2012-12-27

making a 5 second video

I took a cinematography workshop at the Baltimore Creative alliance, run by Jeffrey Gangwisch. The CA is located in the Patterson Theater, on Eastern Avenue.



It was a lot of fun and gave me the chance to work with lighting and equipment I haven't handled before. The last class was to film a "5 second video", which we could write ourself. I of course love writing so thought about several ideas. I went through old Non Sequitor comic ideas. The first 5 of the following came from Non Sequitor. The last was motivated by an ad I saw many many years ago, for a college that taught painting. It had the model at an easel painting the painters sitting in front of her.

  1. Deer dressed as St Peter at the gates of heaven.
    Camera on Hunter with shotgun waiting to be admitted.
    Camera pulls back to reveal Deer as he says to Hunter:
    ``Let's just call it karma.''

    props: deer outfit, white robe, hunting rifle, hunters jacket,
    pedital with white and gold cloth draped over it.

  2. Doctor in an office holding an x-ray, patient in gown on examining room table. Doctor says to patient: "You have a severe blockage of your credit rating."

    props: x-ray, patient's gown, doctors lab coat, doctors stethescope, examining table

  3. A panel of people at a table marked "Reality Show Casting", with piles of papers in front of each panelist, marked "Psychos", "Bigots," etc. One panelist reads out loud an application from a normal person (eg, "I work at the family business and like to play scrabble and sing in the church choir ...") and his horrified.

    props: table, signs, lots of papers and manilla folders

  4. Camera shots CU of Dog is lying down on a couch in a psychiatrists office: "bark, yap, bark, yap, ..." Camera pulls back to reveal that the psychiatrist is a Cat.

    props: coach, chair, office furniture, dog outfit, cat outfit

  5. Crowd in art gallery staring and taking about a painting: "I like the artists' use of color." "Reminds me or Picasso." etc. Young Nerd says ``I wonder what software they used for the brush strokes?''

    props: art museum, young nerdy looking actor, crowd of extras

  6. Have scene of actors performing a scene in Romeo and Juliet.
    Juliet: "Romeo, oh Romeo, wherefore art thou Romeo?"
    The person handling Camera A is zooming in and out saying "Zoom" under his breath.
    Director (standing next to Camera A): Camera A. CAMERA A!
    Camera A: Who? Me? What?
    Director: Let's try a medium shot on this one, instead of a zoom. Does everyone agree?
    All: Yes!

    This is caught by Camera B, which shoots the entire scene, cast and crew.

    props: cameras and lighting gear, actors, extras


Jeffrey selected the last one and allowed me to be director. Although I had no idea what I was doing, and Jeffrey had to help out a lot, this was tremendous fun. Here it is (edited by Jeffrey):

Workshop Skit from Jeffrey L. Gangwisch on Vimeo.

2012-11-11

Mathematicians and Chess

This page contains information on

  • which mathematicians (which we define as someone who has earned a PhD or equivalent in Mathematics) play(ed) chess at the International Master level or above (in OTB or correspondence or problem composing), and
  • how to get papers on mathematical chess problems.

Similar pages are here and here and here and here.

