Mirando, Mark B.Group 2 Gabriel Tolentino, Charmaine Aranton,
Christel Manalo, Mark Mirando, Regina MendozaTheatre 153 Lighting
DesignConcept Paper for Ang Mga Kuneho by Luerca, G.
The Spectrum Behind The Bunnies Doors
The prologue will be consumed by an overture. The music of an
orchestra from a 1951 animated film will consume the whole space.
After a derivation of few seconds, ticks of a clock were to be
heard.This will promulgate the beginning of the act. Four men in
masked will enter the space and these men will unknowingly become
the so-called kuneho in the play.This is the opening bit of the
director (Jean EdfelPascual) of the one-act play, Ang Mga Kuneho.
Her concept is derived from the 1951 animated version of Alice in
Wonderland. She wanted the colourful yet dark ambiance of the
soundscape that she also created for her play. Her concept of the
play will dwell on life as a meaningless puzzle. Here, she will
emphasize the stage as a cage for these four men which are trapped
in accordance with fate.Upon the consultation, the director
requested a tungsten-bulb to become our primary source of light.
She also requested a separate switch for the actors to include the
lights change on their cues. One of the highlighted request of the
director in terms of color palette is the dimmed pink light during
the hallucination scene of D (Dong) whose experiencing a syndrome
of drug withdrawal. She also requested to use the smoke that will
be emitted by the actors during the song number which will be sung
by A and asked the palette to be a colourful one.The stage design
were simple. In the staging, the director envision it to be a black
space with two doors and a chicken wire stage as if it was a wall
on a cage. Upon the interview with the director, she explained that
the set in her vision is in a scraped junk yard. She envision it to
be with scrapped metals in her mind. To emphasis the doors, she
requested us to provide a light when the door will open, also to
create a dramatic effect in the plays semiotics. During our
meeting, we, the light designers have decided to follow Ms.Pascuals
vision as a guide. We will get the palette in the 1951 Disneps
Alice in Wonderland. The realistic scene will be supported by the
tungsten bulb in the middle while the unrealistic scene will be
provided by the pars which will emulgate effulgent hues. For
research, we plan to succumb the studies referring to images of
junk yard. We will also played with the chicken wires shadow for a
three-dimensional ambiance of the lighting. Even though Ms.Pascual
told us to play with the bright colors, we have decided as artisans
of the lighting to manage and plot our lights intensity in
accordance to the scene. We plan on giving it a dark vibes to
support the ritualistic aspect that the play wants to offer on its
assemblage. To wrap it up, the lighting design of this one-act play
will corroborate grounded studies in color palette, shadows for the
mise-en-scene, rituals, narrative of the lights and contrast
between realistic vis--vis unrealistic scenes.
