Education at its Best!

Choral Ode during The Burial at Thebes

Today, I turned in my last batch of work, and another semester is concluded! As was to be expected, this past semester was the most difficult yet. With three classes and three shows, I found myself constantly spinning and moving sometimes backwards, often forwards, and always onward. I always put my best foot forward and tried my hardest at everything, and without fail, I made many mistakes (often making me look like I was putting my worst foot forward).

This semester has stretched me far beyond my abilities as a lighting designer, but more so as a person, a collaborator, and an artist. I quit bad habits like smoking. I challenged my personality by forcing myself to pause and slow down. Constantly placing my temper in check and leaving anger at the doorstep. Each day was met with challenges and on occasion my temper got the best of me. With perseverance, many opportunities to collaborate were met with exciting success. Three shows were produced and staged. Each with many exciting artistic choices that I will cherish and remember for a lifetime.

I have collected images, met some exciting and wonderful people, and began nurturing a long since desired skill as a painter and artist. I can't wait to continue developing my hand as my eye continues to see, perceive, and transform.

Many thanks go out to my advisors, professors, directors, dramaturgs, actors, and fellow designers! Without each of you beside me and in front of me, I couldn't achieve with such wonderful success the goals and dreams I have set before me. Thank you!!!

Developing the Design

Yesterday, our production team met during our weekly scheduled hour. I had been anticipating this meeting with great excitement and hopes for a wonderful conversation. I got more than I bargained for...!

Last week, I had made a decision to move away from my original design ideas. I had decided not to use fluorescent lights throughout the entire space, and to only use them for the audience lighting. I was concerned that I wouldn't be able to pass them as safe, that I wouldn't have as much control of them as I would like, and that they would not be capable of being smoothly integrated into the cuing process. As a result of this decision, I designed a lighting system that would support the idea of a fluorescent lit world. I am very happy that I did this, because now that I am moving back to the fluorescent lighting idea, I have both fluorescent lights and a system that will support them. I should mention that one of my advisers couldn't have met with me at a more perfect time. She was able to encourage me and drive me forward with my design and to put my fears aside, go with my instincts, and light the world of the play.

During the meeting, I was met with encouragement to place the fluorescent lights wherever I wanted to, and that we would find the ways necessary to make them safe. I was also met with very little frustration at the idea of using them, regardless of how much control I would have of them. In fact, people were more than willing to suggest ways to paint/dress them in a way that would integrate them into the world more, and to wait and see just how much control we could achieve with them as we begin to use them in the space.

Currently, I have planned for five 8 foot fluorescents and five 4 foot fluorescents to be used in the set. I have a total of fourteen 8 foot fluorescents and seven 4 foot fluorescents to use in total.


Here is an image of the set before we make any changes...

Last night, after our production meeting the scenic designer proposed a bold change to the set that would use the fluorescents to there max. He suggested that we get rid of the current set as it exists (about 8 beams or so spread out throughout the space) and build a fluorescent light installation. I am of course very excited about this idea. I am, however, a little concerned that if we get rid of the beams entirely that we will lose much of what makes these fluorescents work so well. They work in the design because of the scenic elements that I am installing the fluorescents to. I want to attach fluorescents to the existing architecture in the theater as well as the existing beams in the set as it exists. If we don't use the beams, then I think it would be to our benefit if we stick to shaping the existing architecture. The fluorescents work best as they are, if they are highlighting edges, shapes, and actors from unnatural angles and directions.

At any rate, I am very excited about getting into the space today, focusing the rep-plot for the Curtain Theater, and then beginning to install the fluorescents in places that I think they will be most effective. Then, on Saturday morning, Dennis (scenic designer) and I will continue to explore the most effective configurations of these fluorescent lights. I can't wait to see in the full scale model where he might be thinking of placing them.

Docu-Diabetic

I haven't seen many docu-dramas or theater that could be considered part of the documentary genre, and yet, I am suddenly drawn to explore the pros and cons of the art form. I watched a friend of mine create a docu-comedy about "Hair", when I was teaching at Westmont in Santa Barbara, CA. It was hilarious! He worked on a piece called "Fear" this past year, and I wasn't able to see it, but I hope it went well. At any rate, I had no other reference to documentaries beyond that and a few television series or movies until now. I am reading The Laramie Project by Moises Kaufman and members of the Tectonic Theater Project, and I couldn't be more hooked!

