Dancer : Yukiko Sumiya
Choreography: Kathryn Sullivan
Music: Hildegard Von Bingen
Original composition by: Richard Souther
Light Design: Anky Frilles
A young woman contemplates her self-image with disdain, decided to transform her self, only to find dissatisfaction in what she has done.

I light designed this dance piece using primitive ancient lighting equipments from the 20's; finding bulbs for the lamps were a painful hunt in this age of digital and computerized technology. But surprisingly, there are shops still selling them. The dimmers have the glass fuses that easily overheat that we had to put fans to cool them. It was a typical Manhattan autumn and we didn't really have any problems with heat as if we did it in the humid summer months.
The space was not at all ideal for light design in ceiling height but there were no windows that the complete darkness was superb.
This is one of the experimental dance solo pieces starting with basic three lamps on angles of 45 degrees, 35 degrees and top lighting. Notice the gradually increasing intensities but never reaching at full brights at 100 %, since the fuses might overheat. I added two lamps when the dance changed mode in movement until reaching the end with a total of seven lamps at 75 percent level as seen at curtain call. Making do with analog dimmers and a manually operated two preset X and Y scene light control board is a sure challenging feat.
Three par64 lamps at 500 watts each; four fresnels at 1000 watts each were used.
I felt I was so pampered in my days at the Bulwagang Gantimpala at the Cultural Center of the Philippines where I had uniformed technicians at my beck and call and the Technical Office to bug. Here I had to climb up ladders to focus instruments and I have to wait until the union and rehearsals are over to do my last minute changes and notes from the choreographer.
No cinemoid gel colors were used except the plain white heat shields.
All Lenses were at full frontal, diffused and no sharpness of focus.
Overall the dance had the ethereal effect i.e.: floating and lightness that the video camera was not able to capture. My design didn't "scene steal" the purity of the dancer's moment or her stage presence at its creative level.
I made sure my design enhanced the performance and also helped uplift it to the highest level of artistic expression achieving total collaboration with the choreographer's visionary concept combined with the dancer's (Yukiko Sumiya) technique and dynamics. Making it art…

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