Brand new props + missing ones

Description:

Throughout regular theatre classes, we rehearsed the entire week scene 3, in the forest. Inclusive there were some exceptions, on Monday in the rehearsal of scene 3, Hawie and I went to the schools’ carpentry to paint the props while on Thursday, Sasmita Sahoo, a professional and experienced classic Indian singer came to watch the rehearsal and propose her music. Instead, on Tuesday, Thursday and Saturday we had the school rehearsal where our focus was on the development of scene 8, the coronation of Rama. Finally, me, instead of going to the school play rehearsal on Saturday, I went again to the Centro of Lima to buy missing props.

Analysis:

The difference was clear, from two and a half hours in the busy streets of capon to the half a hour time in the straightforward block 3 of Abancay or in other words, Jr Huallaga, where the fabrics and cups were able to be found. By being once again in the Centro, I put in practice an ability learnt from the last time we went, the capacity of prioritizing the purchasing of objects due to the lack of time. I specialized my time and decided going to the fabrics was a better choice and chance of winning against time since the fabrics, taking the measurements, cutting 3metres per each color fabric would take much longer than buying 12 identical cups. As a result, from this, we calculated our time efficiently and in a matter of 30 minutes, we had finished buying both crucial props that were missing. Time was chasing me, but by returning to the Centro, I learned how to locate myself better, especially the same shops I wanted to go to where my missing props could be found. Additionally, before going I took advantage of my network of contacts and communicated with an expert of the Centro de Lima zone who could be my companion in this journey. With his help, He facilitate my journey much more since from his help, I learned how to situate myself better in the Centro and calculate my time efficiently. Another lesson I learned was that Jr Huallaga, was the third block of Abancay whether than the sixth one. Both shops containing my missing propos were one block distant from each other. Perfect for us! As a result, this will help me in the future since when I need to go or if I need to go, I will be able to locate myself more securely in the Centro for buying the props for the upcoming school play. By locating myself better, I can contribute the next former ib years when they need to go to buy props.Therefore, one last lesson I reflected on when returning to the Centro was that, since the first time we go, we must have taken previously the exact measurements and precautions to not have the obligation to return.

Monday, was a brand new experience for me. Going to carpentry and actually painting my very own props that would be used in the school play was a new stage of my theatre life. Actually having the chance of painting with the materials bought, the props that would be used was a unique experience for me. By painting, I realized that that the external materials that are not included in the prop like the paint aerosols and strings complete the package of the final product, or in other words, the final prop. If the prop lacks the color or external materials, the prop will not look the same, meaningless and poor. The sequence of painting was weird and extraordinary at the same time. Hawie and I learned how to paint with aerosols the props. In the case of the cups for the wine, we began by picking them up from their thinnest part and begin painting them. Whether than just focusing the paint spray onto a single area of the prop, the paint shall cover the empty region missing by “turning it around, painting, turning it around, and painting” continuously until the prop is completely covered by the gold dye. From this experience, I acknowledged how the people in charge of props actually manage the final development of their props. It is not only about buying the prop ready to be used, instead, creating the prop, finishing it yourself. Because of this unique painting experience, I will now be able to help the next IB year in charge of props, show them how to paint the props, the adequate manner to tint them and others. 

Moreover, during the school play rehearsals I was able to face the only situation I have not ever experienced before, the power of doubling. Experiencing it led me to one single conclusion: CHAOS, being in backstage is a CHAOS; however, it can be managed successfully with order and discipline. It was now my turn, I faced the terror of backstage; running from right to left to assure the correct props were being used in the accurate time, silencing actors that did not appear yet, remembering people who had forgotten to appear to go out towards the stage and more. By going to side to side in backstage while scene 8 was developed, rehearsed and presented; I was passing on props to the different actors. Additionally, I developed the ability of strategies. I coordinated the time and place where I was going to give the actors the specific prop needed or where it was left so they can pick it up, use them, and then leave them exactly in the same position.

Reflection:

Being in backstage was a hard task, although I learned about order, discipline, doubling roles and time management; one concern was crushing my brain, questioning me every single time. When I act in a specific scene, who could help me, assume my charge as props and organize the backstage? I mean… only one person was assigned props: me; only I know where each prop is used, at what specific time, where it should be so actors can access them more. Whom could I actually call for help, my cast members? What if the entire production team is acting? How do theatre makers accomplish this, find the perfect replacement for the charge while you are acting in stage.

