2014 - 2015
SZU-YUN WANG
Portfolio
Theatre Lighting Design
Theatre Lighting Design Portfolio
My first sight of this color blue made me desire to create the exact same blue in the theater. It was sort of the beginning of my journey to lighting design.
I call it Dreamy Blue. Dreamy, and also my dream comes true.
Wang, Szu-Yun Born in 1994, Kaohsiung Taiwan Current senior student at National Sun Yat-sen University Department of Theatre Arts, Specialized in Theatre Design
Theatre Lighting Experience
As a Lighting Designer 2016 DTA Graduation Production <The Red Nose> Upcoming Director: Li, Bo-Liang Location: Yat-sen Hall
2015 Theatre of Great Literary Figures in the Western World <The Toy Cart> Director: Professor Yin, Wei-Fang Location: Yat-sen Hall(On Tour at Hsinchu Performance Hall in 2016)
2015 DTA Winter Production <Frozen> Director: Li, Bo-Liang Location: R219 Experimental Theater
2015 DTA Semester Production <Playing the Violin>
As a Lighting Crew
Director: Lin, Yi-Chun & Huang, Jun-Ting Location: R219 Experimental Theater
2014 NSYSU Music Department Anniversary Production <L'elisir d'amore>
2014 Apple Theater for Children <The Adventure of a Magical Book>
2014 DTA Annual Production <A Woman of No Importance>
Director: Wu, Jia-Hao Location: Pier-2 Art Center B9 Experimental Theater
2014 Our Theater Fall Festival <Kiss When the Moon Collapsed>
2014 DTA Winter Production <Dress Right>
2014 TGLB Creative Theater for Children <Sleepless Wonderland 2>
Director: Wu, Wen-Long Location: R219 Experimental Theater
2014 WSK Juvenile Musical Theater <Flawless Flaw>
2014 DTA Spring Production <Dinner for Schmucks> Director: Li, Zong-Chen Location: R219 Experimental Theater
2014 DTA Semester Production <We Are All Conmen> 2014 Sea Seed Theater <Cyrano de Bergerac> 2014 DTA Graduation Production <The Cherry Orchard>
As a Lighting Operator
2014 NUK Dowell Golden Night <Enchanted + Miracle in Cell No.7>
2015 Journey Theatre <Borealis>
2013 DTA Winter Production <Riders to the Sea>
2015 Olive Leaf Theater <Embrace Sunshine, Embrace Life>
2013 DTA Winter Production <Kiss When the Moon Collapsed>
2014 DTA Spring Production <SORRY>
2013 DTA Winter Production <The Dark Fantasy of a Formosan>
2014 Cat's Neck on The Hot Roof Theater <Un Rat Qui Passe>
2013 DTA Winter Production <DEATH.com>
Related Skills AutoCAD, Sketch Up, basic Adobe Photoshop, basic Adobe Illustrator, ETC consoles, painting, model making, photography
2014 Kaohsiung City Ballet <Dance Shoe>
2013 DTA Winter Production <Redemption> 2013 Theatre of Great Literary Figures in the Western World <Everyman> 2013 Our Theater Fall Festival <Listen to My Voice> 2013 NSYSU Music Department Summer Concert <Solitude> 2013 DTA Graduation Production <Harvey>
CONTENT
01 02
The Toy Cart
Playing the Violin
03
Dress Right
04
The Adventure of a Magical Book
Lightin Desig
05
Dinner for Schmucks
06
Other Works Photography Paintings Graphic Practice Model Making
01 The Toy Cart
The Toy Cart
ABOUT THE PLAY
ABOUT LIGHTING DESIGN
Samsthanaka, a Kshatriyas and the brother-in-law of King Palaka, had been fond of Vasantasena, a Shudras and the most famous dancer of Ujain City. To hide from him, Vasantasena accidentally crashed into the house of Charudatta, a Brahmins and also a poor but noble and respectable business man. Vasantasena decided to put her valuable jewelries under Charudatta's custody that she could get a chance to see him again. In a stormy night, with her love for Charudatta, Vasantasena insisted to visit him again with an excuse of her stolen jewelries, then stayed at his house for a night. The next day, they made an appointment to see each other at the public garden. However, Vasantasena had got on the wrong oxcart which is owned by Samsthanaka. Despised by Vasantasena, Samsthanaka strangled her to death with rage and passed the blame to his rival, Charudatta. At the same time, a cattleman Aryaka had successfully escaped from prison and ready to cause a revolution to overthrow the tyranny of King Palaka. This story also reveals the strict caste system in India no matter now or back to the 19th century.
