Dee’s Production SST11 tech script advice

19 Jun

Hey guys

So, the final tech deadline for SST11 is near. As you know, due to artists struggling with some of the deadlines, we decided to push the auditorium one up one more time so now the studio tech script and auditorium ones are to be handed in on the same day, by midnight of the 20th. Please note that these have been pushed already so if there are any problems, please message me. This is my advice for the June 20th performance draft and tech aspects confirmed with production deadline.

Basically, what I would need for this, is an annotated script of your Say Sum-thin 11 performance piece in order to pass this over to the playhouse (as I too have a deadline with them).  If you do not require much tech, that is fine, I would still like a copy of your piece emailed over to production@mouthypoets.com as a word doc. A few things…

 

·         Think about it as if you were reading a play minus the acting directions and trying to set the scene.

·         Even if you are simply focusing on performance and require just a mic and a stand a tech script still has to be sent as a word doc with the title ‘tech script’ over to me.

·         Keep in mind that studio tech is a little more limited than the auditorium but all wishes made so far are fine, projectors, UV lights etc for both spaces.

·         Perhaps if your poem has a shift in tone/mood, you could change colour but this is not a must, and the poem is still fine without

I have put together examples of the 3 ways I would like this information passed over to me using bits of my last Say Sumthin piece as an example.

 

1: If you do not have any requests, send over your piece with just highlighting tech at the start and end so ie….

 

Spotlight

 

“I venom through

soliloquy, confessions strangled, snake-like

by breath.

 

—————-rest of the poem in between with no changes or shifts till after the last stanza———–

 

“and say ‘I did not pull the trigger

I did not pull the trigger?

 

Fade to blackout.

 

2: Highlight the poem due to shifts in tone/feeling or intensity. For a full example of this, please check Chris’s second draft but emotions can still be evident with just a neutral light.

 

Red Wash (Confusion)

 

“Maybe my ears gave in.

Maybe sorrow darkened the moon

from my room but ‘ I can’t cry’.

 

Emily spills from the world

(Slow transition to neutral)

Last words lie dormant in my mouth

I whisper to take them back”

 

3: For the more tech reliant pieces, please provide full detail of tech (props, staging, audio) and where you would like change. Went a bit OTT on this one aha

IF YOU ARE USING MANY IMAGES AND AUDIO, MAY YOU NUMBER THESE AND SHOW THE BITS YOU WANT THEM PLAYED IN THE SCRIPT PLEASE.

 

Chair positioned center stage. DIM light over the stage. Woman walks over to chair and sits.

 

CUE- Heart monitor sound effect/screen projection. (12 seconds)

SWITCHES TO HAND HELD MIC

BRIGHT SINGLE SPOTLIGHT ON WOMAN AND CHAIR (rest is dark)

 

“I wind back! I wind back!

I wind back, rewind, minutes spilling in time

She was fine, soul confined?

I wind back and back and back

and it’s funny, how the truth is a blood stain

licking my wrists out.

 

WARM YELLOW WASH ON CHAIR

 

“13th November 2015

A medical team, find Emily

flickering”

 

Cue spotlight on dancer 1, 2 and 3

 

Note: These are the availabilities of the studio show. Please keep in mind that the auditorium will also feature the same and possibly more possibilities to play around with. 

 

Want to be precise on your light settings and tech script? Here are some aspects to think about and refer to in the script if you want and the effects it may have on your piece.

1: Lighting Position

·         Front light= a light from above at an angle close to 45 degrees. Great for lighting faces and eyes of performers. It is important for a performance requiring high visibility. Be sure to state the degree of intensity for these lights during the tech rehearsal.

 

·         Top Light= meaning light from directly above. A very dark and dramatic angle on its own to create silhouette and casting colour. It can be used with other lights to deepen images and getting colour on stage.

 

·         Back Light= From the back at an angle of close to 45 degrees. Used on its own, this too can create a dim atmosphere for creating silhouettes. You can also use it with other lights according to the atmosphere you wish to set.

 

·         Up light= lighting from the floor. This will be done with a moving profile light to create dramatic and unusual shadows. When used in combination with other angles at a low level, it can brighten or light objects and performers.

 

·         Side Light= This is lighting from the side of the performance space. Great for emphasising movement. Performers often glow without casting shadows on floors or walls.

 

·         UV lighting in order to illuminate. Please note that it may at times take some time to brighten so consider the performer before you and exactly when you need this light on.

 

·         ‘Flooding’ of light is making it larger and ‘spotting’ is getting this smaller if you want to be more specific.

 

·         LED Wash= Any colour you wish to create is done on a spectrum dependent on the primary colours. The intensity of this can also be discussed.

 

·         Gobo Lighting= This manipulates the shape and effect of the light such as casting a window projection or stars etc.

 

THINKING ABOUT COLOUR AND INTENSITY·

-The intensity of the light can greatly shape the performance. Given in percentages from 10% to 100%. Think about the ambiance you would like to create and how much light will be necessary.

 

·         Intensity can also include fade. How quickly do you want one light to switch to the other? This can be timed for seconds.

 

·         If a scene is set in the dark but performers still need to be seen consider using dim colours, a back light or dim front light to indicate this etc for visibility.

 

·         Bold colours are great to indicate mood though it is advisable to use this in moderation and in contrast.

 

·         A Smoke Machine is also available in order to create ambiance. Please ask for this in the script if you want it.

 

·         A gel frame may be added to some of the lights. This simply adds colour correction for temperature. So an example would be blue to make the scene and light appear colder or orange to add a warmer feel to it. Again, usage is limited for the studio show.

 

NOTE: Whilst some people may indeed change their lighting specs during the tech run, this is usually on intensity, visibility and the light used. 

PROPS and REMINDERS

·         If you require props please consider what these are and mention them beforehand so we can try and source these for you. This is not always guaranteed so consider finding some props on your own. Remember: The larger and harder it is to find, the less likely for it to be provided last minute.

 

·         Use of music and audio is greatly restricted for both shows due to copyright. If sourcing audio, please ensure it is yours or free of use.

 

THINGS TO CONSIDER FOR YOUR PERFORMANCE= COMBINE THE THREE

·         Light, colour and intensity can be used together to a certain degree. It all depends on the image and ambiance you want to create.

 

·         Think about the location, time, mood and main source of light.

 

·         Think of the products and performers on stage and the kind of visibility required.

 

·       If some of this makes little sense, please do not hesitate to speak with me about it.

Dee

 

 

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