CNUAS W4 Light Scores and Lig

Below are 4 discussion posts please reply to each one with at least 100 words

1. Week 4 Discussion 2 Ashley Bruun

Lighting designers produce “light scores” and “light plots” ; sound designers create “sound scores” and “sound plots”. What is the difference between a light score and a light plot? What is the difference between a sound score and a sound plot? During the actual run of the play, who handles the light plots and the sound plots during performances?

Light scores are something light designers use instead of, or in addition to “sketches.” Light scores are an organizational technique light designers use to break plays into scenes and indicate time of day, source of light, overall brightness, desired mood, color, and other light factors that affect action. Light scores communicate how lighting should look in terms of mood, atmosphere, and quality (426). Light plots are lighting plans detailing location and other important information about lighting equipment for a stage. Light plots are used to organize light scores. The difference between light scores and light plots are that light scores, are a part of the planning stage, where the ideas and concepts of how the lighting is to appear happens. Light scores come before light plots. Light plots like the blueprints for the final light distribution of the play. Before a sound plot can be developed, the sound designer must study the play and provide an origin, schedule, and explanation for the collection of sounds that will make up the sound plot or soundtrack for the play. The difference between sound score and sound plot are that sound plots are a much more detailed finished version of sound scores. Sound scores are like rough drafts. They communicate reasoning and descriptions about each sound before the work is organized and made into a sound plot or playlist (pg. 434-446). During the actual run of the play electric crews handle the light plots and the stage manager and sound board operator handles the sound plots.


Brittany Matya

Discussion 2


Light designers are responsible for creating and maintaining the mood and atmosphere of a play. On its own it may not hold much meaning, but when combined with scenery and actors the performance can come to life. Lighting designers use a variety of techniques and instruments to develop a continuous arrangement of lights during a performance. One method a lighting designer uses to enhance the performance is a lighting score. The lighting score is used to break down scenes of a play into segments in order to determine the appropriate lighting factors for a given segment. The lighting score is then realized through the use of a light plot. There are two types of light plots: floor plans and centerline sections. Together these light plots indicate the size and placement of lighting fixtures to be used for a given segment. During the performance of the plan the responsibility of lighting design is given to the electrics crew.

Like lighting designers, sound designers help set the mood and atmosphere of a play. Through the use of pre-recorded or live sounds, a sound designer can reinforce the action of the play by cuing sounds that acknowledge or predict upcoming events. Sound designers use a series of cues to signal an intended sound, this is developed though a sound score. After revising the sound score with the director, the sound designer then compiles sounds to meet the function, duration, length of time, type of sound and effects in order to make sure all of the sounds are appropriate for the play. The sound plot is created after the sound score is completed, and the task of the sound plot is to establish an extremely detailed system that designates the placement of each sound cue. A playlist is then created and is used during the performance by the stage manager and sound board operator.

3.Ashley Bruun

Week 4 Discussion 3


“If the production team is using a realistic approach, the costumes may be based on the clothing worn at the time of the dramatic action (fifth century b.c., Shakespeare’s lifetime, present day, and so on); they may indicate a particular country or region (ancient Rome, seventeenth century France, southwestern United States)” (Brockettt, 2017). According to the textbook, “costumes do not always adhere to realistic standards. They may embody a metaphor, symbol, or allegorical concept” (Brockett, 2017). Costumes can be used to show relationships among characters, and distinguish main characters from minor characters. Costumes can show different class levels, signs of struggles, and/or place in society. Costumes may also be used to show mood and atmosphere. Costumes convey a lot of information about individuals and groups of characters. In the 1986 BBC version of Oedipus The King, the costuming does not reflect the dress of ancient Greece but is described as “mixed-medley costumes, from the Victorian outfits worn by the chorus of Theban senators to Oedipus` white-silk suit with ambassadorial sash.” Some reasons for the costume variations are to communicate themes, metaphors, allegorical concepts, and symbols throughout the play. For example, Oedipus’ costume seems to symbolize cleanliness, truth, power, and high ranking. When Oedipus is first addressed by the citizens of the city, he is confused as to why they would come to him and believes he could not help. After the priest reminds Oedipus he has a reputation to live up to and that “a city that is empty because its people are dead have no use for a king,” Oedipus removes his ambassadorial sash (which make symbolize his rank or royalty) and walks down the steps though to the citizens to reassure the citizens he is like them. The effect the costume choices have on me is that I am unable to visualise the time period from which this play originated. I feel as if the director’s translational approach with the costumes may have failed to capture the playwright’s intent. Oedipus’ costume makes me think that he is out of place in that scene and “the elephant in the room.” The pristine white suit was almost antagonistic towards the other characters who look truly effected by the plague. Oedipus’ suit also contrasts with the Chorus who are dressed uniformly in judicious garments and are the true voice of the play. I would have preferred traditional Greek costume because I would have preferred to be fully immersed in the ancient Greek culture and experienced the play in the time it was written. I am more curious to know what the wardrobe was like is 430 B.C., not 1980’s.


Michael Carrillo

week 4 discussion 3


The costumes in Oedipus the king are very interesting. Everybody that was part of the scenes were shown in the costume that represented to me where they landed in the social economical scale. They did a good job in showing all of the differences not only by the clothes but also the hair and skin of the different individuals. You could tell right away which one was the priest and which ones were the towns people that were looking at the priest for answers. When Oedipus came out his clothes really showed him as the king and how he was so much different than the other. Even the use of colors was something that seems very important in the way that everybody clothes looks dirty and worn out as opposed to the priest that had a red fabric on which was not dirty and a complete different contrast to Oedipus who was wearing a bright white suit with no dirt on it last all. All of these aspects show the difference between the people and who they are in the community. I think that the reason they choose to change the costumes instead of using the traditional Greek costumes it to demonstrate the differences between the different characters more and make it easier for the audience to follow the story line of characters. I do not think I would have preferred the traditional Greek costumes because they seem to be all relatively the same and distinction would not have been as easy to determine with them than with they decided to use in the play.

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