I wonder if this kind of theater would have a successful impact on the local community of Amherst, MA. Beyond that, I wonder if a documentary theater piece on Diabetes would have an impact on the local community, the national community, or even the global community. I need a place to start, and I think I might be able to find that by locating my local JDRF chapter. I am already well on my way by connecting with other people with Type 1 Diabetes (I don't have it, but my wife does and I love her dearly). Each day I spend dreaming about this Arts Festival the more tangible and real it becomes. And although I have had many dreams fulfilled in my life, none of them have happened when I wanted nor in the way I had planned. This is another dream that is already spinning far from my dream, and yet fulfilling it far more powerfully and profoundly than I had originially imagined. I can't help but thank God for that blessing! I will finish reading The Laramie Project and begin to put the balls into play that are necessary for developing a documentary about the daily lives of people with Type 1 Diabetes. A project dedicated to my wife and her constant inspiring strength!

Raising Awareness for Type 1 Diabetes

I am blown away by the growing community of people on-line who have Type 1 Diabetes. A few weeks ago I decided to organize an Arts Festival designed to continue the conversation about being good stewards of our natural resources, while raising awareness and money to find a cure for Type 1 Diabetes. I wasn't sure where to begin my research for this festival...Do I begin by finding artists, collaborators, a clear definition of my goals, permission by my Graduate advisor to develop a festival, or somewhere else? I decided I would start with finding artists, but every time I start to search for artists I might be interested in bringing to the festival I find myself quickly drawn to connecting with people who are battling Type 1 Diabetes. I don't know why?!

Even though my wife has Type 1 Diabetes, I know she doesn't represent everyone. She has to deal with it every hour of every day, so she doesn't care too much for talking about it nor reading about it. She is a silent patient who continues her battle through prayer (something I believe is essential for finding a cure). I guess in a way that is why I am drawn to hearing other people's stories. I want to know if developing an Arts Festival to raise awareness and money to find a cure is something that the community of Type 1 Diabetics would support. I don't presume to be doing anything original, in fact, I am actually just trying to follow the lead of Bart Millard and others before him. I guess one question I have for you folks out there that are in the battle everyday, is this... Could you direct me to art events or artists who are actively creating art to raise awareness and money to find a cure for Type 1 Diabetes. Everywhere I look I see marathons, triathlons, walks, and rides, but not very many arts events. I'm an artist, that's what I do, that's what I'm good at, and so that is how I want to help.

I just had a thought...what if the Arts Festival isn't geared toward continuing the conversation about stewardship, but about Diabetes...! An exhibit of artists work who have Diabetes, a docu-drama/play devised from interviews of people with Diabetes, or panel discussion with people who have Diabetes, endocrinologists, and a representative from JDRF? Could it work...would it be successful...Let's do it!!!

Well, regardless of how this dream ends or grows, I am here to stay and here to support...Let's find a cure!

Arts Festival for Type 1 Diabetes

Here is an e-mail I recently sent out to begin acquiring information about organizing an arts festival that will ultimately help raise funds to find a cure for Type 1 Diabetes...

Dear Loretta Yarlow, I am a 2nd year MFA Candidate for Lighting Design in the UMass, Department of Theater. I am beginning to develop a seed idea for organizing an arts festival. I want the festival to embrace not only theatrical art, but art from a wide variety of resources. In particular, I am wondering if you would be interested in discussing the possibility of creating an exhibit of a variety of professional artist's work that speaks to our current environmental atmosphere. My initial thoughts and hopes about using the University Gallery space are to install either a painter's exhibit or an installation artist's exhibit. I am beginning my research far in advance. If, after a few conversations, my idea is one that you might consider, then the exhibit would not be installed until April 2011. I am very excited about my plans for this arts festival and would appreciate any feedback and/or support you might be able to afford me. If my inquiry would be better directed toward another person or another of the Fine Arts Center galleries, then please feel free to contact me with your advice.

