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The Wolves
No full textMy magic sheet for The Wolves designating all of the channels of my lighting instruments for the production. Numbers were organized by different systems of light based on their purpose. I chose a black background with white text as I viewed my magic sheet on my iPad as I roamed around the theater and did not want a bright white screen distracting me from the stage lighting while concentrating on my design.https://ir.uiowa.edu/lighting_design/1088/thumbnail.jp
The Wolves
No full textThe goalie, #00, vigorously exercises at night in frustration of losing that weeks soccer match. To contrast the rest of the scenes taking place indoors, this scene took place at night time to convey how isolated, depressed, and defeated that #00 feels during this moment of rage.https://ir.uiowa.edu/lighting_design/1083/thumbnail.jp
Undermining Fine
No full textThe transition in between the fourth and fifth vignettes of Undermining Process “S”. The song “Good Morning” progressively becomes more and more distorted from what it was at the beginning of the piece as the multiple aspects of sleep deprivation pile on. To aid in this transition, I faded the blue downlights to a harsher red to convey the feeling of time being distorted as we go from vignette to vignette, as well as to visually enhance the projections.https://ir.uiowa.edu/lighting_design/1143/thumbnail.jp
Undermining Fine
No full textThe fourth vignette of Undermining Process “S”, “Obsessiveness”. This choreography features a dancer engaging with a cell phone and exploring how some deal with insomnia by focusing on social media. I sculpted the dancer in shades of pink and amber to match the dominate color of the projections behind her. I also covered the stage in bright blue stars that would convey the feeling of romance to show the affection she has for the bright screen of her cell phone.https://ir.uiowa.edu/lighting_design/1141/thumbnail.jp
Undermining Fine
No full textThe first vignette of Undermining Process “S”, “Co-dependency”. This choreography explores two people in a relationship and the dynamic between them acting together as one entity. I used a combination of blue downlight and amber sidelight to sculpt the form of the dancers bodies and to show the beauty of what can be achieved by two different forces working together.https://ir.uiowa.edu/lighting_design/1138/thumbnail.jp
Undermining Fine
No full textThe third vignette of Undermining Process “S”, “Forgetfulness”. The choreography in this vignette explores the absentmindedness that occurs when one is sleep deprived, with one dancer starting a new phrase of movement before she completes the phrase that she was previously dancing. To communicate the feeling of being scatterbrained, I covered the entire stage in a fuzzy texture for the dancer to move through during this section.https://ir.uiowa.edu/lighting_design/1140/thumbnail.jp
Orlando
No full textOrlando and members of the chorus at the oak tree, admiring the “greeny, green, green of the grass.” I back lit the actors and scenery so that the floor would turn green as Orlando talks about the grass.https://ir.uiowa.edu/lighting_design/1060/thumbnail.jp
The Wolves
No full textThe Wolves once again begin their weekly warmup by sitting in a circle at the stadium and engaging in a group conversation. The field is lit with a full even wash of light for the players to travel across throughout the scene.https://ir.uiowa.edu/lighting_design/1084/thumbnail.jp
The Wolves
No full textDrafting detailing the lighting instruments that I hung on the north wall of the theater. This details the channel information and the placement of all lighting instruments on the wall.https://ir.uiowa.edu/lighting_design/1090/thumbnail.jp
MERRILY
No full textHere the character of Wilbur gives his opening monologue while, his real life inspiration, Wilbur Wright’s photo flickers behind him.https://ir.uiowa.edu/media_design/1040/thumbnail.jp