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Undermining Fine
No full textA Transitional look from the false bow at the beginning of Three Completely Distinct Duets with Absolutely Nothing in Common to the first duet of the piece. I slowly faded from the ambers and blues in the false bow to just amber light from the side as all but two of the dancers walked off of the stage. This condensed the audiences focus from a large area to a small area over time so as to draw attention to the two dancers left on stage.https://ir.uiowa.edu/lighting_design/1130/thumbnail.jp
Undermining Fine
No full textThe fifth vignette Undermining Process “S”, “Anxiety”. The choreography in this vignette conveys anxiety by having the dancer constantly balance on one leg at a time. To convey the sporadic emotions of anxiety, the dancer was mainly lit by a textured moving light that slowly rotated. This complimented the constant spinning within the choreography.https://ir.uiowa.edu/lighting_design/1144/thumbnail.jp
The Wolves
No full textTwo pairs of stretching partners engage with each other from across the field. As this production had audience seating on more than one side of the set, all sides of the actor had to be lit at all times to accommodate for multiple viewing angles.https://ir.uiowa.edu/lighting_design/1082/thumbnail.jp
The Wolves
No full textThe Wolves begin their pre-match stretches by standing in a circle, all equally contributing to the group conversation. To emulate the feeling of a sports stadium, I mainly lit scenes from a diagonal angle so as to make the character’s shadows interlace when they got near one another. This was to create a subliminal sense of unity within the teamhttps://ir.uiowa.edu/lighting_design/1081/thumbnail.jp
Orlando
No full textThe final moment of the play, Orlando has finished her poem “The Oak Tree” and wonders what next is in store for her. Orlando is in a spot light as to focus on her internal character as an individual. The pages of “The Oak Tree” are barely visible to show that that chapter of her life is behind her. The chandelier is lit to represent Orlando reminiscing about her memories over the years.https://ir.uiowa.edu/lighting_design/1075/thumbnail.jp
Orlando
No full textOrlando and Rosina Pepita embracing upstage in silhouette to show the speculation of events that are recounted. A washerwoman delivers her account of the events downstage. A lace texture is projected on the floor and colored lanterns are present to show that the location of the play has changed from England to Constantinople.https://ir.uiowa.edu/lighting_design/1066/thumbnail.jp
Undermining Fine
No full textThe first duet of Three Completely Distinct Duets with Absolutely Nothing in Common. Two dancers mirror one another as they perform center stage. I illuminated only one dancer so as to make the other appear as their shadow. This is to convey that the daily problems that one has could be happening to anyone else, regardless if they are present on the surface.https://ir.uiowa.edu/lighting_design/1131/thumbnail.jp
Love and Information
No full textLove and Information was a part of the 2018/2019 Gallery Series, written by Caryl Churchill. The show is a series of 57 vignettes featuring more than 100 characters, who are attempting to understand their own realities, process information, and explore how meaning is created in our social media, non-binary contemporary culture.
The costume design of this show focused on created designs for the 12 actors that were not character specific and functioned as a canvas for the actors to form their multitude of characters on. To achieve this, I wanted to keep the costume monotone and only use shades of grey and black. This would allow the show to seamlessly transition from one vignette to another because the lighting would quickly and easily change the mood and tone of the stage picture. Since I was limiting my color palate so drastically, I wanted to create variety with texture and silhouette. I also used garments with different sheens to help create dimension within the design. All of the pieces in the show were pulled from our stock, as I had a budget of zero dollars.
Another big element of this design was the actor’s makeup. Regardless of the actors’ gender, I wanted them to wear makeup that would accentuate center features, whether it be their lips, their eyes, or their face shape. The lighting and media design influenced this choice for me, as the actors would often have up lighting on them from specials or cellphones, deepening the shadows on their faces. They also have media being projected on top of them during transitions and I wanted their faces to stand out, no matter the conditions they were under.
Overall for this design, I created costumes that did not confine the actors to one character but were versality enough to have the qualities of different characters while still feeling like a unified whole
Little Village January 2 - January 15, 2019
Get PDFhttps://ir.uiowa.edu/littlevillage/1255/thumbnail.jp
Little Village January 16 - February 5, 2019
Get PDFhttps://ir.uiowa.edu/littlevillage/1256/thumbnail.jp