Archive for November, 2009

Visual Resume

Monday, November 30th, 2009

With the economic downturn I have been looking for work outside Lighting Design to supplement my reduced income. Because of the general flood of people looking for work these days I figured I needed to do something to make my resume stand out from the crowd. Below, and available for download, is my visual resume.

My ideal would be to work in a creative and collaborative environment where I could use my extensive research and organizational skills to bring exciting projects to fruition. I am open to new and different work experiences and would love to discuss options with you.

Visual Resume

Please download my resume for your files.

What do you think of the visual resume?

If you like this please Tweet, Digg, Stumbleupon, or otherwise let people know.

Thanks for reading!

Towards an Understanding of Social Revolution in the Digital Age

Friday, November 27th, 2009

Camille de Toledo’s advocacy for a “lucid romanticism” in his book Coming of Age at the End of History is a deeply impassioned quest for an alternative to the distant ironic veneer which goes for social engagement these days. While his rhetoric falls a little too firmly in the French existentialist vein of experiencing social problems as a physical sickness within one’s own body (Nausea was inspiring at 20, but a bit old hat to me now) the intent is squarely directed in the right direction.

Through the dissolving and decentering of power in the contemporary age any attempt at revolt, revolution, or rethinking, becomes dissipated. Unions have no power because factories simply move to another country. Governments are so compromised by their entanglements with private concerns like banks, insurance companies, and the like that with any push they recede into nothingness. There is no there there having already fragmented its existence into a multiplicity of nonexistent actors. Mortgages are bundled, chopped, and sold while the displaced homeowner can’t tell if it was the original lender, the investment bankers, the lack of government oversight, or their own greed that should have a finger pointed at it.

Perhaps the time of finger pointing has ended.

The idealism of the 19th and 20th centuries ended in brutal totalitarian misery or dinseyfied antiseptic wastelands. The failures of the past have made us unable, or more likely unwilling, to engage in enterprise that necessitate hope as fuel. Even elections won on the idea of hope are fast seen as the sloganeering and false promises for which they truly are. We are so desperate for hope in the world that anyone who comes by offering a way out of this capitalist misery is immediately followed with all our enthusiasm and vigor. We embrace fundamentalists because we hear in their voice a possible antidote for the reckless totalizing effects of post-industrial capitalism.

We have grown afraid in our comfortable settings of new gadgets from China and the latest plastic monstrosity of design. We are afraid both of where we are, that somehow this life as consumer has robbed us of our basic human potential, and also afraid that any attempt to break free of its stronghold would upset the precarious balance of our comfort and land us in an even deeper misery. So we choose a misery of the soul over a misery of the body in an attempt to find some semblance of sure footing in a world increasingly geared towards the well being and care of corporations and institutions.

But even our fundamentalists have failed us. For they do not want to toss out the whole order. They do not want a revaluation of values. What they advocate is the exact same world with a different rhetoric. The Christian fundamentalists want the same world we have now, but in the name of Jesus. The Muslim fundamentalists want the same world we have now, but in the name of Allah. The Atheist fundamentalists want the same world we have now, but in the name of Science. Just as the fascist movements of the early 20th century failed to reformulate society, but rather reinforced the status quo this time in the name of race or industry, so too do our modern fascists and our contemporary fundamentalists not want to truly upset the sitting order.

The sickness lies much deeper than any of these movements would be willing to acknowledge. Deeper even than Toledo is willing to admit. The fracture point does not lie at the day or night that one goes to religious services. The fracture point does not lie at the choice to protest or stay home. Rather, the fracture point lies at the basic unit of human interaction. Too easily do we let ourselves off the hook in our interpersonal relationships. Too easily do we allow our fellow human to be determined and defined by epithets ascribed to them rather than existing in their true being. We are an artist, or a parent, or a child, or a boss, or a worker. We are never a being. No wonder then that we live in a world which caters to objects (multi-national corporations, consumers) and gives only passing lip service to subjects.

In short we have given up our very core existence for the comfort of self as adjective. Once we reduce the human experience to easily definable boxes we no longer have to concern ourselves with the complexity of human Being. Once the social Other has been defined and ascribed with understandable attributes we can sit back and relax at our understanding. This causes us to continually be surprised when the individual acts in a way counter to the labels we, or they, have placed upon them. We end up in a continual state of shock at our fellow beings and must, out of necessity, shut down and distance ourselves.