This is my first lighting design experience in a proscenium arch theater instead of an experimental theater. Traditional Sanskrit often uses candle and natural lights as key light. As a result, I did lots of research about colors and the ambience of India. The sun in North India often bursts through the clouds except for rainy days. Therefore, I tend to use very strong and warm colors as key light on the performers to imply the hot weather in India. I also put plenty of nonobjective elements in the use of colors on cyclorama which give strong contrast. To realize the challenge of this Indian Dance Drama, I choose to use Moving Lights and LED Lights to achieve the visual effects it required. For instance, I set LED Strips as footlight and LED CYC as cyclorama lights, so they will be able to go well with the dance looking rich and colorful and splendid at the same time. This is definitely a fresh and bold shot for me and I have also learned a lot more possibilities of lights.
Hand Draft
Using twelve brick gobo as key high cross light.
Sun is one of the incarnation of Shiva. I want to create a mysterious and divine atmosphere in prologue dance and use Chrome Orange as the main color of this play.
The dance of Shiva also represents the immortality of our universe and the reincarnation of lives.
A symmetrical, Indian-liked totem represents the balance between Shiva and its wife Parvati.
At midnight, Sarvilaka comes to steal jewelries for hislover Madanika's freedom, therefore I give this scene a mischievous ambience.
Creating a candlelit-liked light inside the brothel and making contrast with the dunners outside.
Before the storm comes, Vasantasena is still on her balcony thinking of Charudatta.
Vasantasena expresses her affection of Charudatta through a dance with his portrait in her hands. I complete most of thisdance by LED Wash and Moving Lights and make a clear focus on Vasantasena.
In a stormy night, Vasantasena insists to visit her lover therefore are hit by heavy rain and strong wind with her maids I use computer lights to create a rainy floor as if there was actually water hitting on the performers, and use double C.T. blueside lights to create a really cold mood.
Sun comes out in the next morning. Charudatta and Maitreya cometo the public garden and find out that escapee Aryaka is in their ox cart.
This is a dance to imply that they are making love with each other. I want to create a focus on them and at the same time goes along with the stormy projection on the cyclorama.
Samsthanaka strangles Vasantasena to death since he fails to own her love. I create a violent red on cyclorama to imply that something bloody is happening.
Vasantasena comes out of her body with her pure spirit. The cold color enhances the ghost-liked soul and give it a contrast with the former scene.
The monk is reciting Sutras for Vasantasena to come back into her own body. Warm and cold colors create a strong contrast that differentiates the dead and the living world. I also use bright yellow on the monk which gives him a Buddha-liked glory. Charudatta walks into the fire when he knows his wife is about to commit a suicide for him.
A man like Charudatta always keeps others warm with his benignity, just like the sunlight. When he is about to be beheaded, the sun also falls down as if it was crying for him.
Enhancing the femininity and the sense of depression inside the heart of Charudatta's wife in this scene.
I use all the resources of nontraditional lights to emphasize the magnificence of the final dance, including LED PAR, LED Strips and ROBE Color Spot 1200AT, which also perfectly brings out the variety of their costumes. And I give follow spots to only Vasantasena and Charudatta's wife.
Strong and clean lights for ending pose.