Sincerely, Jonathan Hicks

Here is her wonderful and exciting response! I appreciate her initial question, which has helped me to begin to harness my thoughts and focus for this arts festival!

Dear Jonathan, I'm not really sure what you mean by the "current environmental atmosphere". The University Gallery has organized exhibitions that activate the architecture of our exhibition spaces involving light projections and video projections with gel filters (example: spring 2007, "The Experience of Color: Ann Veronica Janssens and Diana Thater"). The most recent exhibition "Gravity" this past semester showcased 9 light projections on beds of salt by artist Miroslaw Balka. Did you happen to see it? Also, our permanent installation called "Scrim Piece" by LA artist Robert Irwin (it's installed in our north entrance) typifies light and atmosphere in current art practice. So maybe you can clarify your definition so that I have a better understanding of what you're proposing. Also, please let me know if you had a chance to see any of the artworks I mention above, and whether they fit the categories you're speaking of. Thanks, Loretta

My response back to her from this morning...!

Thank you Loretta for your wonderful response and great opening question! To be honest, I am still exploring what, specifically, I mean by the "current environmental atmosphere". As one can imagine that statement encompasses a far too broad range of topics. I will need to be more specific about that phrase in order to have a cohesive festival capable of having a strong and meaningful impact on our local and global community. When I think of our world's current state-of-being, I immediately think of the environment around us (cities, farmlands, forests, bodies of water, air, solar systems). So, when I think of our current environmental atmosphere, I think of websites like the following: Inhabitat (for its vast exploration and commentary on the invention and use of energy efficient products to conserve natural resources like oil, air, and water) Charity:Water (for its concern and care for our worlds water resources) Environmental Working Group (for its intuitive and detailed research on our worlds oil situation) Solar Power (for its ability to make tangible understanding how to harness the power of the sun) These sites, among others, inspire me to create works of art that create social commentary on our worlds current environmental atmosphere. I think of artists: Andy Goldsworthy Shai Zakai Jim Hamlyn Jason Ditmars Urs Jaeggi And many others...I have not seen any of the exhibitions you mentioned. Last year was my first year, and with a newborn baby during the first week of school, the rest of my year was plagued with catching up. The next two years, however, I plan on moving forward with bold and exciting work! The culmination of which, I hope will be this arts festival of installation artists, music, art exhibitions, and theatrical performances all focused around creating a conversation about our current environmental atmosphere. I would like to push my research for artists who would be interested in participating toward exhibiting art work related more closely with light as I am a lighting design student. The exhibitions you mentioned sound like they fit well with my dreams for this arts festival. Again, thank you so much for helping me to flesh out my seed idea with such a simple question as "what do you mean by...?". I hope I have been able to get closer to answering that question in this e-mail, and I look forward to further interaction with you! Sincerely, Jonathan Hicks

This is the beginning of what I hope will be a wonderful collaboration!

John McKernon's Lightwright4

Not my file...but this will help you get the idea about the great resource John McKernon has developed for lighting designers!

I have been focusing my energy today on updating my Lightwright4 files for Come Back Little Sheba by William Inge. My advisor for this next year, Traci Klainer, has given me a couple of her Lightwright files and a test file for Sea Changers to study and practice with. I must say it has been quite a lot of work to go in and add the attributes of the Sea Changer, and I will have to do the same for my Selador instruments later.

When I first started designing lights about 8 years ago, it was all about hanging a light and hoping it made an interesting look or effect. Now, my eyes are being blown open by a hurricane of information from Vectorworks and Lightwright to production concepts and collaboration with teams of 10 or more people. It just doesn't compare to the education I received at Westmont, and yet that experience was seeped in the creative and artistic aspects of theater and art that you just can't get anywhere else.

Not only has it been exciting to get to know these programs and begin to create work that has a comprehensive paper trail, but I have been able to build basic relationships with those that I work with and with those that provide the products for my success. Like the PR Gal over at Nemetschek, NA branch who recently commented on an older post with some wonderful encouragement!