Mathematicians who play(ed) chess


  • Conel Hugh O'Donel Alexander (1909-1974), late British chess champion. Alexander may not have had a PhD in mathematics but taught mathematics and he did mathematical work during WWII (code and cryptography), as did the famous Soviet chess player David Bronstein (see the book Kahn, Kahn on codes). He was the strongest English player after WWII, until Jonathan Penrose appeared.
  • Adolf Anderssen (1818-1879). Pre World Championships but is regarded as the strongest player in the world between 1859 and 1866. He received a degree (probably not a PhD) in mathematics from Breslau University and taught mathematics at the Friedrichs gymnasium from 1847 to 1879. He was promoted to Professor in 1865 and was given an honorary doctorate by Breslau (for his accomplishments in chess) in 1865.
  • Magdy Amin Assem (195?-1996) specialized in p-adic representation theory and harmonic analysis on p-adic reductive groups. He published several important papers before a ruptured aneurysm tragically took his life. He was IM strength (rated 2379) in 1996.
  • Gedeon Barcza (1911-1986), pronounced bartsa, was a Hungarian professor of mathematics and a chess grandmaster. The opening 1.Nf3 d5 2.g3 is called the Barcza System. The opening 1.e4 e6 2.d4 c5 is known as the Barcza-Larsen Defense.
  • Ludwig Erdmann Bledow (1795-1846) was a German professor of mathematics (PhD). He founded the first German chess association, Berliner Schachgesellschaft, in 1827. He was the first person to suggest an international chess tournament (in a letter to von der Lasa in 1843). His chess rating is not known but he did at one point win a match against Adolf Anderssen.
  • Robert Coveyou (1915 - 1996) completed an M.S. degree in Mathematics, and joined the Oak Ridge National Laboratory as a research mathematician. He became a recognized expert in pseudo-random number generators. He is known for the quotation "The generation of random numbers is too important to be left to chance," which is based on a title of a paper he wrote. An excellent tournament chess player, he was Tennessee State Champion eight times.
  • Nathan Divinsky (1925-2012) earned a PhD in Mathematics in 1950 from the University of Chicago and was a mathematics professor at the University of British Columbia in Vancouver. He tied for first place in the 1959 Manitoba Open.
  • Noam Elkies (1966-), a Professor of Mathematics at Harvard University specializing in number theory, is a study composer and problem solver (ex-world champion). Prof. Elkies, at age 26, became the youngest scholar ever to have attained a tenured professorship at Harvard. One of his endgame studies is mentioned, for example, in the book Technique for the tournament player, by GM Yusupov and IM Dvoretsky, Henry Holt, 1995. He wrote 11 very interesting columns on Endgame Exporations (posted by permission).
    Some other retrograde chess constructions of his may be found at the interesting Dead Reckoning web site of Andrew Buchanan.
    See also Professor Elkies's very interesting Chess and Mathematics Seminar pages.
  • Thomas Ernst earned a Ph.D. in mathematics from Uppsala Univ. in 2002 and does research in algebraic combinatorics with applications to mathematical physics. His chess rating is about 2400 (FIDE).
  • Machgielis (Max) Euwe (1901-1981), World Chess Champion from 1935-1937, President of FIDE (Fédération Internationale des Echecs) from 1970 to 1978, and arbitrator over the turbulent Fischer - Spassky World Championship match in Reykjavik, Iceland in 1972. I don't know as many details of his mathematical career as I'd like. One source gives: PhD (or actually its Dutch equivalent) in Mathematics from Amsterdam University in 1926. Another gives: Doctorate in philosophy in 1923 and taught as a career. Published a paper on the mathematics of chess "Mengentheoretische Betrachtungen uber das Schachspiel".

  • Ed Formanek (194?-), International Master. Ph.D. Rice University 1970. Retired from the mathematics faculty at Penn State Univ. Worked primarily in matrix theory and representation theory.
  • Stephen L. Jones is an attorney in LA, but when younger, taught math in the UMass system and spent a term as a member of the Institute for Advanced Study in Princeton NJ. He is one rung below the level of International Master at over the board chess; in correspondence chess, he has earned two of the three norms needed to become a Grandmaster.
  • Charles Kalme (1939-2002), earned his master title in chess at 15, was US Junior champ in 1954, 1955, US Intercollegiate champ in 1957, and drew in his game against Bobby Fischer in the 1960 US championship. In 1960, he also was selected to be on the First Team All-Ivy Men's Soccer team, as well as the US Student Olympiad chess team. (Incidently, it is reported that this team, which included William Lombary on board one, did so well against the Soviets in their match that Boris Spassky, board one on the Soviet team, was denied forieng travel for two years as punishment.) In 1961 graduated 1st in his class at the Moore School of Electrical Engineering, The University of Pennsylvania, in Philadelphia. He also received the Cane award (a leadership award) that year. After getting his PhD from NYU (advisor Lipman Bers) in 1967 he to UC Berkeley for 2 years then to USC for 4-5 years. He published 2 papers in mathematics in this period, "A note on the connectivity of components of Kleinian groups", Trans. Amer. Math. Soc. 137 1969 301--307, and "Remarks on a paper by Lipman Bers", Ann. of Math. (2) 91 1970 601--606. He also translated Siegel and Moser, Lectures on celestial mechanics, Springer-Verlag, New York, 1971, from the German original. He was important in the early stages of computer chess programming. In fact, his picture and annotations of a game were featured in the article "An advice-taking chess computer" which appeared in the June 1973 issue of Scientific American. He was an associate editor at Math Reviews from 1975-1977 and then worked in the computer industry. Later in his life he worked on trying to bring computers to elementary schools in his native Latvia A National Strategy for Bringing Computer Literacy to Latvian Schools. His highest chess rating was acheived later in his life during a "chess comeback": 2458.
    Here is his game against Bobby Fischer referred to above:

    [Event "?"]
    [Site "New York ch-US"]
    [Date "1960.??.??"]
    [Round "3"]
    [White "Fischer, Robert J"]
    [Black "Kalme, Charles"]
    [Result "1/2-1/2"]
    [NIC ""]
    [Eco "C92"]
    [Opening "Ruy Lopez, Closed, Ragozin-Petrosian (Keres) Variation"]
    1.e4 e5 2.Nf3 Nc6 3.Bb5 a6 4.Ba4 Nf6 5.O-O Be7 6.Re1 b5 7.Bb3 O-O 8.c3 d6 9.h3 Nd7 10.a4 Nc5 11.Bd5 Bb7 12.axb5 axb5 13.Rxa8 Qxa8 14.d4 Nd7 15.Na3 b4 16.Nc4 exd4 17.cxd4 Nf6 18.Bg5 Qd8 19.Qa4 Qa8 20.Qxa8 Rxa8 21.Bxf6 Bxf6 22.e5 dxe5 23.Ncxe5 Nxe5 24.Bxb7 Nd3 25.Bxa8 Nxe1 26.Be4 b3 27.Nd2 1/2-1/2
  • Miroslav Katetov (1918 -1995) earned his PhD from Charles Univ in 1939. Katetov was IM chess player (earned in 1951) and published about 70 research papers, mostly from topology and functional analysis.
  • Martin Kreuzer (1962-), CC Grandmaster, is rated over 2600 in correspondence chess (ICCF, as of Jan 2000). His OTB rating is over 2300. His specialty is computational commutative algebra and applications. Here is a recent game of his:
    Kreuzer, M - Stickler, A
    [Eco "B42"]
    [Opening "Sicilian, Kan"]
    1.e4 c5 2.Nf3 e6 3.d4 cxd4 4.Nxd4 a6 5.Bd3 Nc6 6.c3 Nge7 7.0-0 Ng6 8.Be3 Qc7 9.Nxc6 bxc6 10.f4 Be7 11.Qe2 0-0 12.Nd2 d5 13.g3 c5 14.Nf3 Bb7 15.exd5 exd5 16.Rae1 Rfe8 17.f5 Nf8 18.Qf2 Nd7 19.g4 f6 20.g5 fxg5 21.Nxg5 Bf6 22.Bf4 Qc6 23.Re6 Rxe6 24.fxe6 Bxg5 25.Bxg5 d4 26.Qf7+ Kh8 27.Rf3 Qd5 28.exd7 Qxg5+ 29.Rg3 Qe5 30.d8=Q+ Rxd8 31.Qxb7 Rf8 32.Qe4 Qh5 33.Qe2 Qh6 34.cxd4 cxd4 35.Bxa6 Qc1+ 36.Kg2 Qc6+ 37.Rf3 Re8 38.Qf1 Re3 39.Be2 h6 40.Kf2 Re8 41.Bd3 Qd6 42.Kg1 Kg8 43.a3 Qe7 44.b4 Ra8 45.Qc1 Qd7 46.Qf4 1-0
  • Emanuel Lasker (1868-1941), World Chess Champion from 1894-1921, PhD (or more precisely its German equivalent) in Mathematics from Erlangen Univ in 1902. Author of the influential paper "Zur theorie der moduln und ideale," Math. Ann. 60(1905)20-116, where the well-known Lasker-Noether Primary Ideal Decomposition Theorem in Commutative Algebra was proven (it can be downloaded for free here). Lasker wrote and published numerous books and papers on mathematics, chess (and other games), and philosophy.