"El Centro de Lima", an everlasting journey of production

Description:

In the course of our regular theatre classes on Monday, Wednesday and Thursday; we trained, developed and enriched scene 5 and 6 by discussing monologue choices and actually putting them into practice. While, in the school play rehearsals on Tuesday, Thursday and Saturday we developed and rehearsed the entire act 1 including scenes 5 and 6 of the second act. Saturday was a special day; half of the production team with the support of Gonzalo and Aileen went to Centro de Lima to search for the missing props, makeup elements and light jellows required for the school play.

Analysis:

From Capón, the barrio chino to zoladi, we accepted the quest and went in search of the missing props, light jellows and makeup we would be using in the school play. Many props were urgently required for next rehearsal such as the three cups and trays carried by the royal maids, Ravenna’s locket or in other words her source of power, Sita’s necklace which is the symbolic representation of faithfulness and fidelity, the fabrics covering the throne, the textiles used for the introduction of the protagonic characters and the cloth for the death dancers. Wow so many props in such small amount of time! Oh no! Wait that is not even half of what we are looking for. From my personal experience in a crowded atmosphere like “El Centro”, managing our time was the most difficult task of all. Let us face reality; we did not have to only find most of the props that were needed for the school play but also the light jellows and the makeup to begin the tryouts and official practices. We decided to begin with a design section and then continue with the next one and eventually the next one because or else our key factor was going to be lost, time. Because of this, we learned about specializing. We decided to concentrate in the purchasing of specific props, according to its importance and vitality in the play in order to avoid returning to the overpopulated streets of Parurro o Capón in the Centro of Lima. We had calculated that, in case we had no spare time left, we would have to have at least the elemental props needed for the scenes. That was because, or else, we were going to be held back by time.

We went to the barrio chino that had an exceptional range of Hindu shops to look for Ravenna’s locket and Sita’s necklace. By searching, I noticed that the items we found were not exactly like my visions of the props since they were lacking some fundamental features. Therefore, I learned how to adequate my vision to what we have found. I realized that not everything I imagined was necessarily going to be found. As a result, we searched for the props that mostly fitted my vision. For example, for Ravenna’s locket, we found large white and dark blue-gemmed lockets that included silver metallic decorations all around them. Although the form and style of the locket fitted perfectly to my perception of the locket, the main feature was still lacking, the red gem symbolizing violence was missing. Answers, resolutions and ideas were knocking our heads. “Should we paint them with red aerosol spray?”, “Perhaps, we can paint them with a dark red marker” or “What happens if the gem gets damaged by painting it with a red marker, will it still look alright and professional if its original color wasn’t red?”. This actually creeped us out, because as I said before, the key feature was still missing, the red fervent we were searching for. Instead, the gem was white, which perhaps, the audience can get confused since white usually symbolizes purity whether than rage, violence or a dark force. Whilst counting the dark blue was not a bad idea. In our color palette is true, blue symbolizes the good side, however the black twists the significance. The dark blue could maybe suggest a sinister power. However, I must admit! After searching, we found a bronze locket that had amazing designs incarcerating a small sized red precious rock. Although it was red, the closest founding to our proposal, there was one slight problem: The gem was not big enough! From that, I learned that although you find the color, the size matters. Since the power came from the rock, how could so many supremacy come from a minuscule rock, IMPOSSIBLE.

However, during our search of props some items found were missing vital features. In inclusive, some foundings were even better or had actually trespassed my original visualization of a selected prop. In the case of Sita’s necklace, I had imagined it entirely gold, where exquisite gold-plated pieces joined and beaded together. This necklace had to minimally include a big light green or blue gem in the center, accompanied with two smaller ones on each side that would match the color palette and her costume. In contrast, we found something even better; it was an abstract necklace that included gold beadings and many gems of different variations of green elaborated in a floral design. Therefore, this new acquisition fitted perfectly Sita’s costume and our Kathakali color palette. For our benefit, the necklace included a slight decoration used in the head and a pair of earings. Both of these had the exact decorations of the necklace, creating the perfect Indian packet. These included head decoration and earrings contributed more to Sita’s physicality since she has to seem as a noble and delicate Indian princess who is prestigious. By finding this necklace, a new prop was discovered which would contribute even in a higher scale with Sita’s physique. These were several gold narrow bracelets that are used in big quantities due to their thinness. According to previous Indian beliefs and cultural traditions, royal princesses used exaggerated decorations and jewelry to demonstrate themselves as unique and exquisite powerful people who live in a wealthy lifestyle full of nobility and greatness. From this, I learned that the props we listed were not definite since new props could be discovered. In addition, thanks to Aileen, she reminded and taught me how was the physical appearance of an Indian princess, where several exaggerated decorations and jewelry were needed to highlight her delicacy and gracefulness.

