Lighting Designer, Inside Intelligence
London Closes Friday 13 September 2013 Paid (£10k-15k pro rata) Part time Artform: theatre Contact: Robert Shaw robert@inside-intelligence.org.uk
Description
Inside Intelligence requires a lighting designer for our production of Children of Fate by Juan Radrigan, translated by Robert Shaw. The Royal Court Theatre Local in Peckham plays host to the UK premiere of this classic of Chilean theatre, exposing the devastating social effects of Thatcherite economic policies and unjust land reforms on a society already brutalised by years of the Pinochet dictatorship.
Rehearsing from 7 October, exclusive during production week from 28 October, production meetings as necessary before and during rehearsals.
Not Equity minimum, but complies with National Minimum wage. Profit share in addition to fee.
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Production & Stage Manager, Kouban Productions LTD
London Closes Wednesday 2 October 2013 Paid (£10k-15k) Full time Artform: theatre Contact: James Oban Contact@KoubanProductions.com
Description
The appointed stage manager will coordinate all aspects of a theatre production to ensure the successful delivery of the performance.
You will need to have a good understanding of both the technical and artistic elements of a performance, ensuring delivery exactly to the director's and producers’ requirements. The stage manager will be involved from the rehearsal stage through to the live performances, being on hand to deal with any emergencies or issues that may hinder the show.
We are looking for a flexible, confident person who is good with people and experienced in a similar role, preferably with an interest in new musical theatre. The successful candidate will need to be available to work in November and December in London.
Duties include:
- Setting up and maintaining the rehearsal space.
- Responsible for cleanliness of rehearsal and performance spaces, including dressingrooms, backstage area and the stage.
- Obtaining all costumes, props, furniture and set dressings.
- Assisting in set construction.
- Arranging costume and wig fittings.
- Distributing information to other theatre departments within the production.
- Managing the set, costume and props budget and liaising with the Producer regardingcosts.
- Running the sound and lighting desk during performances.
- Ensuring the company's welfare and maintaining a good working knowledge of allrelevant health and safety, legislation and good working practice.
- Liaising with the director and other artistic or technical departments.
- Calling actors for rehearsals and performances.
- Ensuring each show starts on time.
- Maintaining call-sheets and actors’ hours logs.
- Any such duties that may be agreed on from time to time.
Essential:
- Experience of working in stage lighting and sound.
- Experience of working in a Production Manager and/or Stage Manager role previously.
- First Aid TrainingPay rate: £6.31 per hour (All artists and production team members are paid the National Minimum Wage as this is a fringe production).To apply for the above position or request further information:Please send a CV with a covering letter to
Deputy Head of Lighting, Royal Exchange Theatre, Manchester
North West Closes Friday 20 September 2013 Paid (£20k-25k) Full time Artform: theatre Contact: Jan-Louise Blyth jan.blyth@royalexchange.co.ukDescription
ROYAL EXCHANGE THEATRERequire a DEPUTY HEAD OF LIGHTINGto join a team of four responsible for our own productions and visiting companies in the Royal Exchange Theatre and Studio.Knowledge of ETC EOS and ION lighting desks and moving lights is essential.For more information and an application pack, visit www.royalexchange.co.uk/jobsClosing Date 12.00 noon on Friday 20thSeptember 2013The Royal ExchangeTheatre is strongly committed to the principles and practice of equal opportunity. We particularly welcome applications from those underrepresented in our organization.
lighting designer
Lighting designers know how to make the best use of the subtle and powerful medium of light, creating effects that can be changed at will to match the mood of the action.
