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Monday, April 12, 2021
Lighting design for Theatre-in-the-round
blog.etcconnect.com: Designing for theatre-in-the-round starts the same way as it would with any design: with the story. Our decisions are going to be based, stylistically speaking, on the ideas we want to communicate and the design language we use.
3 comments:
Bridget Grew
said...
Designing for theater in the round I think presents one of the more unique design challenges that one might encounter in the theater world. There are so many considerations in the round that would not be thought of otherwise, and it is really interesting to think about all the different factors that contribute to this style of design. I live pretty close to a theater in the round and they put on great productions, and it is always so fascinating to see how they rethink design elements to make them work in the round. I think with designing for theater in the round, you have to come up with really creative solutions to things that would not necessarily be a problem in any other theater scenario. Like the author mentioning the angle the lights were hung at because of the floor, that would not necessarily be as much of a factor in another type of theatre, so it is interesting to think about all the things that have to be taken into consideration.
Designing for theatre in the round presents new and different challenges for all different kinds of designers all the time as well as new opportunities for exploration and growth. When working in the round there are so many more considerations that all of the designers have to think about both from an aesthetics purpose and from a form factor. Having a view point from all different angles of the stage can deeply enhance the immersive nature of the piece but it can also alienate an audience if done improperly. In this article the author talks about the challenges needed for consideration when designing just the lighting. That alone was only brushed on and I am almost positive that there is more even on this subject alone that could have been and can be explored by designers and technical personal. Ultimately though these decisions should be made by the entire design team and with a collective goal in mind to best serve the piece.
I’ve always had a certain affinity for theatre in the round. I really like the energy that theatre in the round creates, and the design challenges that arise when creating theatre in the round.
I didn’t even realise (or make the connection) until reading this article that theatre in round, because there are no “wings” for massive scene changes that a lot of the design primarily lies in the hands of sound and lighting. And the work that the scenic designers do, has to be meticulously detailed and have a big impact in little space. The article talks about the importance of a floor covering and how a scenic painters skill can really shine with theatre in the round.
Since I like theatre in the round, it’s interesting to see and acknowledge the details that go into making GOOD theatre in the round. A lot of the time I sometimes get caught in the magic and don’t think as deeply about the semantics of the work as I should.
3 comments:
Designing for theater in the round I think presents one of the more unique design challenges that one might encounter in the theater world. There are so many considerations in the round that would not be thought of otherwise, and it is really interesting to think about all the different factors that contribute to this style of design. I live pretty close to a theater in the round and they put on great productions, and it is always so fascinating to see how they rethink design elements to make them work in the round. I think with designing for theater in the round, you have to come up with really creative solutions to things that would not necessarily be a problem in any other theater scenario. Like the author mentioning the angle the lights were hung at because of the floor, that would not necessarily be as much of a factor in another type of theatre, so it is interesting to think about all the things that have to be taken into consideration.
Designing for theatre in the round presents new and different challenges for all different kinds of designers all the time as well as new opportunities for exploration and growth. When working in the round there are so many more considerations that all of the designers have to think about both from an aesthetics purpose and from a form factor. Having a view point from all different angles of the stage can deeply enhance the immersive nature of the piece but it can also alienate an audience if done improperly. In this article the author talks about the challenges needed for consideration when designing just the lighting. That alone was only brushed on and I am almost positive that there is more even on this subject alone that could have been and can be explored by designers and technical personal. Ultimately though these decisions should be made by the entire design team and with a collective goal in mind to best serve the piece.
I’ve always had a certain affinity for theatre in the round. I really like the energy that theatre in the round creates, and the design challenges that arise when creating theatre in the round.
I didn’t even realise (or make the connection) until reading this article that theatre in round, because there are no “wings” for massive scene changes that a lot of the design primarily lies in the hands of sound and lighting. And the work that the scenic designers do, has to be meticulously detailed and have a big impact in little space. The article talks about the importance of a floor covering and how a scenic painters skill can really shine with theatre in the round.
Since I like theatre in the round, it’s interesting to see and acknowledge the details that go into making GOOD theatre in the round. A lot of the time I sometimes get caught in the magic and don’t think as deeply about the semantics of the work as I should.
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