By buying the textiles used for the introduction of protagonist characters, the cloths of the royal dancers and the fabrics for the imperial throne, we discovered and learned three main elements that must be taken always in count when buying fabrics. Firstly is the light effect on the cloth. We needed to ensure that for the royal throne, the fabrics didn’t shine too much because our purpose was that the fabrics needed to decorate the throne, look like actual “terciopelo” in order to show the audience that being in the throne meant you were on top of the hierarchy pyramid and had a major influence upon the rest. The other factor token in count when buying fabrics is its transparency and weight. The cloth could have either a solid opaque color where light rays cannot pass through or the opposite, a clear type of cloth that can help with the flow and movement of the cloth itself. Referring to the textiles used for the death dancers, we needed to find a black easy flowing cloth that would let the same dancers, control the movement of their cloths. In order for it to be free flowing, the textile had to be transparent and light weighted for the death dancers to have more control upon them.

Reflection:

After going to the Centro, I learned that the time must be controlled and managed efficiently if you want positive results, and especially, if you want to finish with the eternal list of materials you need for the school play in less than one month.

Prioritizing. Specializing was in matter a fact, a major lesson we learned when going to the Centro. By going to purchase the different props, we became organized and aware of taking critical decisions on the purchasing of props. We reached the decision, which was to buy the props that were vital and essential for the play at this moment.

I would like to question the following:

What do professional directors and producers do if they do not find an exact prop that does not satisfy their original vision of it? Do they just replace it with a similar prop but that has a slight change since they could not find anything? Because perhaps a similar object can be changed, but if it does not coincide with the color palette that reflects their entire concept, than what do they do? How highly does it affect the outcome of their play?

Its all about PROPS

Description:

During class, on Monday we scheduled the timetable for the rehearsals. On Wednesday, we had our proposal decision regarding the title and poster design of our school play. We reached to the conclusion “Los hilos del destino” a concept that is present through our whole adaptation of the Ramayana. On Thursday, we discussed on the scene 5 and 6 proposals and Anita did makeup tryouts. As usual, on Tuesday, Thursday and Saturday after classes, we had our school rehearsals where we focused on the creation of scene 5 and 6. Whilst, on Friday we went to Yuyachkani and watched “cartas de Chimbote” based on the life of Jose Maria Arguedas.  

Analysis:

Yuyachkani establishes a deep connection with the legendary Peruvian indigenous writer Jose Maria Arguedas by representing the stages of his life throughout the use of props to evoke his presence in scenes. The actors by reading his letters, they interpret his intentions, giving the actual letter form and shape. But especially, by giving the letter shape, the letter comes to life and revives the spirit of Jose Maria Arguedas. In “Cartas de Chimbote”; Yuyachkani actors quote Arguedas but at the same time connect with him emotionally throughout the use of the letter. This is shown when the actors read out loud all his letters and re-act them. An example is when the actors portray Arguedas’ first attempt or consideration of suicide which occurred in April 1966. This depressed mentality and episode of his difficult life is highlighted in “el zorro de arriba y el zorro de abajo”, one of his novel. Augusto Casafranca and Julian Vargas performed Jose Maria Argueda’s novel “el zorro de arriba y el zorro de abajo” by using colorful masks that contained attached on the top, the corpse of a dissected fox while Rebeca Ralli sat down in the chair mimicking the letter of Arguedas she had in her hand. Yuyachkani by representing, literally the novel “El zorro de arriba y el zorro de abajo” they highlight the writing style of Arguedas that includes his autobiographic reflections and intimate confesions regarding his attempt of fighting against the approximating death he will soon encounter.  Both male actors personifying the foxes were saying the identical words of Jose Maria Arguedas’ regarding his suicidal thought by saying “Hoy tengo no tengo miedo a la muerte misma, sino a la manera de encontrarla” Throughout the use of this letter, the audience is able to presence the depressed spirit of Jose Maria Arguedas who has been severely shocked and affected by his childhood. Moreover, by also stating “Soy cobarde para el dolor fisico y seguramente para sentir la muerte” reinforces his fear of feeling the pain death gives, however, he never mentions he is scared of the death itself.

