Lighting Design

What to Prepare

For a Lighting Design entry, the Thespian must prepare and present lighting designs for a published work written for the theatre. Designs for performances of original work, poetry, fiction, screenplays, television, concerts, or any other medium are not permitted. Only one (1) Thespian may be involved in the design; no collaborations are permitted. Designs for either theoretical or realized productions are acceptable. The Thespian must prepare the following:

1. A light plot (digital or physical; scale should be 1/4-inch or 1/2-inch = 1 foot), indicating all information necessary to ensure clear understanding of the designer’s intentions and large enough for the adjudicators to see the details.
   • The location and identification of every instrument, accessory, and specialty unit should be represented on the light plot, along with the following information as appropriate:
     • Color medium;
     • Set and masking;
     • Areas;
     • Lighting positions with labels;
     • Type of instruments;
     • Unit numbers;
     • Circuit;
     • Channel;
     • Focus/purpose;
     • Gobos/patterns/templates;
     • Practicals;
     • Special instruments (LED, moving lights, foggers, hazers, fans, relays, etc.);
     • Instrument key.
   • The light plot should be clearly and neatly labeled with a title block that contains the following information:
     • Play or musical title and author(s)/composer(s);
     • Performance dates and facility in which it took place (if the production was not realized, indicate the performance space for which the plot was designed);
     • Scale;
     • Entrant’s name, troupe number (optional).
2. A portfolio of support materials (bound or digital) that must include the following:
   • One-page design statement that includes:
     • Unifying production design concept;
     • Theme of the show/recurring motifs.
   • Research, including:
     • Summary of given circumstances from the script;
     • Functionality requirements;
     • Genre, locale, and setting of the play (or other explanation of the world of the play);
     • Artistic and practical needs that impact the construction;
     • Sources of inspiration for design and color palette (if used).
   • Budgetary requirements or other constraints and considerations.
   • Techniques used within the design.
   • Instrument schedule.
   • Magic sheet/cheat sheet.
   • Sample color media used with explanations of choices.
   • One of the following two options:
     • Description of three light cues, organized by act and scene with a stated purpose for the cue and planned timing of the cue. Include a description of the time of day and location of the scene (indoors, outdoors, etc.), as well as use of intensity, color, movement, directionality, and/or quality of light to communicate to the adjudicators both meaning and mood during the scene, as appropriate.
       -OR-
     • Three light renderings that include a description of the use of intensity, color, movement, directionality, and/or quality of light to communicate to the adjudicators both meaning and mood during the scene, as appropriate.
   • If the production was realized, a photo series or short video (no longer than 1 min.) that highlights the lighting cues should be included (no dialogue or music from the play may be included in the video).
3.  A five to eight (5-8)-minute presentation summarizing the work with connections to concept, collaboration, and design decision-making. The Thespian may use digital media (the Thespian must provide their own equipment for viewing), or the Thespian may bring photo boards or other visual aids to display along with the lighting designs.
   • The Thespian should address general questions such as:
     • What are some of your responsibilites in your field?
     • How did the director's concept influence your work?
     • How did the style of the play affect your work?
     • If the production was realized, what challenges did you face in unifying the director's concept across all areas of your work?
   • The Thespian should also address category-specific topics such as: 
     • How did you use lighting design to help tell the story? Give a specific example and explain the thought process that went into generating your design.
     • What role(s) did the other design elements play in designing the lighting for this production?
     • What would you say was the biggest lighting-specific setback you had to overcome while working on this design?
     • Reflecting on your process, if you could change one part of this design, what would it be and why?
4. Optional written essay response to share additional information about the lighting design with the adjudicators.

Slating: All Categories

Thespians must begin their presentation with an introduction known as a slate. The slate is not part of the performance, but is simply an informative introduction to the piece. This is an opportunity for students to be themselves and address the adjudicators in a comfortable, polite, and brief manner. The slate should include the following information:

• The Thespian’s name (or names, for group categories);
• Troupe number;
• Title of selection being performed or work being showcased (e.g., lighting design for The Crucible);
• Name of the playwright(s) and/or composer(s).

A slate might sound like this: "Hello. My name is Jane Smith from Troupe 561, and I’ll be showing you my lighting design for Pippin by Stephen Schwartz, Roger O. Hirson, and Bob Fosse." 

After the slate, time begins with the first word of the presentation. If a Thespian exceeds the time limits stated above, the adjudicator or room monitor will note the time and a final eligibility ruling will be determined. Exceeding the time limit may result in disqualification. 

Dress Code: All Categories

For all categories (performance and technical), Thespians will present themselves at adjudication or in their submission video as a blank slate, refraining from wearing clothing and/or accessories that distract from the performance or presentation. The goal is to level the playing field and allow the focus to remain on the work, not the aesthetics of the presenting Thespian(s). Thespians should follow these guidelines:

• Dress in simple, modest attire suitable for a professional interview or audition, in black or dark colors. Clothing should be appropriate for the situation so as not to limit or restrict movement or affect the performance. For technical categories, Thespians may choose to follow the guideline above or wear the black/dark-colored clothing traditionally worn by technicians.
• Acceptable footwear is neutral, not distracting, and may include character shoes and dance shoes (if category appropriate), dress shoes, sneakers, or boots.
• Theatrical makeup, costumes, and props are not permitted.
• Avoid wearing distracting items such a large, dangling jewelry, light-up footwear, or fashionably distressed clothing.

Skills Measured: Lighting Design

• Ability to demonstrate an understanding of the lighting design process;
• Ability to demonstrate an understanding of the artistic and practical constraints that impact design and the relationship to the unifying concept;
• Basic understanding of the technology/equipment needed to implement and support the design;
• Ability to research and understand the connection between style, period, locale, genre, and other historical and cultural influences and design choices;
• Ability to document, present, and clearly explain and justify design choices.

PRESENTATION

Explanation of the executed design, unifying concept, creative decisions, and process

RESEARCH

Evidence of research of the given circumstances of the script as well as artistic and practical needs which impact the design.  

INTERPRETATION

Design choices merge the unifying concept with the designer’s unique vision.

DESIGN JUSTIFICATION

Connecting the design choices to the artistic and practical needs of the production.

EXECUTION

Products presented convey ideas and choices that support the script and unifying concept.

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