As a theatre production is an arena for individual artists, it is inevitably laden with conflicts which are mutually beneficial and enhance creativity. The
stage
of rehearsals during which the director blocks the mise-en-scene is the time for comments and changes, as well as legitimate conflicts and arguments. If the lighting designer joins the production at a later stage, his or her ability to contribute to the artistic process will be limited, since most major artistic decisions have already been taken and effected. Even a director who is open to different views and concepts cannot make many changes just before the show goes on. This is yet another reason for the lighting designer to strive for a timetable which enables collaboration.
During rehearsals, the lighting designer should attend as many rehearsals as possible. While watching, he or she will develop ideas regarding the lighting, constantly exploring how they fit in with the play. Simultaneously, the lighting designer will examine the possible technical solutions required to achieve the desired lighting look: selection of lighting positions, types and quantities of luminaires, colors,
accessories
and control.
By the time the production reaches the
stage
of lighting rehearsals and actual execution of the lighting begins, these ideas will have crystallized, and the designer will be able to concentrate on the implementation of the lighting design.
As the director blocks the mise-en-scene with the actors, the lighting designer makes notes and rough sketches on the script and floorplan sketches, marking points at which lighting transitions will take place, and areas of the
stage
which will need to be highlighted.
Floorplan sketches of the blocking of a scene.
Lighting areas marked on floorplan sketches.
During such rehearsals, the lighting designer should verify that the actors are located in positions where they can be lit well, and become acquainted with the pace and movement of the show, explore moments which require different lighting angles and so on.
The lighting designer will also try to visualize the colors of the lighting in terms of sunrise, sunset, daylight or night, relying on his or her personal visual experience or research of visual materials (paintings, photographs etc.). After making a textual note of the nature of the color, the catalogue number of the
color filter
will be identified (from whichever swatchbook the designer prefers) and noted .
An experienced lighting designer will be able to determine the catalogue number of the color without referring to the swatchbook.
During rehearsals, the lighting designer should develop a detailed list of artistic building blocks of the lighting - the lighting elements .
A list of all the necessary lighting changes, a
cue
synopsis, should also be prepared at the same time.
