The lighting workshop was a real interesting and helpful way of experimenting with not just lights but with space and tech. The workshop made me aware about the importance of the spatial relationship between the audience and the performer. In the workshop, there were experimentations of how the position of the performer to the audience affected the dynamic of the audience-performer relationship. Previously, I had never considered the importance of where the performer is stood in relation to when the audience are entering the space. I thought that the performer standing close to the audience and somewhat interacting with them was really interesting to watch. This was something that I aim to replicate in my performance. Often, in performances, performers will not engage with audiences at any level during the ‘preset’ of the performance. Of course, this depends on the style and genre of the show / play being performed. Yet, when something is happening on stage, I always expect something to occur between what the performer is doing on stage during the ‘preset’ to when I am sitting down in the auditorium. This dynamic allows the performer to engage with the audience immediately. It sets the tone for the show. The tone would be something that might ease an audience without having a ‘fourth wall’ impeding on audience-performer interactions.

In the lighting workshop, I wanted to explore the use of lights that isolated certain areas of the space. The lights that I was keen to use were spotlights and corridor lights. Spotlights allows for focus to be drawn immediately to an object or performer. The experiments with the corridor lights to a square spot and a hidden spotlight hidden amongst a wash of other lights were thought-provoking with regards to designing my own show. I decided that I wanted a spotlight on a shredder that would be placed centre stage in this current stage design:

Diamond Formation in the round

This stage design was developed out of the lighting workshop. Previously, I had wanted to stage the show end-on. However, on reflection, this wouldn’t suit the type of show that I wanted to create. Nor would it test my ability to be unique with the show. Firstly, I wanted the show to be in the round, in a square formation. Then I wanted it in a thrust style, remaining in the square. In the lighting workshop, I experimented, with the aid of my tutor, to create a diamond shape which now serves as my current stage design. This design took me by surprise, even though it was a simple moving and re-angling of the orientation of the chairs. Automatically, I knew that this formation was perfect for the show. This due to its unique formation and it’s ability to be a diverse playing space.

With regards to the shredder, I would like it to be placed in the centre of the space with a spotlight angled down onto its position throughout the entirety of the performance. I would like to colour the spotlight red and / or orange. The colour, as well as the physical presence of the shredder would help to symbolise and give the impression that, that is more than just a shredder and instead, serves as a metaphorical representation for a bonfire.

Shredder as ‘firepit’

Experimenting with space and lighting has been useful for the development of the show. It, along with my themes, provides a springboard for material to be created for the show. The lighting workshop was a useful way of experimenting and testing ideas not just with lights and space but with projection too.

In the show, I wanted to explore the idea of the three figures of Savonarola, Goebbels and Trump morphing out of me. I want to act as a canvas for projection. I experimented with this in the lighting workshop. I had one of my peers, Jordan, act as the ‘model’ for the projection so I could see what it looked like.

From left to right: Goebbels, Trump, Savonarola.

The amalgamation of faces mapped onto Jordan’s face is quite haunting and effective. I was hesitant about whether it was going to work as I was not convinced that a projector could just project onto somebody’s face. In order to make the projection more effective I think that I will paint my face white for the performance. This will make the projection clearer to see on the face. The use of the white face paint should, in theory, mask my identity somewhat. Often, throughout performances that I have done, audience members that have known me have come with preconceptions and associations about who I am as a person. With the face paint and the projection I would like to start to jar with this image. Furthermore, in order to make the projection more visible I will have to be clean shaven, this might be an emotional and arduous process but worthwhile by the end.