.
Activities for MOST students:
Will have a well researched concept for their interpretation of the play.
Will respond and inquire during peer critiques.
Take and create a presentation for their design.
Activities for SOME students:
Will have thoroughly completed research and samples of gels that they plan to use.
Will have conferred with Costume and/or Set designer to assess and determine best coloration of the lighting.
Determined the quantity and cost of renting the instruments and controls to get their desired effects.
Will exceed their own expectations and push the limits of what they think is possible.
Create a presentation that is worthy of an IE presentation at Thespian Conference (see extended rubric below).
Content Standards:
TH:Cr1.1.HSI
a. Apply basic research to construct ideas about the visual composition of a drama/theatre work.
b. Explore the impact of technology on design choices in a drama/theatre work.
TH:Cr1.1.HSII
a. Investigate historical and cultural conventions and their impact on the visual composition of a drama/theatre work.
b. Understand and apply technology to design solutions for a drama/theatre work.
TH:Pr5.1.HSIII
b. Explain and justify the selection of technical elements used to build a design that communicates the concept of a drama/theatre production. - See more at: TH:Re9.1.HSII
a. Analyze and assess a drama/theatre work by connecting it to art forms, history, culture, and other disciplines using supporting evidence and criteria.
b. Construct meaning in a drama/theatre work, considering personal aesthetics and knowledge of production elements while respecting others’ interpretations.
c. Verify how a drama/theatre work communicates for a specific purpose and audience.
Instructional Resources:
To develop a lighting inventory - Go to ETC Lighting's Fixture website: https://www.etcconnect.com/Products/Lighting-Fixtures/Source-Four/
and Lee filters gel website: http://www.leefilters.com/lighting/colour-list.html. You are working on additive lighting (multiple instruments to achieve a single color). Therefore, you will need multiple instruments focussed in each area (at least 2 per area). If you wish to change the color of an area, you will require more instruments focused in that area.
List your instrument type - Source Four or Special*
Then the area you will light with it - 1 - 12 (based on your lighting plot)
In the description portion of the table, please enter specifically what type of Source Four it is: 50, 36, 26, or 19 degree ellipsoidal (spot) or a parnel (flood). All instruments should be rigged with a 575W lamp. Keep in mind that the closer the ellipsoidal, the larger the degree must be i.e. hung directly above the playing area on the first electrical batten you should use a 50 degree instrument, instruments in the cove of a standard size proscenium theatre are typically 36 or 26 degrees.
*Special lighting such as industrial blacklights, chandeliers, and strobes can be listed as "specials".
For the Gel Color please list it as L# for instance, Bastard Amber is L162. It should be listed as "Bastard Amber L162."
To provide lighting texture you can choose a gobo. These pieces of stamped metal or etched glass can give you a shape or pattern on your set. Place the number of your gobo in the gobo section of your inventory.
To determine channel, decide into which dimmer channel the instrument will be plugged. Using a 1 to 1 patch is the easiest (Area 1 is plugged into channel 1).
With the cue sheet, things are a bit simpler. Number your cues in the Cue column. Start with 10 and increase each cue number by 10. ex. 10, 20, 30, 40, 50, etc. That way if you need to place another cue somewhere in between, you can number it by fives - 15, 25, 35, etc. Skip a line between each cue for this.
Cue Line/Action is the cue line or action that will signal the cue and how long the cue count will be in seconds.
Page that refers to the page number of the script.
Channel coordinates with your lighting inventory. Whatever lighting you need, place the corresponding channel number in this space in order to turn it on.
Level is the power at which you would like the instrument to be. Use percentages to describe this - 0% - 100%.
Area is the point(s) within your lighting plot that the light will hit.
Color/Gobo/Effect refers to the Gel color or LED color and possible gobos or effects for the cue
Remember to place in when blackouts and fades happen as separate cues. In other words, if you never say to turn the light off, it won't go off.
Cue Line/Action is the cue line or action that will signal the cue and how long the cue count will be in seconds.
Page that refers to the page number of the script.
Channel coordinates with your lighting inventory. Whatever lighting you need, place the corresponding channel number in this space in order to turn it on.
Level is the power at which you would like the instrument to be. Use percentages to describe this - 0% - 100%.
Area is the point(s) within your lighting plot that the light will hit.
Color/Gobo/Effect refers to the Gel color or LED color and possible gobos or effects for the cue
Remember to place in when blackouts and fades happen as separate cues. In other words, if you never say to turn the light off, it won't go off.
Sound is integral to a show. Whether putting on a musical or a work of Shakespeare, the sounds can set the scene.
In the case of Macbeth, watch this clip - Macbeth 2013. Notice the underlying tones and music that add to the scene.
For your project, find and list all of the sound effects you think you will need, including songs that may fit the scene (instrumental is often better than lyrics).
Cues - number your cues just like a lighting plot.
Page - Put the page number of the script in which the cue occurs
Cue Line/Action - place the cue (line or visual) that keys you into starting the sound or ending the sound.
Source - Label from where the sound is generated (either Q-Lab, Foley, or Mics)
Length - How long does the cue last in minutes and seconds (00:00)
Volume - place the volume level for your cues (if it is coming from an electronic source it is a number, manual foley is "soft", "medium", or "loud")
Effect - If a foley or recorded sound effect write what it is here, If an electronic cue such as a song, write how it goes on and off (fade, etc.)
End - write the time in a track (electronic only) that the track will end, again using minutes and seconds (00:00)
In the case of Macbeth, watch this clip - Macbeth 2013. Notice the underlying tones and music that add to the scene.
For your project, find and list all of the sound effects you think you will need, including songs that may fit the scene (instrumental is often better than lyrics).
Cues - number your cues just like a lighting plot.
Page - Put the page number of the script in which the cue occurs
Cue Line/Action - place the cue (line or visual) that keys you into starting the sound or ending the sound.
Source - Label from where the sound is generated (either Q-Lab, Foley, or Mics)
Length - How long does the cue last in minutes and seconds (00:00)
Volume - place the volume level for your cues (if it is coming from an electronic source it is a number, manual foley is "soft", "medium", or "loud")
Effect - If a foley or recorded sound effect write what it is here, If an electronic cue such as a song, write how it goes on and off (fade, etc.)
End - write the time in a track (electronic only) that the track will end, again using minutes and seconds (00:00)
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