02 Playing The Violin
ABOUT THE PLAY At the time of abolishing Martial Law in 1987, the media had been glutted with violence and even faked news to hype up or gain the ratings, which also led to the shallowness in our own culture. Therefore, the main idea of this play is the reflections upon intellectuals in Taiwan who are always "playing the violin", which also means "bluffing" in Chinese phrases.
Playing The
The outline is about a middle-aged intellectual, San Liu, who was involved in the death of a legislator, splashed across the front page of the latest news. It also gradually revealed a succession of lies, including the failure of his marriage, the alienation from his family, and an achievement that he would never realize. At the end of the play, San Liu got lost between the dreamy world of his own subconscious and the world of reality. He could not tell which parts in his life were true and which ones were not anymore. I think it is kind of like the interesting concept of the movie Inception which involves in plenty of double dreams. And I believe that every audience has his own answer to this.
ABOUT LIGHTING DESIGN
I want to create a dreamy and dramatic atmosphere with collaboration of bold but clean colors, especially blue and purple as main. My goal is to make the audience feel like though what they see can happen in real life, they know something weird is going on with the subtle change of light. And at the same time, it may look like a dream, but the emotions within the performers are so true that you cannot tell whether the particular scene is fake or not, just like San Liu. I also tend to make good use of lights coming from vary directions which generate interesting shadows. Only the eyes of the most earnest can tell shadows which are only camouflages from the authentic ones. Everyone in this play is acting in their lives, but lies and true emotions still get nowhere to hide but appear themselves under the light.
L201
NSYSU Department of Theater Arts SEMESTER PRODUCTION
<PLAYING THE VIOLIN>
Venue: R219 Experimental Theater Time: 2015/05/29.30 Producer: Ayling Wang Director: Yi-Chun Lin Jun-Ting Huang Stage Manager: An Zhao Scenic Designer: Yu-Jie Huang Lighting Designer: Szu-Yun Wang Light Board Operator: Yan-Sheng Lin
SHADOW
L202
L120/180
L120/180
L120/180
L120/180
Equipment List DOOR
L174
SUNSET L053
L101/021 L079
L079
L079
L170
NC
NC
NC
NC
SP
NC
L079
L053
NC
L079 L202
L053 SP
L079
L201
L079
L079
SP EC
NC
L063 L079 NC
SAN
L053 SP
BAR NC
SP
SOFA
L079
FANG
NC
L053
NC
L744
L202
NC
L202 SP
L152
NC
L174
L053
NC
L249
L249
L136
NC
L202
NC
PRO
NC
L161
NC
NC
L079
23 15 9 8 L21 S7 5 12
Rental
NC
NC
23 15 9 8 L24 S11 8 12
ETC 750W 50° ETC 750W 36° ETC 750W 26° ETC 750W 19° Par 1000W (W) Fresnel 500W FLOOD 500W
Quantity
NC
NC
IN-USE
WINDOW
SP
NC
IN-STORE
SP
L174
L170
SP
L154 L201
SP
L744
L200
L053
DESK
L205 L053
L053
L053 NC
L200
L053
L205
L131
L053
SP SP
LAB
L053
L053
L131 L053
SP
L200 L117
SP
L079
H:90cm
L170
L053
L205
L202 PORTRAIT
L196
SP
L079
NIGHT
BRAIN BRAIN L079
L079
L174
G343
L205
L200
L170
ETC 750W 70° ETC 750W 50° LED PAR 45° FLOOD 1KW HAZER-500
1 1 9 2 1
L744
DR
Act one Scene one BEFORE→ L201 AFTER→ NC
DL
L026 BLOOD
Act one Scene three
Drawn by Szu-Yun Wang
Magic Sheet
<Playing the Violin> Front
TOP Wash L079
H.C
H.C Down Stage
Shadow
Blood
San
Sister
Mom
DNA
Top
Debate
L161
Home (A3)
Front
Desk Side L117
L152
Footbridge (A2)
San
Fang
Sunset
Portrait
Hot seat
Tissue
LED Power
Sofa
Moon
Brain (A5)
Front
Lab (A4)
Back L120/180
Side L170
Chairs (A1S3)
Fang
Widows
Front
Monologue
Prologue
Heineken
Ground Diagonal
L200
Bar (Act1S2)
G343
Conference (A1S1)
L079
L205
Pillar
Side
Dead
House Light
Hazer
Creating a neutral but strange atmosphere which can let the audience decide where the performers are instead of clearly implying it is merely a coffee shop.
