Page 1

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


Szu Yun Wang Theatre Lighting Design Portfolio  
Szu Yun Wang Theatre Lighting Design Portfolio  
Advertisement