The process begins so simply. With a question and an answer: “What do you do?” “Well I am a doctor.” And there the door has been both opened and shut. Action has been translated into adjective. Being, the infinite questioning of existence, has been replaced with definition. When asked “what do you do?” we rarely, if ever, reply with “I spend as much time as possible with the woman I love while working in an art form that I feel passionately connected to.”

I am as guilty of this as anyone. More than three decades of socialization has taught me to define and limit myself within the social sphere. I have been trained through various channels of social power to behave, even when rebelling, in a mode appropriate to social functioning. For even rebellion is necessary to define the social order and thus make it understandable. The anti-consumerist punk makes safe, secure, legitimate, and possible the consumerist middle-class. The peace, love, unity, and respect espoused by the raver is like a sad inverted mirror held up to a culture based on war, division, recklessness, and solipsistic egotism.

Perhaps true resistance to the totalizing effects of contemporary capitalism are, like Toledo suggests, not in the field of physical open revolt. Perhaps true revolution is an inner revolution. Perhaps we need a social revolution, not on the superficial order of the fundamentalists, but rather on the deep and real level of the interpersonal. Toledo sees revolt and revolution occurring in the world of ideas. But it must be brought one degree closer. A step before language. Authentic interrelating of two beings. In a world increasingly mediated by technologies that give the appearance of connection, while fostering distance and misunderstanding, perhaps the most radical act we can take is to carve time out of our schedules to meet another being face to face and find out who they truly are.

The Power of Networks

Monday, November 23rd, 2009

I used to think that work came about by talent alone. As if getting a gig were as simple as sending off a few resumes and portfolios and waiting for the phone to ring off the hook with offers. Clearly I knew how good my work was, so of course anyone who saw the work would think the same. While there is some objectivity and I have received a handful of gigs from the aforementioned method the vast majority of work I have had over the years came from my network of friends and colleagues. In fact, I can only think of two instances where I merely sent my resume and portfolio and was offered work.

Right out of NYU I took a job as the lighting assistant at San Francisco Opera. I got the job through one of my mentors. There I met several directors who I have since worked with. Numerous projects I did in the first few years came through classmates of mine or other people I met through school. Of course as projects occur there is a whole new group to interact with. The director, for example, hires me for a show. Then the producers of that show enjoy my work enough to hire me for another project with them. The director on that show likes the work enough to bring me on to a third project. And so it goes.

I have seen many incredibly talented people sit by without work because they felt, as I once did, that it will suddenly appear. It might, but more than likely the next gig will come from a friend or colleague or mentor. Speaking with numerous freelancers across disciplines I have found this to be true although especially in collaborative art forms like theater, opera and dance. There are many mistakes that one could make but one of the most important things to do is simply get out there.

I often joke about how my job really breaks down to hanging out with people all day. While I say this in jest, there is a degree of truth to it. The social dynamic that goes into a work of performance is as important as the work itself. The relationships between the various artists forge insights into the piece at hand that makes the work itself stronger. The lunches and dinners between technical rehearsals are as vital as those rehearsals themselves.

Opening night parties, fundraisers, and so forth, all serve to bring people together and form relationships which thus create a kind of emotional shorthand that allows you, as artists, to cut past the superficialities and dive more fully into the piece at hand.

I know numerous people in the tech industries who swear by LinkedIn, Twitter and the like for networking for jobs. Perhaps that works in the performing arts, although I must say, as connected as I am on-line, by and large I have not known that to be the case. What I do know is that by maintaining and continually building relationships with my friends work comes my way. Networking is not a matter of asking everyone you know for work. It is simply a matter of spending time with people whose company you enjoy.

Perhaps networking as a verb is a misnomer. The network exists. We are simply actors within a preexisting network who, through our socializing, increase and expand that network. Occasionally the network drives work from one person to another within it.

Working in the arts is never easy and the money is rarely good. Just as doing work that you are not invested in is a waste of your, and everyone else’s, time, so too is working with people you do not enjoy. Because so much of the product is the process, to ignore that is to miss a major component of creating the work itself.