Towards reaching the end of the play, interesting props were used such as a white powder to perhaps represent the ashes of Jose Maria Arguedas; the table filled with candles litted, a picture of Jose Maria Arguedas, plates filled with avocados and corns and more. At the end, Teresa Ralli by pouring a white powder on Augusto Casafranca, whom at that moment represented Jose Maria Arguedas presence made the audience assume and also transmitted the idea that the powder perhaps could have been his ashes since the play was finally concluding with his death. Finally, by placing avocados, corns and a picture of Jose Maria Arguedas it caused an empathic effect on the audience since they lament the death of jose maria Arguedas. However, it caused a feeling of happiness since now they know that although a life was lost, “un demonio feliz, que habla en castellano y en indio” died happily ever after. As a result, these props accompanied with a happy quechua chanson, payed tribute to the life of the indigenous Jose Maria Arguedas who wished to have finish with his life due to the constant feeling of marginalization among the indigenous and the mistis world, the early loss of his mother, the absence of his father and the failure of his previous marriages.  

In terms of our play, with the used of distinct props we want to connote the diverse intentions of the characters. With reference to the locket used by Ravenna, it is considered as the source of infinite supremacy which makes her a terrifying and strong enemy every creature or human being is afraid of. Moreover, without the locket the demon queen loses her power; becoming useful, weak and vulnerable. To give significance to the locket, in parallel, it previously belonged to the divinity Kali, the goddess of destruction. Due to the power imposed by this locket itself, Kali lived in a constant state of cruelty, malice and unkindness.  A current example is that throughout the entire play, Ravenna will be using this huge worshiped locket to symbolize a sense of seniority and supremacy among others since she has the respected reliquary of Kali. However, when she is defeated by Rama, Rama will take away the locket from her to portray the idea of defeat. As a result, the locket wasn’t only a representative of the power of Ravenna but also a symbolization of the divinity Kali, the goddess of devastation and destruction. Therefore, by placing this prop we aren’t only reinforcing the power of Kali that Ravenna begotten as well, but, by using it, we are paying tribute to the goddess Kali, who is highly respected in Hindu religion and culture. Thus, meaning the incorporation of the locket fits perfectly in the standards of Kathakali theatre since the presence of gods were important features in Indian culture, which were transmitted in theatre.

 In addition, another powerful symbol that is used in scene 5 is the stick of Hanuman; it portrays his power over his monkey army. This is used when Hanuman talks to Jatayu, a mystical talking bird that leads him to the location of the imprisoned Sita. To direct himself towards Jatayu, he taps the stick to show respect and also power towards Jatayu in order to capture his attention. Then when hanuman gives his powerful stick to his two companions, he becomes slightly less powerful. Therefore this is shown in the wakening of the demons and the warning of Ravenna. Since he didn’t have his stick present in that moment, the demons controlled him and burned his tail.

Connections:

As well as our school play, “Cartas de Chimbote” also used minimal props. They decided to have specific choices such as the letters or the table with tributes towards Jose Maria Arguedas. Also, in the school play uses a locket and “cartas de Chimbote” uses a table with tributes. Although these propos are extremely different, they reach a common purpose which is to pay tribute. Moreover, both plays “Cartas de Chimbote” and “Edith Piaf” were autobiographical and reflected on the lifes of famous and highly recognized persons such as Jose Maria Arguedas, an indigenous Peruvian writer and Edith Piaf, a legendary French cabaret singer. After watching both plays, I noticed an interesting connection between these two unfortunate lifestyles which was that although they

reached the level of fame, depression and agony they suffered in their life were the key influences that encapsulated them, leading them to their deaths.

Reflection:

In terms of our school play and “Cartas de Chimbote”, both used minimal props which transmit different meanings. However, props still concern since most portray a similar concept: power. This made me reach to different questions regarding props. Since according to Kathakali, minimal props are used. To not break the convention and include more props to transmit different concepts that transcend in the play; how could I give a wider range of meanings to a single prop in order to avoid repetition of ideas? 

