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Overview
The very first thing you need to do as lighting designer is familiarize yourself with the script, read it (probably more than once). Pick out themes that you think are important and might be able to translate into different looks. (I find contrasts to be the easiest to work with; winter vs. spring, Egypt vs. Rome etc.) Meet with the director, find out what s/he wants to emphasize and if they have any ideas about how they want the stage to be lit. At this stage take in all suggestions you can get, feasibility can be worked out later. Once you have an idea of how you want the stage to look (which takes some creativity and luck, generally after the semifinal set design is due) you need to figure out if you can do it. The two main spaces the Ensemble uses are Kresge Little Theater and Sala. KLT has an enormous stock (an inventory can be found on the inside of the electrics closet door or you can ask Karen Perlow kperlow@mit.edu for a copy). E-mail other student theater groups or Campus Activities (CAC) for Sala inventory (Chris Nayler: nayler@mit.edu). At this point you should also meet with the Set designer to see what his/her designs are. This way if there is something that needs to be rigged from the pipes you know to avoid that area. Also you need to know about major set pieces that may need to be lit or different levels that you will have to deal with. You should also see a run through of the show so that you know of any special areas that need particular lighting. You should also decide if you are going to use a cyc. Next you must come up with a plot (specifics as to where each light will be hung). This is probably the most difficult aspect of lighting design. You need to pick what kind of lamp and where it should be hung to illuminate a specific part of the stage in the desired manner, needless to say this takes a bit of trial and error. Your next job will be during put-in/prod week. As a lighting designer your job will be to tell your electricians where to focus each and every instrument once it's hung and circuited (which happens during hang). Once the lamps are focused you need to sit down with the director and write the cues. This process is often called "paper tech". During Q2Q you need to refine the cues and during subsequent run-throughs during prod week you need to continue to refine the cues and if necessary, the focus of particular instruments (during this time realize that much if not all of your free time may be spent in the theater). Finally sit back and enjoy the beauty of your work.
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