I hear people often speak in terms like “exploiting your social network” and other such things. My experience is much different. In fact if you feed your relationships and friendships your network will end up exploiting your talents and keep you busy with engaging and interesting projects. Nurturing those relationships is the key to a healthy career. But once you have the gig you need to prove your worth. That is where the talent comes in.

I am in a curious position right now. After building up my network for 7+ years in New York I suddenly found myself without it. Having relocated from one part of the country to another my network had to be rebuilt. It did not take long to notice its absence and begin working to fill that void.

While it could be said that I am networking, more to the point, I am finding interesting people to spend my time with. I am going out to look at work that appeals to and engages me artistically. While some projects have come my way through this of greater import is making new friends, deepening relationships, and finding interesting and engaging new art.

The Uncertainty of the Freelance Career and a Love of the Game

Friday, November 20th, 2009

One of the hardest things to come to terms with in freelancing is the fundamental lack of job security. These days it seems like no one has much job security and while it is certainly true that the position of the American worker has become far more tenuous in general the impacts on the freelancer are even greater. As a general rule workers tend to keep their jobs so long as the company is doing well and they do their work. Not so with the freelancer. Organizations they have worked with for years might be doing even better and choose not to rehire them. While it might come down to money, it could just as easily be a matter of aesthetics, or simply the desire to try someone new. In short, contracts might disappear with no discernible cause.

This can be hard. Some version of this scenario often prevents people from taking on freelancing as a career path. They see the tumultuous nature of the work as an insurmountable psychological barrier. That barrier is real. It takes a certain strength to have faith that work will materialize as it is needed. Because, while sometimes one might find their calendar filled with projects a year or more out from the present, it is just as common to have vast stretches of no work ahead. Projects may come along to fill those gaps or they may not. There is no way of knowing, although one can get good at guessing after a while.

I have a certain envy for people with regular jobs. They know months from now, if not years, where they will be working and more importantly if they will be working. While it is always possible that the company will go under, or cut massive amounts of workers, the underlying assumption is that there will be work. Not so with freelancing. While one must take as an act of faith that things will work out, there can be no realistic assumptions about what work there will be, where it will come from, and how much there is.

I have had years where I knew, more or less, what the whole year would look like as early as January. At the same time I have had years that looked solid in January and yet by the end of the year 80% of my projects had fallen through to be replaced by other ones. There is no way to predict the trajectory of one’s work in a freelance environment.

Living with, and learning how to operate under, that level of uncertainty can be like a spiritual practice at times. One is compelled to find deep reserves of patience. Meditation is often a useful technique to allay the fears and uncertainties inherent in the work. It is not easy to live with but becomes easier over time.

By limiting the impact of the uncertainty freelancers can stop using their energy to diffuse stress and can put it towards the work. Many people who freelance do not do so exclusively. Balancing freelance work with some other regular income can minimize the emotional turbulence caused by freelance contract work. Some people marry money. It may sound silly, but having a spouse or partner who will support one’s foray into the world of contract employment can make it a much safer venture. Others are independently wealthy. Many successful freelancers I know come from money and as such the concern over how to pay rent or where the next meal will come from is not present.

There is a common problem which transcends money and that is the work itself. As a freelance artist you are not just providing a product or a service you are providing a piece of yourself. The financial concerns are only one aspect of the impacts of this kind of uncertainty. I know plenty of freelance artists who are independently wealthy, for whom the money is no concern, who still fret at the lack of work. For them, as for most of us, they do it out of a love for the work. One does not become a freelance designer out of a desire for wealth or fame. You become a freelance designer because you love the work.

In the end it is that love of the work which makes possible a career as a freelance designer. It is a love of the work which makes it possible to endure the psychological complexities of managing one’s career as an artist. It is a love of the work which makes it possible to put yourself out there, in front of total strangers, to be critiqued and criticized.

It is a love of the work which allows you to pass through the uncertainty and continue on the path.

Why do you have your job?

If Brecht were alive today he would be twittering about Kanye

Monday, November 16th, 2009

One of the things that interests me about Brecht’s theoretical project is his focus on creating work that resonates strongly with contemporary audiences. The world as he knew it was one firmly rooted in “the scientific age” of modernist utopian possibilities. He saw theater as a tool to open up fracture points in contemporary society in order to make possible a transformation in class consciousness.