Edith Piaf: the legendary french cabaret singer

As the famous French cabaret Edith Piaf once said “To sing is to bring to life; impossible if the words are mediocre, however good the music”. Before vacations, on Thursday April 20th, we went to the Allianz Francaise in Miraflores to watch the legendary interpretation of “Edith Piaf”, the story of the French cabaret vocalist herself who became referred as France’s national diva and world widely, an international star. The play highlights the aspects of her personal life throughout the acting and lyrics of her songs, the suffering she passes through and the excitement of becoming a recognizable singer around the entire universe. 

Regarding the design elements, the use of lights were essential to differentiate the changes in time or for the focus upon Piaf’s chanson that reflected her sorrowful life. This is shown by using one of the light properties of contrast. Firstly, a light color palette of pink, red and yellow were chosen to contrast then against a blue and green color palette. Pale rose and yellow gelatins were placed on Fresnels. By turning them on and these illuminating the stage, these tints joined and created the perfect mixture, reassembling exactly an impeccable morning dawn. Then, in order to mark the change in time, blue greenish gelatins were used to reinforce the idea that now, the dawn has ended and the sun has rised and shined. Moreover, dim senital lights were used and directed towards a makeup table that Piaf interacted with, where she ingested the drugs. Additionally, these senital lights were used during the moments of tension, specifically, when she attempted suicide by consuming drugs and an excess of pills. Thus, to emphasize an environment full of tension and sadness since the grin reality of Edith Piaf was appearing, her dependency on drugs and beverages which leaded her to her own destruction, her death.  On the other side, red lights were used to evoke an atmosphere of violence and aggression as demonstrated in the assassination of Piaf’s adoptive father or the scene where Edith had to prostitute herself to cover her poor lifestyle. Contrast effects were made sin the 2^nd or 3^rd bar of lights were on with red gelatin fresnels. As a result, this created silhouettes of the characters. This was a perfect strategy since this immoral scene couldn’t been seen in public.

On the other side, various sound effects were used to produce hostile noises. A sound effect for the gunshot was used, the replica of a shot gun firing was echoed in the stage whether than showing the actual assassination of the adoptive father that gave her a prestigious job opportunity. Despite the murder itself, the fact of actually not showing it caused even more tension and mystery towards the audience since they don’t know who actually killed him or how, they just heard the irritating gun shot that took an innocent to his unexpected death. Also, by resounding the noisy airplane crush, where Marcel, Edith‘s one true love died, it conveyed a sense of destruction and decadence, especially, crushing poor Piaf’s beating heart. Therefore, by the use of sound effects, the directors decided to avoid the actual portrayal of death scenes and place emphasis more on the sounds that cause a deeper connection and sensation of misery to the audience. The sound effects helped the audience feel the moment, presence it and feel the pain the characters themselves felt when losing a beloved one.

                   

Finally, by the use of diverse costumes used by Piaf, her social status was proven to be changing in the years. This is shown when Edith, from a partial time prostitute that sung in streets recollecting money to cover her basic necessities turned into a well-known paid singer that was recognizable internationally by the world. She indeed became in France’s national diva. To transmit to the audience the unstable and poor lifestyle Edith lived before, she used sloppy clothes and untidy hair. Also, none of her clothing actually combined with each other. It seemed like if she used literally, the remainders she found in an abandoned closet. However, to show the drastic and positive change in her life, she changed completely and used black neat suits and skirts. As a result, these fancy clothing now used by a renewed Edith were the portrayal of elegance since all singer must be presentable, sophisticated and fashionable.

In terms of the acting skills, the actress Patricia Barreto who interpreted the legendary cabaret singer Piaf used varied face expressions to explore different aspects and moments in Edith Piaf’s monotonous lifestyle. Firstly, she used passionate face gestures while have intimate moments with her loved one, the boxer Marcel. However, her face passed through several stages of mixed emotions. After Marcel’s tragic ending, his death; Piaf’s career and happy lifestyle dropped to the ruin. Edith begun to feel incomplete, in a constant state of sorrow where she used exaggerated sad, melancholic gestures that included crying and frowning constantly her eyebrows. This created a negative effect upon the audience since they felt empathy for poor Edith Piaf who after overcoming a hard difficult lifestyle, she has went back down to that same level of difficulty that she was in before.