After reviewing the files that Traci Klainer gave to me, I have concluded that I still have leaps and bounds to make before I can consider myself ready for the lighting design industry. The best part of this education is that no matter how much I learn, I will always be able to learn more and help continue to push the theatrical art world into the 21st century! Here's to learning and sharing what we learn with the next generation!

Type 1 Diabetes

I am getting ready to launch the first ever Havenworth Project! Havenworth exists to bring everyday people into contact with other everyday people. The average theater artist into contact with the average doctor, the average playwright into contact with the average construction worker (view our Mission Statement). Our first project will seek to create an artistically vibrant and eclectic theatre festival that stimulates social commentary on our evironmental atmosphere while raising funds to support research for curing Type 1 Diabetes (Juvenile).

Up until about four years ago, I didn't know Diabetes existed, that was until I met my now wife, Adrienne Hicks (I love you!). I began researching the chronic (lifelong) disease, and I have come to the conclusion that it ranks right up with some of the most horrifying diseases out there today. And, although Diabetes is controllable, the cost and final results of the disease are expensive and tragic as no cure exists. It is a disease, where in most cases, the child must live with the effects from early childhood through to their last breath at what one can only hope is as an elderly gentleman or lady.

This project is merely a dream and a seed idea, which I hope will see its final fruition near late Spring of 2011. It will take many hours of research, preparation, and constant interaction and involvement with many people from many backgrounds and stories. I hope you will become part of this tremendous endeavor, and that it will become an occasion worth remembering in the history of theatre, diabetes, and our global community.


This is my family...This project is dedicated to you Adrienne, and the other millions of children and adults challenged by this chronic disease! I love you!!!

Burial At Thebes

I have been working on an adaptation of Sophocles' Antigone by Seamus Heaney entitled Burial At Thebes. It is a fantastic adaptation with only a few minor quibbles (a few words out of place compared to the rest of the text like "boss" or "shit"). I have perused the text a couple of times, once for enjoyment and the other for questions and concerns. The reading produced a wonderful interaction between the director and myself, and one, I hope, that will continue throughout the rest of the process. I can't emphasize how important it is for me to have a strong interactive experience with my fellow artists. It really must be a collaborative design for me to enjoy the process.

Yesterday, I met on Skype with our scenic designer. We used a program called Innerpass, where I was able to see his screen from my computer. Perfect for what we are doing since it gave me the opportunity to see his renderings of what he hopes the set will look like. We tried to save an image file of it on my computer but failed; otherwise, I would show you a shot of his work. I am really excited about the use of corrugated steal for creating a texture on the walls and a concrete treatment for the beams. He had an idea to purchase some kind of gravel, stone, or rubble for our stage floor, rather than using a paint treatment. I think it is a wonderful idea that will make the scenic elements more visceral and tangible. Finally, he showed me an aspect of our risers, which allows me to light between the levels and possibly produce some mist, haze, or steam coming out of them. I can't wait to put this thing together...

Here are some images of the research I have been doing for the production in terms of lighting design...


Energy bank...


Illuminate...


Fantastic structures lurk behind our walls...


Construction/Industrial lighting design...


Simple yet beautiful...

Lighting Design

So here's my question...

How do you design lights for a show, unless you know the show inside and out?

How do you design lights for a show, unless you know the physical action of the play inside and out?

How do you design lights for a show and call it art, unless you participate first hand in the creation of the art?

I say, "You can design lights for any show, whether you know it or not...you can design lights for any show, whether you know the physical action of the play inside out or not...you cannot design lights for a show and call it art however, if you don't participate first hand in the creation of the art..."

So, go...participate...communicate...collaborate...and enjoy!!!

Mission Statement

“Why should the organization exist?”

Havenworth is a dream of mine. I hope it will exist in order to offer society a wide variety of national and international artistic expression that has a high impact on the local and global community, and a low impact on the local and global environment. We believe in providing artists and audiences with the highest quality artistic forums where they can explore the wonders of humanities creative minds and energies. In addition, it will offer communities the opportunity to live in residence and be nurtured by society through the arts. The center will be a place for all art forms to come and begin a conversation, to live a conversation, and to become the conversation around the world.

Havenworth is a haven worth investing in!