He writes in A Short Organum for the Theatre:

We need a type of theatre which not only releases the feelings, insights and impulses possible within the particular historical field of human relations in which the action takes place, but employs and encourages those thoughts and feelings which help transform the field itself.

Brecht’s work, to my reading, has always concerned itself with the extremes of society, the revolutionary consciousness and potential on the one hand and the reactionary counter-revolutionary forces on the other. But as he says in the above quote we must concern ourselves with the contemporary reality. We must use the system as it is, and through an exploitation of its fracture points, transform it into a more perfect world. He makes this second point more explicitly, a little earlier, when he states that “[t]he theatre has to become geared into reality if it is to be in a position to turn out effective representations of reality, and to be allowed to do so.”

Theatre, for Brecht, was to be an Event, in the Zizekian sense, an authentic experience which fundamentally alters the experience of events not only after its occurrence but alters the experience of the past as well. The theatrical Event was to be of such a magnitude that one’s whole orientation to the social experience would be fundamentally and irrevocably altered.

So what does this have to do with tweeting about Kanye West?

What I was thinking about specifically was the extreme of contemporary hip hop embodied in the radical political critique espoused by groups like Dead Prez or BDP (KRS-One) on the one hand and such acts as Kanye and Fergie on the other. Bling bling capitalism juxtaposed against social revolutionaries mediated through contemporary performative/artistic experience. How does Kanye’s Golddigger intersect with KRS-One’s Love is gonna get cha(Material Love)? But of more interest is the question: how does the technology through which these songs are experienced interact with the audience?

What twitter does, in a similar way to other social media like blogs, facebook, myspace and so forth, is to blur the distinction between life, audience, and performance. When surveillance is total, and everyone is on camera, then everyone is an actor. So then we have the consumption of culture as a performative act. We tweet about the song we are currently listening to and fold the performance of the song into the performance of subjectivity on-line in a way that presents it immediately as commodity and reifies the subjective performance.

This is the world we are in. The “scientific age” has been passed by for the “information age” and we are no longer gears in the machine but statuses in the social group blog. So the audience/actor takes the stage and incorporates cultural commodities into the performative feedback loop. The subjective experience of identity shifts along the audience/actor continuum and becomes complicated as that experience gets mediated through various technologies. Is a retweet performative? Has the subjective experience then become another cultural object to be consumed or does it still contain the potential inherent in performance? Has the subject/object dichotomy been pulled out of the either/or world and brought into the light of both/and?

Brecht makes it clear that “[n]ot everything depends on the actor, even though nothing may be done without taking him into account. The ’story’ is set out, brought forward and shown by the theatre as a whole.” I would argue that this extends to contemporary performative technologies.

While Brecht set out in his day to reconceive Theatre and Opera into a medium appropriate for his contemporary world I could easily imagine him shifting the very stage from the physical world to the digital world. Perhaps his performances would only appear in Second Life or as episodic narrative released via twitter.

Despite all this conjecture, the question still remains: how might these technologies be utilized to exploit fracture points in contemporary culture in order to unleash the revolutionary potential of the masses? Or to look at it a different way: is the very search for those points of fracture, and the desire for social revolution, an idea tied up with the modernist notions of a bygone era? Have the differences been so radically folded into one another that we no longer have such dichotomous existence but rather the uneasy experience of both/and?

I certainly don’t know the answers to those questions but I would love you to retweet this piece if you enjoyed it.

5 Tips to Build Your Blog Audience or Why My Blog Will Never Be Popular

Friday, November 13th, 2009

I do a fair amount of reading about blogs. The structure of blogs, blog writing style, how to have a successful blog, and so on. I think anyone who has been blogging for any length of time, I’m going on 5 years now (more than 3 in this current incarnation), would like to see their work widely read by thousands of adoring fans. I certainly would.

Having gone out and done extensive research through reading successful blogs, to reading articles about successful blogs, I think I have uncovered the key. Not having much interest in radically transforming my style from where it currently is I decided to use my own blog as a negative example to illustrate the five keys to a successful blog.