Moreover, the characterization of Edith Piaf was reassembled perfectly. Edith Piaf had suffered from the departure of her mother and the inability of her father of taking care of her when she was little. As a result, the mother’s personality of being a part time prostitute who sung in streets to collect money influenced directly Edith’s behavior. Patricia Barreto portrayed Edith Piaf as an alcoholic singer who was a partial prostitute who picked up men from bars, exactly like her mother. Due to the abandon of her mother, Edith Piaf inherited the exact behavior of her mother. This is shown when in the beginning of the play, the setting is in the street where Edith is a beggar singing for money in the streets. Also, while she encounters men she behave like a total immoral person, or in other words a prostitute to win money due to her unstable standard of living. Furthermore, the characterization is also evidenced when Edith goes to bars and kisses literally with each man she encounters or when her consumption in alcohol beverages increases, increasing her alcoholic dependency which leaded her to a unbalanced an insecure lifestyle. This was because she didn’t had any parental guidance that would help her succeed correctly in life. Finally, most of Edith Piaf’s monologues were chanted since her singing was an autobiographical reflection of her life, the songs she chanted were metaphors of the aspect of her life. As a result, this is shown in the death of the married Marcel Cerdan, she sung a ballad based on the loss and sorrow she felt after the unexpected death of Marcel, her true love. The song was “la vie en rose”.

Finally, the play “Piaf” directed by Pam Gems was a reflection of the personal life of Edith Piaf, the transitions she passed through that leaded her to the road of success, the bumps and down she had during her life and more. This was proved when the play began presenting Edith Piaf in the middle of the busy streets of France where she was street singer that gained money due to her natural talent. She began singing “je ne suis rien” that attracted tourists and locals quickly. From there, a man stood and heard her. As a result he was the one that gave him the job opportunity that would save her from the ruin and shine in the future. Her life continued happily until her loved one died, which altered her completely and led her to the constant stress of concerts and the addictiveness of alcohol beverages and drugs, especially morphine. Finally, due to this dependency and the car accident she had suffered before, an internal hemorrhage as created and she was incapable of singing. In conclusion, Edith Piaf’s life was a mixture of positivity that was governed by the depressing moments she lived through. 

Moreover, an interesting fact of the play was that the prologue, the introduction of Edith Piaf singing “Je ne regrette rien” was repeated three times. The first time was more simple, Piaf was in a normal mood with no preoccupations and singing “Je ne suis rien”. However in the second and third time that were near the ending of the play, Edith trembled to come out to the stage and sing. Inclusive, in one of the attempts she passed out and began crying of the desperation. Thus, meaning that this radical change occurred because of the consumption of drugs and alcohol, the broken heart issues and the solitary life she lived in had finally bumped her, leading her to a severe condition. Lastly, the context of the play was easily identifiable due to the videos placed in the screener, which illustrated the reign of Hitler, in other words the outbreak of World War 2. Also, this was proven when one scene reinforced the victory of France and the defeat of Germany in World War 2. French flags were carried, while drinking, celebrating the victory and chanting the French hymn. 

Specialized lights workshop!

Description:

On Monday we were able to have the opportunity to have a unique and personalized workshop on lights lead by Pancho Tuesta, Mr. Gonzalo's brother. It was a three hour session personalized only on the functions of lights to learn the different types of lights there are, the importance they have and the different impacts they create while using them in a specific scenes. In conclusion, we learned and reflected on the importance of lights in the success of a theatre performance

Analysis:

Honestly, I believed that lights were considered the least important features of the design elements used for the transmission of a play. However, I was wrong. I learned that lights are not only about lighting the scene, the theatre or the stage. Instead, lights have several functions and properties that can be controlled to reinforce a particular emotion and give significance to the acting of characters. Given to the contrast properties of lights, we are able to learn how to create dimensions of characters. Also, we are able to proportion volume to the character’s silhouette and size to transmit their mysterious, evil, wicked side towards the audience. This will lead to upcoming suggestions and connotations made by the audience regarding the future malice they will confront sooner or later, in other words, the fear caused by evil characters. From this, I have learned that by using the contrast property, we are able to bring to light the character’s deepest intentions that are not easily identified by the eye. An example that can be used in the play can be that by using the third row light with mustard gelatins, we could create a slight shadow on Bharata's character who at the end of the play, will release his inner jealousy, usurping Rama’s throne. This light technique of contrast could be used at the final moment to show Bharata's evil and malicious side that the audience haven't ever imagined or suspected of before.