Using diagonal footlight to create shadows on the backdrop from three reporters. As they walk around, their shadows will make audience feel like there are more than three reporters in the press conference.
In the bar, no matter men or women, elders or teenagers are all having a good time. At the beginning of the scene, the lights focus on San Liu as he launches into a monologue. We can see the change of lights when the lady starts singing Huang Mei Opera and everyone inside the bar joins her.
Composed by several regular hexagons and lines, every single light sequentially lights up and connects with each other with the rhythm of violin. With the haze, it looks like there is a shield surrounding the performer sitting in the middle of the hexagon. Just like in reality, though the whole family seems to be bound by consanguinity, they are actually pretty alienated from each other.
With both of them depressed by their fight and the scene approaching an end, the sun also slowly comes down.
On the footbridge, San Liu and his wife are fighting about their divorce. I want to imitate the lights of sunlight.
The atmosphere turns strange when the rest of the family suddenly surround San Liu and start scolding him for his incompetence.
All the family members come home to worship their dead father. With the existence of three invisible mummers in the living room, we know something unusual is going to happen though things seem normal.
Detective Horatio from CSI Miami has come to investigate the death of San Liu. For his debut, I use LED light to create a strong color green that will make us instantly connect with the main color of CSI.
A debate about Taiwanese culture against western culture. My purpose is to create a strong contrast between two sides by using warm and cold colors. Therefore, team Taiwan gets the warm color to represent the hot weather and the energy of Taiwanese people.
I want to create an image inside the brain. A crazy scientist observes San Liu's subconscious and finds out that his brain is colonized by American movies and TV shows.
However, as he goes further into his own brain, He starts a conversation with the illusion of the Scholar Swordsman, a famous character from traditional Taiwanese puppet show. It also means deep in San Liu's heart, He still recognizes his own culture.
WORKING PHOTOS
03 Dress Right
Dress Right
ABOUT THE PLAY
ABOUT LIGHTING DESIGN
Unspoken difficulties between a fuddy-duddy father and a rebellious juvenile son seems to be the common problem that lots of family are facing nowadays. With the father taking part of the protest himself, he gets a chance to know more about his son. They eventually talk out their misunderstanding with the help of an alarm clock.
This play is close to our human lives as it contains various emotions such as the misunderstanding between father and son, the grief of losing a mom, two teenagers falling for each other, and a group of people fighting for the same ideal. Hence, I hope to help build strong emotions through the light, and touch the audience with the simple and clear ideas of my design.