  1. Broad Topic Area
    American theater is a good broad topic area to bring in a wide array of readers. You have many elements to touch upon that could resonate with theater makers and theater goers alike as well as the casual observer. My blog not only limits its discussions to design elements, it further concerns itself with lighting design alone. While that alone still provides a broad enough area as designers, technicians, and appreciators of light might enjoy the blog, my readership is further constricted through an approach that looks at the philosophic underpinnings of the aesthetic concerns in a certain flavor of design.

    There is the occasional deviation from this. The most popular post on my blog from web searches shows pictures from a production of Wizard of Oz that I lit. That and my semi-regular posts about money management and the business of freelancing are quite popular. The rest of it is rooted in an analytic tradition borne from my early exposure to, and love of, late modern continental philosophy.

    Not only should the ideal reader of my blog have a love of lighting design for live performance, they should also have a love of continental philosophy. The combination makes it too theatery for the philosophers and too philosophic for the theater types.

  2. Accessible Language
    Derived from the first point, this blog is written in a formal academic style. Not as extreme as some blogs out there, but it is far more to that end of the spectrum than it is rooted in colloquial English. Simple words, unless the blog is about linguistics, help to boost popularity. I prefer larger or more obscure words in an effort to be precise. Thus there is an inherent structural impediment to this blog’s success and popularity. The casual reader does not want to work for their information. They would prefer their information presented simply and easily even to the point of not being precise, accurate or true. Lists with an arbitrary number of steps to achieve a goal are a wonderful way to meet this desire.

    This simplicity plays right into the anti-intellectualism that runs rampant in American culture. Experts are shunned for folksy folk who are just like us. The irony that we would not trust ourselves to do whatever task we are entrusting this non-expert to do is largely missed. Their down-home, just like me, style implies that anyone can do what they do. Perhaps if they are just like me they are an expert, because, well, I know stuff.

  3. Write about your Mistakes
    I write about perfection or at least the attempt to attain it. Warts and all blogging brings with it an anti-intellectual ideology that anyone who can sign up with blogspot can become an expert on kitten pictures or international finance with no experience or qualifications. People with less than a year experience write about freelancing. Only recently do I feel on the verge of qualified to talk about such things. I have been freelancing for five years.

    Writing as an expert about a topic for which you are not an expert gives you room to make mistakes. Those mistakes become the basis of new blog posts about how you will do better in the future. My personal favorites are financial advisory blogs that get the math wrong or frugality blogs whose authors continually fall off the wagon and spend their money on unnecessary wasteful expenses.

  4. Use Humor
    With the exception of this post, and even here it is dry sarcasm (really more sardonic than sarcastic) rather than humor, I would prefer to stick with a clear and rigorous discussion of the topic at hand. Joking about is a great tactic to endear your readers to you and bring them back. With this blog I have chosen to engage in some rather severe critical thinking about topics of interest to me and projects I am working on. I leave the humor to Facebook.
  5. Light Colored inviting design
    No.

Employing a tactic of many successful bloggers I will close with a few questions, thus inviting you to join in the discussion in comments. Was this useful? What is your experience with blogging?

From the Archives: Risk and Failure – Seven Deadly Sins

Monday, November 9th, 2009

Note: This piece was originally written in 2006. There has been minor editing to fix some grammar.

Risk is something we must always engage with when creating art. There is no foreknowledge of the efficacy of the project. Collaborative art necessitates a strong and deep trust in the work of one’s collaborators. Sometimes these are people you know well while other times they are people you have met quite recently. Often some combination of these two elements occurs in the same production. Regardless, one must place a total trust in the work of your collaborators. The energy is created through this combination of danger and excitement.

When I worked on Seven Deadly Sins we had no idea until the show was over if it would work. There were so many pieces to fit together with the Orchestra, Opera singers, cabaret dancers, blacksmiths, acrobats, fire dancers, etc. etc. The stage was a ninety foot long by four foot wide catwalk with small end stages on either side. The audience sat arena style sandwiching the runway. We had seating for somewhere around 700 people and it quickly became evident to me that the other side of the audience would become a primary visual element of the overall experience.

As a general rule of thumb, a lighting designer tries to keep the light on the stage and off the audience. Of course rules, as we all know, were made to be broken. So rather than try and hide this very present and potentially massive audience, I chose to make them a feature of the evening. Large colored floodlights were pointed at the seating areas in an attempt to light our audience in various colors and thus take them, literally, on the emotional journey of the opera.