At its most basic, stage lighting functions to make the actors and their environs visible to the audience. But it can also be used to:- Evoke the appropriate mood
- Indicate time of day and location
- Shift emphasis from one stage area to another
- Reinforce the style of the production
- Make objects on stage appear flat or three dimensional
- Blend the visual elements on stage into a unified whole
The Designer's work
The lighting designer begins by reading the script to be produced noting the type of light it calls for in each scene. Designer and director share their ideas about how light could be used to enhance the production concept at their first meeting. Early meetings with the set designer are also important because the set and lighting designers must collaborate on how to achieve the desired "look" for the play. The plan for the set may influence the placement and direction of the necessary lighting instruments, so flagging any potential problems in this area as early as possible makes sense.
Lighting designers attend rehearsals to get a feel for the lighting cues and to plan how to light the actors as they move from place to place on stage. When the blocking is set, the lighting designer can start to work out which lighting instruments will be used and where each one will be located.
Planning tools
The planning tools lighting designers use include:- Paintings and photos showing the mood and style of specific lighting techniques and are gathered through research
- A lighting plot: a scale drawing of the stage and set as seen from above showing the planned layout of each lighting fixture to be used
- A vertical section plot: a cross-section of the stage and set drawn to scale showing the vertical sightlines and the height and position of each instrument
- An instrument schedule: a chart that lists each lighting instrument separately along with the details of its type, wattage, purpose, filter color, the dimmer it will be plugged into and the ciruit that will control it
- A cue sheet: a complete list of the various lighting effects the designer has planned for the show and when they occur
Light control
Lighting designers usually combine both direct and indirect light to illuminate the actors and objects on stage. Direct lighting comes from a definite location and illuminates specific areas; indirect lighting washes over the entire area to be lit and doesn't appear to come from any one specific location.
The amount of light needed to clearly illuminate an object on stage depends on the object's:- Reflective properties
- Color
- Contrast with its surroundings
- Size
- Distance from the person looking at it.
There are four properties lighting designers can control to create a vast array of effects:- Intensity. The brightness of light. Everything in the range from the faintest dim glow to the most blinding glare can be created with stage lighting. Contrast has a great impact on how bright a light will appear to be to the audience, with a single flashlight on an otherwise dark stage appearing to be bright, while a strong spotlight shining on an already brightly lit stage may appear dim.
- Color. The color an object on stage appears to be is determined both by its actual hue and by the color of the light that illuminates it. Filters or gels on lighting instruments make it possible for designers to tint stage lighting in colors that flatter the actors' faces, cast a warm glow over an entire set or heighten the colors of scenery and costumes.
- Distribution. Light can be distributed in different ways on stage. The form of light may vary from a soft unfocused glow to a sharply defined beam that casts dramatic shadows. The beam of light from an instrument may be directed through a piece of metal called a gobo that shapes it into a pattern such as the broken effect of light coming through the leaves of tress. Light may also be directed at an object from any angle, giving rise to an infinite variety of light and shadow combinations, each with a different look and feel.
- Movement. The intensity, color and distribution of light can be noticeably altered as quickly or slowly as the lighting designer and director deem fit while the play is being performed. For example, a scene that starts in the diffuse and rosy light of dawn can end in the brilliant golden beams of full morning light. This capacity for change over time is called the movement of light. It offers a kind of flexible expressiveness that is unmatched by any of the other visual elements of production.
Collaboration
The lighting designer will meet with the director and the design team (set, costume, lighting and sound designers), to discuss the details of the set and the director's interpretation of the play. The set, costume and lighting designers also meet and work together to ensure the creation of a unified look and feel for the production. A lively exchange of initial ideas and first impressions helps clarify the steps that each person needs to take in this intensely collaborative process.Once the show opens, the designer's work is essentially complete. Now it's normally the job of the stage manager and light crew to make sure that every aspect of the production runs just as the designer intended, time after time, until the production closes.Master Electrician
The ME is responsible for taking the lighting plot and making sure that all lighting units on the plot are hung in the correct locations and actually work. Coordinating the numbers of lights and circuits and allocating cabling, gels, and other accessories are the most important aspects of this role. In many theatres, the lighting designer often ends up sharing many of the typical ME roles, so the job gets done by both.
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