L195
L203
L203
L203
L205
L200
L205
L200
NC
L102
L161
L119
L119
L119
L119
L119
L119
NC
L205
L200
L205
L200
L119
L202
NC
L744
L744
L200
L202
NC
NC NC
L202
NC
NC
L202 L063
L202
L119
L744
L119
L119
NC
L119
L119
L119
NC
NC
NC NC
L119
L205
L200
LED Par 45° Foggy Z-1200
L744
L201
L203
L203
L103
L203
NC
NC
L202
L195
NC
NC
NC
NC
NIGHT
STAR
4 1
L201
Venue: R219 Experimental Theater Time: 2014/10/24.25 Executive Producer: Meng-Mei Chen Director: Wen-Long Wu Stage Manager: Ciou-Chen Kuo Scenic Designer: Yu-Jing Lin Lighting Designer: Szu-Yun Wang
*4 (PILLAR)
NC
4 1
L195
23 14 0 1 22, 8 7 11
>
Scene five for ceiling
23 14 10 8 24,11 8 12
L201 L195
IN-STORE IN-USE
2014 DTA WINTER PRODUCTION
NC
NC
SMOKE
L202
L201
ETC 750W 50° ETC 750W 36° ETC 750W 26° ETC 750W 19° Par 1000W Wide Fresnel 500W CYC 500W
NC
Equipment List
L195
NC
NC
L205
L161
L161
L103
NC
NC
NC
L161
NC
*4 (CENTER)
Drawn by:
Szu-Yun Wang
Front
CYC Top (S1)
SIDE PAR (S3)
quarter
SIDE (UP) center
H.C PAR
H.C QUARTER
H.C CENTER
TOP Wash L119
Fence Special (S3)
SIDE (DOWN)
CYC Back L161 (Pro)
BedTimeStory
L195
S0 (Mom)
Fresnel
S4 (Police Station)
Star GOBO
S1 (Office)
Par
S2 (Bedroom)
Desk Par
Chair Fresnel
Stand Fresnel
Entrance
Between
Fresnel
Sun
SMOKE
SIDE
FRONT
Chair (DL)
People
Window
Bed Par
Ladder
Frame
Police
GREEN
LED POWER
RED
S3 (Protest)
BLUE
WHITE
Drawn by Szu Yun Wang
The affection between young couples are sometimes bittersweet.
A sorrowful son is missing his dead mom through the photo of them as if his mom is actually coming back. I make clear difference between mom and son by using warm and cold contrast. It strongly implies that the ghost-like woman behind him is not from this world.
A protest in front of the Legislative Yuan is taking place like a raging fire. I want to give it a sense of violence which I use smoggy side light at first, and when it comes together with color red, it means something bloody is going to happen.
Students are all caught by the police at the end of the protest. I want to create an image of prison. The outline is actually from a photo I took in the morning as sunlight reflects the windows of the building on the road and somehow makes me think of a cage.
After rain comes sunshine. When the sun slowly appears itself, it also represents that the father and the son finally clear the air.
04 The Advernture of a Magical Book
ABOUT THE PLAY Three kids accidentally opened a magical book. To beat the evil villain and save the magical world, they went inside the book and had exciting adventures with the main characters from three different stories. At the end of their journey, they also found hope, bravery, and love which they were once lack of.
The Advernture of a Magical ABOUT LIGHTING DESIGN
Innocent kids always give their direct reactions toward things without any disguise. Therefore, I also tend to use the first color I have in mind to create the particular scenes in the story. With lively music and dances during their trip in the magical world, they also start their own adventure under the unlimited imaginations of light.
LIGHTING PLOT 123
KEY
ETC50
ETC36
ETC26
ETC19
PAR64(W)L
PAR64(M)L
PAR64(N)L L201
CH NO.
GOBO or IRIS COLOR NO.
1624,92
L058
38
L058
L195
39
L102
14
L058
L195
40
15
L058
L195
41
16
67
L195 L117
17
46
63
45
46
L243
28
L205
23
29 6
7
8
L195
L195
L195
9
10
L195
L195
11
L141 L141
L243
24
333,43
13
FOREST
L205
L161
43
L141 L141
FOREST
44
FAIRY
43
44
L243
26
L205
21
L106
L202
62
L202
BOOK
61
BOOK
L141 L141
27
L243
22
L205
FOREST
411,23 1
2
3
4
L243
L027
Truss#5
NC
52
49－60
NC
32
Truss#4
NC
54
37－48
73
NC
34
76
L103
1560,46
L201
L106
Leg#1
L201
L201
L106
1－12 Truss#1
75
L243
74
L102
PAD
Truss#6
61－72
71
72
Front
H.C FOREST
H.C L205
TOP WASH L195
SIDE HEIGHT VIEW. ←BACKSTAGE
AUDITORIUM→
440
383
51
L195
L201
460 420
31
65
Leg#2
L195
13－24 Truss#2
L141
FOREST
37
12
45
L141 L106
L058
L195
25－36 Truss#3
53
36 L201
Black Backdrop
POLLUTION
ENTRANCE L058
33
BACK L058
SIDE L201
APPLE THEATER
<The Adventure of a Magical Book>
BOOK
H.C L141
SPECIAL
SIDE L106
FRONT SPECIAL
SIDE (TRUSS)
Entrance Pollution
NOTE.
