Workshop Reviews: Think Like a Lighting Designer

Hearing that I would be given the opportunity to work with Josh Tomalin, as a GCSE drama student focusing particularly on the performing aspects rather than technical forms of theatre, the opportunity to gain more insight on lighting seemed invaluable for future work, and when analysing performances. However, I found that I was able to take a great deal more away from the workshop than just tips on how to assess lighting.

The workshop started with a very thorough discussion from Tomalin on what the principal uses of lighting in theatre are, and what light affects on stage. This led to a series of questions (and exclusive preview to one of Tomalin's brand-new lighting designs) which I found to be highly beneficial.

Tomalin gave us an overview of how lighting is so much more than one lighting director behind a plan. Instead, I now realise how much the cast and director contribute towards the production of a piece of lighting.

Our first practical task consisted of working in groups of three and being assigned a scenario. This scenario would then have to be fabricated using a mannequin, phone torches, and a gel swatch book. This required the previous lesson of how lighting is used to illuminate the mood and literal surroundings on stage for the audience. My group's ‘hospital car park’ scene incorporated the learnings from the previous class by using side profile lights, one blue-filter and one red-filter, with an overhead green light to portray the idea of an ambulance and overriding sense of fear. Tomalin's discussion impacted my design, and emphasised to me the importance of complementing an actor on-stage. I discovered that experimenting with angles really changed the shadows and overall look for the onstage character.

This also helped me in the second task, where each group was given a random frame from a movie/TV series and was told to draw out a lighting plan. This consisted of specifying any filters, angles, and interpretations that were linked into the lighting. Not only did this prove how a lighting designer can manipulate the level of emotion on stage, but this task highlighted how important dynamics become within any performance.

There needs to be a cohesive design in which movement, emotion and lighting convey an intertwined ambience in order for the ultimate impact of a scene's message to reach the audience. This gave me more to look for in a performance, and also more to evaluate when constructing my own piece of work.

This session taught me so much, and I have received far more advice and experience than I ever thought before starting the workshop. Not only has it supplied me with a fuller understanding of the technicalities of lighting, but also a brilliant way of teaching that was extremely memorable and enjoyable to attend.

Annie's teacher Raeesa says: ‘The student workshop is £230 for 2 hours, it's really easy to book through the WETEACHDRAMA website. Both Lucy and Josh were super-helpful before, during and after the workshop.’

www.weteachdrama.com