These discussions with my director, Roy Rallo, were quite difficult. Given that we did not have an audience, there was no way to test out this effect prior to the opening. As a result I had to convince someone, who I had never worked with before, that the primary storytelling device we would have with the lighting was an effect we could not test prior to the show opening. Essentially he had to trust me that this was the right course of action to take. I confidently told him it was and silently prayed that I was right.

The final effect was greater than I had anticipated. We were fortunate enough to have a filled to capacity house, so the effect was to be the best it could be. And it worked brilliantly. The faces of the audience were clearly visible from across the space and not only did their personal emotional reactions show but the group looked wonderful in the shifting light. There was an immersive quality to the experience that in some significant way derived from the environmental quality of the lighting.

Had we gone with a traditional lighting style, keeping the lights out of the audience, the effect of the piece would not have been so strong. The shifting backgrounds and the degree of contrast with the fire that we achieved would not have been possible. Without that risk of failure, the best aspect of the lighting for that show would never have been. Without risking failure we can never achieve greatness.

Dirty Money, Starving Artists, and the need for new myths

Friday, November 6th, 2009

One of the most pervasive identity myths that haunts art worlds is that of the starving artist. There are countless examples in popular culture of this archetype including a very good opera about the subject. While the idea that a true artist suffers and through suffering art is born might have a degree of romantic mystique the truth of the matter is that all suffering creates is suffering. The archetype of the starving artist, and her condemnation of anyone who achieves any degree of success as “selling out,” does little more than provide limited solace to an otherwise unpleasant existence.

Archetypes are powerful things. Consciously or not, as beings in the world, we emulate strong and powerful archetypal roles. Not to get too Jungian but I see it as far too common to deny. Personality is performance. In the performance of personality we model our ‘character’ off of good actors (in real life or literature and pop-culture). The starving artist, through its romantic appeal, is a popularly recurring figure. Sadly this figure does more of a disservice to us in the long run, in the same way as the alcoholic writer generally creates alcoholics not writers.

The starving artist type gains value, to a greater or lesser degree, in the idea that money is somehow dirty. There is an air of superiority, by those who don the starving artist type, placed around obscurity. It is as though anyone whose work could be understood by, and thus appreciated and paid for by, more than a select inner cabal of followers is somehow flawed. Because popular/successful is read as bad, money, as a tangible proof of popularity of ones work, is also treated as bad or dirty. There is a belief that the work itself becomes sullied by making money off it.

This is as common in the performing arts as it is in any other medium. Many theater makers working on a small scale will deride the “commercialism” of Broadway plays or the work produced at regional theaters. Rather than examining the work itself the funding for the work comes under attack. Rigorous critique is replaced by a more general barrage against slick stagecraft and well rehearsed acting. Taken at their root these critiques are really about money and the relative access to, or paucity of, its presence in making the work.

While it is true that throwing money at a bad play will not make it better it does not follow from there that all plays with good funding are bad. It is true that people throw millions of dollars into producing total crap while others spend next to nothing to make a true gem. At the same time, those true gems, with a fully financed producer, would potentially become even greater while the well financed schlock would remain schlock.

The archetype of the starving artist and the myth of dirty money have created a false dichotomy between “uptown” and “downtown” theater. Between “indie” and “commercial” plays. Being poor does not inherently make one virtuous and even Jerzy Grotowski conceded that poor theater costs a lot of money. High budgets do not make one good or bad. Powerful authentic art can exist with no money or all the money in the world. But this is not the point. The focus of our critiques should center on the quality and effectiveness of the work itself rather than its funding.

So too our personal narratives would do well to be reoriented away from the damaging myth of the virtue of the starving artist and back towards the rigorous and devoted artists and craftsman. Even a cursory look at the Renaissance shows us that powerful and lasting works can be created from well funded origins. There are many people in pop-culture one might look to who are wildly successful and still maintain a high degree of artistic integrity. Danny Elfman comes readily to mind as one such example as does his regular collaborator Tim Burton. Many artists have made the transitions to the big leagues without sacrificing their artistic integrity.