Another important characteristic of lights is the temperature of the colors used. According to our color palette respecting Kathakali principles, we need to reinforce the contrast between good and evil; love and heroism against wickedness and immorality. For the representation of the good, we will use light colors such as mustard, green, light blue with a warm temperature to give a sense of confidence towards the audience while sinister and strong colors such as red or purple with a cold temperature will symbolize fear and violence. As a result, the red and purple gelatins combined with a cold temperature will create a nerve wrecking sensation to the audience. This will not let them feel calm and pleased after watching iniquitous demons. For example, in the play, specifically the Great War, perhaps red cherry cold temperature Fresnels can be used to transmit violence, anger and decadence towards the audience since there will be several deaths present. Also this is because, this scene represents strongly the fight of good vs. evil, the triumph of the good and the decadence of the evil forces. Another example could be in the royal palace, Dasaratha’s throne, we can use mustard warm temperature Fresnels to illuminate the palace and transmit heroism to the audience. Also by using these mustard colored Fresnels, a noble atmosphere will be sensed by the audience since mustard is nearly linked and associated with gold and power.

On the other side, by having this light workshop I have learned to specify myself more when referring to lights. Not to generalize the word as I used to. Instead I have acknowledged specific positions and importance of Fresnels or the impact a senital light can cause on a character’s physicality. Fresnels are named as the basic lights generally used in theatre. Moreover, Fresnels are able to close or open angles of their lens. For instance, the Fresnels can help with the intensity of the light. If the angle is opened, the Fresnel will create a wider illumination of the entire stage while if the angle of the lens is closed, there can be a specific importance given to a single moment of the scene or character. By using diffusing filters, I have learned that we can lower or raise the intensity of the light. For emphasizing the attention on a specific character, senital lights are used. An example is that we can use these to mark a clear difference between the good or evil. For the good section, we can decrease the intensity of the senital lights, a smooth source of light will perfectly create a lighter weight on the character to portray its innocence and morality. Meanwhile, for the evil characters, we can take advantage of these filters and use a strong intense source of light to reinforce their sinfulness. In retrospective, this will make the audience contemplate, admire and identify the character more in depth. Especially this will help them recognize their intentions and understand the context of the play better than before.

Finally, I learned about the positions of the lights, the CORRECT position of the frontal lights .According to the Mccandless method, we need to cross the directions of the lights. This Means that a single pair of lights will not focus only on a particular spot in the stage, instead one will be illuminating a spot while its pair will focus on another empty area of the space to avoid vacant areas that lack illumination. I must admit, I didn’t believe that there was a specific position and direction of lights. I thought it was just plain simple, that the frontal Fresnels or tachos focused to one single direction. In other words, I just though they needed to face straight the audience, not having a 45 degrees angle facing a specific spot in the stage.  

Connections:

While watching the play Piaf based on Edith Piaf’s personal life in the Allianz Frances, I noticed a technique Pancho taught us that was used during the play to change the time of the scene. Pancho taught us the use of the medium light bar that contained Fresnels with which, if we placed blue jellows and turned the other lights off, we can create a night silhouette. In the case of the Piaf play, I noticed that they used pink yellowish fresnels located in the medium light bar to demonstrate the audience that it was dawn. Then, to mark the change in time, light blue Fresnels were used to prove that it was becoming night time. Another connection I made was that during Piaf’s monologues, bright senital lights were used to emphasize and highlight her face gestures and body expressions that were directly linked to the monologue she was transmitting to the audience.

Reflection:

By having this workshop, I have reflected on the importance of lights in a performance since depending on its intensity, direction; it can collaborate with the interaction of characters or either create a sinistrical side of a character that isn’t usually visible to the audience’s eye. Furthermore, this workshop has apported me a wider knowledge regarding the use and characteristics of different types of lights that will be useful for the P3 in the IB course, the direction of a scene. However, there is kind of an issue, just a slight one… NO (actually it is a quite big problem we need to fix). The problem is that the school doesn’t provide the best light system for the theatre; they just fit with the basics. Concluding, how will I remember all the information about lights provided by Pancho? Or how will we adjust the outstanding knowledge about specific lights given by Pancho into regular unprofessional lights that the school provides us?