Theatrical Development

Marcus Gardley

I sat in on a production meeting today for ...And Jesus Moonwalks on the Mississippi by Marcus Gardley, our faculty playwright. I had been hearing a lot of conversation about the process...lots of information, lots of technology, frustration, challenges, questions, confusions...the real problem however isn't anybody or anything that has happened, but simply the fact that nearly nobody is used to working with so many unknowns. They aren't used to experimenting with the an ever evolving set, script, and production elements. I would love to work on this project, but my faculty adviser, Penny Remsen, decided that this was too close to my cup of tea. I have worked in experimental theatre for the past 9 years at both Westmont College and Lit Moon Theatre and I need to learn some other ways of approaching the art form.

Anyway, the experimental process is really having its toll on everybody! Here's the scenario...

The set keeps changing or being adjusted (in the grande scheme of things very minor adjustments, but adjustments nonetheless), the script is still being worked as the director, performers and playwright become more familiar with the characters in relationship to the actors, we are beginning to work with projections, lighting, and sound, and the production opens April 30th (7 weeks). Plenty of time if we weren't working with so many projections with equipment that is less than unsatisfactory for the purpose, as well as, so many students, faculty, and staff who are used to having a fixed set, ideas, and purposes.

So, here's the question...At what point do you stop changing the theatrical elements and start polishing them?

My personal thought...it never stops changing until the show closes for good...experiment until you can't experiment anymore!!!

Devised Theatre

Well, we have come up with a full script. A 30 minute long journey through the birth, growth, and death of a relationship with a twist. We have been playing with multi-stable illusions...


What do you see...?

This idea of seeing action and dialogue from different perspectives, stories, and/or people. I love what we have created, and I can't wait to start putting the scenic elements together with the movement and language. It is going to be a feast for lighting and sound to play with!

Here is a little taste of a movement section:

...and door-handle, with a marker. The marker drops; the child skips off.

(2)

The door, which was exacto-knifed onto the box before the start of the production, opens, and out walks a homeless man. He picks up the marker

Here is a little taste of a section of dialogue:

PSYCHIC
(looking in crystal ball)
I see…

MAN
(worried)
Is it bad?

PSYCHIC
(seeing his worry, fishing)
It’s not good, no. You’re not married?

Change the circumstance...

MAN
I see.

LOVER
Is it bad?

MAN
It’s not.

LOVER
Good. (Crosses to him)

MAN
No.

LOVER
You’re not married.

At any rate...I can't wait to keep working on the production...I am curious how many of you are working on a piece of devised theatre? or When was the last time you worked on a piece of devised theatre...?

Pericles iv.

We are moving in to our first dress rehearsal tonight! I am very excited to run the show with as few stops as possible. Our Lighting designer, Thad Kramer, a 1st year graduate student at UMASS (and a fantastic designer), has been developing his ideas for several months and building cues for several days, and he finally get's to see the fruits of his labors. Although he will be making adjustments to the cues while I take notes for him, he is pretty much finished and ready to go. It is has been a wonderful experience working with Director, Shawn LaCount, a third year grad in our program at UMASS, and Artistic Director of Company One in Boston, MA. His constant communication, interaction and support during the development of the production and specifically during the technical runs, has been absolutely integral to the success of this production. I cannot say how important it is for a lighting designer to have constant interaction with the designers and especially the director. A steady flow of communication ensures that the cues being built by the lighting designer are those that have been dreamed of and blocked by the design team and performers.

So, thank you to you all for such a great experience, and I hope these next few days result in a production that excites audiences, gives joy to the cast and crew, and does justice to the artistic process!!!

Congrats to all!

Pericles iii.

Wow! What an amazing process!! I love working on productions that require lots of communication (funny right...what show doesn't require lots of communication)...perhaps, what I ought to say is...I love working on productions where we actually do a lot of communicating! I think this production of Pericles will be a fabulous and exciting production. Lot's of promising moments and scenes. We will be adding costumes to the tech process tonight. This will add the final missing and exciting element to the production. The costumes are amazing. Heather (our third year grad student) has developed an incredible array of costumes. Somewhere near 50 costumes for 18 different actors. What a feat...and our costume shop is working hard to make this a reality. Thank you guys! Your work is deeply appreciated!!! Hurray!!! for the cast and crew of Pericles... :)

Group Studio i.