Fairy
L201
L103
L243 L027 L027 L243
Drawn by Szu Yun Wang Drawn by: Szu-Yun Wang
Little Spider finally retrieves her courage and decides to go save her friend.
The villain uses the temptation of computer games to make the kids forget their mission of saving the magical world.
The pollution of the ocean makes Lady Jellyfish sick, and all the creatures under the sea are suffering from serious stench.
Everybody is dancing happily because the water is finally clean again after the villain was beaten.
The characters make their final debut and say goodbye to all the kids who help them with their magical adventure.
05 Dinner for Schumucks
ABOUT THE PLAY
Dinner for Schumucks
"Everyone invited to the dinner should bring an idiot with you, and the dumbest will be the champion of the night!" Revised from the French movie <Le Diner de Cons>, this play actually describes more about what happened before the dinner. A bourgeois who is up to no good invites a total idiot to the dinner, while the other takes the invitation as a sincere friendship. Accordingly, they started a series of crazy and hilarious mirth quakes.
ABOUT LIGHTING DESIGN
This play is sort of my first debut as a lighting designer and a great memory as well. Since it is a laughing comedy, my main goal is to light up the faces of the performers so the audience can clearly see the change of facial expressions and enjoy a fun night together with us.
L201
L200 L195
NC
L203
L203
L119
L205
NC
L119
L119
L205
NC
L205
NC
L119
L119
L205
L119
L119
L119
EQUIPMENT
NC
L205
L203
L119
L154
L205
NC
L079
NC
L201
L161
L205
L180
L119 L203
L205
L161
SOFA
L205
DL
L205
L205 L119
DR
L203
L205
L205
UL
L203
NC
L203
UR
L142
NC
WINDOW
L156
L063
ETC 750W 50° ETC 750W 36° ETC 750W 26° ETC 750W 19° Par 1000W Wide Fresnel 500W CYC 500W
IN-STORE IN-USE 23 14 10 8 24,10 8 12
23 14 1 0 14 7 2
NC
L103
NC
NC
NC
NC
NC
NC
NC
DTA SPRING PRODUCTION
<DINNER FOR SCHMUCKS>
NC
Venue: R219 Experimental Theater Time: 2014/6/1-2 Director: Zong-Chen Li Stage Manager: Li-Syuan Jhong Scenic Designer: Pin-Hsuan Chen Lighting Designer: Szu-Yun Wang Drawn by: SZU YUN WANG
Front
Front OUTDOOR
TOP WASH L119
SIDE
L180 SOFA (DL)
SPECIAL
ROOMS
WINDOWS
HC OUTDOOR
WINDOW
DOOR BACKLIGHT
H.C BEHIND
H.C SOFA
Special Space
W1
STORAGE
W2 (MOON)
BATHROOM
KITCHEN
BEDROOM
FRIEND
WOMAN
BOSS PATIENT
Drawn by Szu Yun Wang Lighting Plot
A doctor comes to treat his severe backache before dinner.
Anything could happen outside the door.
"Hang up the phone before everything is out of control!"
Making a difference between indoor and outdoor and using colors to highlight the loneliness of the man on the couch.
Though there is no specific scenic design to define the space, we can still tell that the man at the front is in a different room through the light.
06 Other Works
Photography
Tokyo
2012 Jan
Tokyo
2012 Jan
Clytie, 2013 Dec, Sizihwan Bay
Paintings
Graphic Practice
Model Making
Concept from Anna Lakhno <Peter Pan> Set Design Scale 1:50 SketchUp Model by Szu-Yun Wang
A struggling tree dragged by heartless time
Colors, lights, and mirrors.
Scenic Design Concept Model for <Jacques et son maitre> Material: Foam Paper, Molding Paste, Pins