Poverty is only romantic with distance. It is time to retire the Starving Artist as a myth of a bygone age. A romantic notion, well fit for literature, and hardly worth modeling one’s life after. The reality of the starving artist too easily winds up starved. We need new archetypes for a new millennium. Archetypes that empower us to live strongly and courageously as artists in our contemporary world and beyond.

From the Archives: Is Stanley McCandless German? OR The Rediscovery of Shadow in Contemporary Culture

Monday, November 2nd, 2009

Note: This post originally appeared in July of 2006. It has been slightly edited to account for grammatical errors.

Theoretically the whole acting area might be lighted with one powerful instrument directing its beams to the stage from a distance, at an angle which would light up the face of the actor somewhat as the rays from the sun make objects visible on a sunny day.
Stanley McCandless, A method for Lighting the Stage

During his time a single light that could cover an entire stage was nothing but theory yet now such technology is commonplace. The film industry has found a need to brightly illuminate large areas in a color identical to daylight such that the camera does not pick up the difference between the sun and the artificial lighting in the photography. Because of that need the HMI Fresnel was born. HMI is a kind of lamp that operates much like a fluorescent or neon in that there is a glass container with chemicals in it that gets flooded with electricity and lets off (very bright) light. Although originally designed for film these lights have found their way into theaters initially through European opera houses.

The difference between an HMI and a traditional incandescent lamp is like comparing watercolor to oil paint. One can achieve the same range of colors, perhaps, but the actual quality of the medium is quite different. By using these large lighting instruments one can achieve effects that are quite simply impossible with ‘area lighting.’ One of the biggest issues is shadows. Often in American theater productions one sees a stage floor covered with lots and lots of tiny shadows. These are the result of lots and lots of tiny little lights focused into lots and lots of little areas. This is common in so called ‘naturalism’ and yet it is about as unnatural as one can get. When we walk out into the sun at 4:30 in the afternoon we see a single shadow cast from a single source of light. Perhaps two shadows if we are near a building with a reflective glass wall. But nowhere, unless we are in an artificial environment, do we have twenty-three or more shadows one sees on a typical American stage floor.

I am not arguing for an aesthetic that knows only deep shadow. If everything were like that, it would get as boring as unchanging shadowless light. A deeper appreciation for shadow could greatly enhance the beauty and dynamism of the American stage. In some ways this is a political stance. I never watch TV unless I am on an airplane, but when I have the chance one of my favorite things to watch is Fox News. Their lighting designer must be one of the most brilliant propagandists alive. Watch one of their cable news shows some time it is fascinating. All the anchors are lit so evenly that there is not a single shadow to be found. They represent the ‘truth.’ They are ‘fair and balanced.’ Then they have their Conservative guests on camera who have slight shadows. Nothing big, but just enough to differentiate them from the hosts. Finally you have anyone other than a conservative wingnut. They always, ALWAYS, have a shadow underneath their chin. Minor issue right? Who cares? Indeed. No one cared in 1962 when Nixon and Kennedy debated on television. Appearance in front of a camera means nothing. Nothing at all.

Shadows indicate secrets. Subconsciously we know this somewhere. It is an accepted part of our culture. Shadow = untruth. Or at least half truth. We can not believe the shadowed figure as much as our fair and balanced hosts. They have nothing to hide, so we must trust them. I do not believe this was always the case. For shadow means something else entirely. It means Mystery. Sometimes a divine mystery one is rightly in awe of. One need only look at the paintings of Rembrandt or Caravaggio or El Greco to see a strong Western tradition that appreciates the beauty of the shadow.

It is time to reclaim the beauty of shadows. Like Tanizaki did for Japanese culture with In Praise of Shadows, we must relearn the beauty and truth of shadow. They need not be things to fear so long as we know how to approach them. Batman after all, one of the greatest dark heros of modern mythology, hides in the shadows. We are afraid, as a culture, to look inside ourselves and stare at the void. We are much more content to turn on the television and be told about our fair and balanced world. But it is time for our art to show us that void. If we can not go there unaided, then our art, our cultural subconscious, must be brought to the surface of our attention. We must learn to stare out at the dark expanse of human consciousness and see possibility and potential. We must learn to live in praise of shadows.


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