Jen Delyth...

Working on a Group Studio project now...We are beginning to develop a piece of devised theatre that will be performed at the end of the semester. I am very excited about this project. I hope it will be a glorious ride like the one I took while at Westmont working on the Mariner (adaption of Homer's the Odyssey). The class was asked to bring a myth to class with them. I have decided to peruse the myths found in Ancient Celtic...This one was translated into Enlgish...unfortunately many of them weren't like these ones...

I am very excited to look more deeply into The Courtship of Ferb.

More in the coming weeks and months.

Havenworth Performing Arts Center

A beautiful image...

I have been thinking about this "performing arts center" a lot in the back of my head over the past several years, and I wonder...If I don't ever push the idea to the front of my head, will it ever make it out of my head?

So, in the vein of moving the idea out of my head, I want to take a kind of census or consensus about where artists (sculptures, painters, film producers, dancers, ARTISTS) believe their work would best benefit the broader community. How would your art have the best impact (not the most, but the best)? What kind of environment does your art need to thrive (interior, exterior, winter season, spring season, an auditorium or a studio)? Also, what kind of geographical location is required or desired (L.A., Prague, a suburb, metropolitan cities)? And, I feel that this is important...where do you believe the answers to these questions are? What city, state, or country would best suit the benefit of your art for the benefit of society?

Sound Design

So, I attended my first design class at Amherst College today. It was laid back, informative, and intriguing. All the things I hope for and look for in a class. I want a chance to explore and learn at the same time. A chance to ask questions without the constant..."you can't do that"...phrase penetrating my art. Anyway, our first assignment is to record 10 sounds, but I don't have a device to record sound on: Our video camera only records video and not sound, I lost my phone today, and so what am I going to do? Rob, the instructor, offered a recording device, but made it clear that he prefers we find our own device, rather than borrow one of the available one's. He likes resourcefulness, who doesn't? At the break, I hopped on my computer and attempted to see if I could make a recording...after all, I can Skype...why not make a movie or sound recording too...Here are the fruits of my search...



We also spent the day attempting to define "music"...Here is the definition of music for our class created from the students collaborative perspective:

"An intentional or deliberate arrangement of sound and/or silence encountered by an audience over time."

What do you think? What do you consider to be music?

Commenting

I can't help but be tempted to announce that I just discovered a technical difficulty with posting comments on my blog. So, if you have been wanting to leave a comment about what you have read, seen or thought, then please give it another try. I have updated the system, and fixed the problem. Many thanks to the folks at Nemestcheck for sending me a couple of e-mails, which allowed me to realize the glitch! Thanks again!!

Havenworth Mission Statement

I wanted to start the new year off with a re-cap of the Arts Center's Mission Statement. I am still developing this statement. I believe it will strengthen the development not only of my own work, but of the work of all that get involved. I believe a dream may only be realized by constant pursuit, refinement, and support. Please, aid me in my pursuit by suggesting pros and cons to such a mission statement, benefits, challenges, and questions.



"Our society requires a Visual and Performing Arts Center that has a high impact on the local and global community, and a low impact on the local and global environment. The center exists to offer artists an opportunity to collaborate with artists, with economists, with scientists, administrators, contractors, academics, youth and more... The center will offer collaborators the opportunity to live in residence and be nurtured by society through the arts. The center is a place for artists and audiences to live in a community where they can explore the wonders of humanities creative minds and energies. The center will be a place for all art forms to come and begin a conversation, to live a conversation, and to become the conversation around the world."

Current Productions

I am currently working as the Assistant Lighting Designer for a production of Shakespeare's Pericles, Prince of Tyre. It is a fantastic adventure through distant and ancient lands, the story of a King strengthened by the gods challenges. A story of heroism, bravery, love, longing, lust, retribution, and romance. The production opens February 26th at 8pm and closes on March 7th at 2pm. It promises to be an adventurous night into many lands of Greece, so please if you are in the Western Massachusetts area come and enjoy one of Shakespeare's last beautiful stories.