  • Vania Mascioni, former IECG Chairperson (IECG is the Internet Email Chess Group), is rated 2326 by IECG (as of 4-99). His area is Functional Analysis and Operator Theory.
  • A. Jonathan Mestel, grandmaster in over-the-board play and in chess problem solving, is an applied mathematician specializing in fluid mechanics and is the author of numerous research papers. He is on the mathematics faculty of the Imperial College in London.
  • Walter D. Morris (196?-), International Master. Currently on the mathematics faculty at George Mason Univ in Virginia.
  • Karsten Müller earned the Grandmaster title in 1998 and a PhD in mathematics in 2002 at the University of Hamburg.
  • John Nunn (1955-), Chess Grandmaster, D. Phil. (from Oxford Univ.) in 1978 at the age of 23. His PhD thesis is in algebraic topology. Nunn is also a GM chess problem solver.
  • Hans-Peter Rehm (1942-), earned his PhD in Mathematics from Karlsruhe Univ. (1970) then taught there for many years. He is a grandmaster of chess composition. He has written several papers in mathematics, such as "Prime factorization of integral Cayley octaves", Ann. Fac. Sci. Toulouse Math (1993), but most in differential algebra, his specialty. A collection of his problems has been published as: Hans+Peter+Rehm=Schach Ausgewählte Schachkompositionen & Aufsätze (= selected chess problems and articles), Aachen 1994.
  • Kenneth W. Regan, Professor of Computer Science at the State Univ. of New York Buffalo, is currently rated 2453. His research is in computational complexity, a field of computer science which has a significant mathematical component.
  • Jakob Rosanes obtained his mathematics doctorate from the Univ. of Breslau in 1865 where he taught for the rest of his life. In the 1860s he played a match against A. Anderssen which ended with 3 wins, 3 losses, and 1 draw.
  • Jan Rusinek (1950-) obtained his mathematics PhD in 1978 and earned a Grandmaster of Chess Composition in 1992.
  • Jon Speelman (1956-) is an English Grandmaster chess player and chess writer. He earned his PhD in mathematics from Oxford.

Others that might go on this list would be Henry Ernest Atkins (he taught mathematics but never got a PhD, but won the British Chess Championship 9 times in the early 1900s), Andrew Kalotay (who earned a PhD in statistics in 1968 from the Univ of Toronto, and was a Master level chess player but was not formally given an IM chess ranking), Kenneth Rogoff (has a PhD in economics but has published statistics research papers and is a GM in chess), and Duncan Suttles (in the 1960s he started but never finished his PhD in mathematics, but is a chess GM).

Papers about mathematical problems in chess


Thanks to Christoph Bandelow, Max Burkett, Elaine Griffith, Hannu Lehto, John Kalme, Ewart Shaw, Richard Stanley, Will Traves, Steven Dowd, Z. Kornin, Noam Elkies and Hal Bogner for help and corrections on this page. This page is an updated version of that page and the other page.

2012-11-07

Anton Chekhov stories

This page aggregates the posts on Chekhov's stories from this blog.

Early stories (pre-1885)

Stories from 1886

Stories from 1887

Stories from 1888

Stories from 1889-1893

Stories from 1894-1904

Please let me know if there is anything missing!

Anton Chekhov - Stories from 1894-1904

This post gives a summary of the stories, novellas and plays of Anton
Chekhov from 1894 to 1804. If you know of things which should be
added, please let me know. Chekhov died of tuberculosis in June 1904.




Short stories



1894






1895






1896






1897






1898






1899







1900






1902




1903






Novellas



1895



1896



Plays



1896






1899







1901







1904









References


[C]
A. Chekhov http://en.wikipedia.org/wiki/Anton_Chekhov http://en.wikipedia.org/wiki/Anton_Chekhov_bibliography http://en.wikipedia.org/wiki/List_of_short_stories_by_Anton_Chekhov Stories of Anton Chekhov: http://www.gutenberg.org/browse/authors/c#a708
[Y]
Avrahm Yarmolinsky (translator and editor), The Unknown Chekhov Farrar, Straus and Giroux, 1999.

2012-10-29

Harrison Demchick’s on Screenwriting

Harrison Demchick gave a screenwriting presentation titled “From Book to Script to Movie” at the Maryland Writers’ Association Conference October 20, 2012 in Baltimore. He won the 2011 Baltimore Screenwriters Competition and has had one of his screenplays optioned. He is the author of forthcoming novel The Listeners (Bancroft Press, 2012) and works as a developmental editor with Writer's Ally, a creative services boutique. For more on Harrison Demchick, see harrisondemchick.com.

2012-10-22

Anton Chekhov - Stories from 1889-1893

This post gives a summary of the stories, novellas (if any) and plays of Anton Chekhov from 1889 to 1893. If you know of things which should be added, please let me know.



Short stores


1889





1890



1891



1892



1893



Novella


1891


The Duel

Note:
Wikipedia called this a "short story" as opposed to a "novella."

Summary:
http://litmed.med.nyu.edu/Annotation?action=view&annid=304

Text:
http://www.gutenberg.org/ebooks/13505

http://en.wikisource.org/wiki/The_Duel_(Chekhov-Garnett)

1893


An Anonymous Story

Note:
Alternate translations: The Story of an Unknown Man/The Story of a Nobody

Summary:
http://litmed.med.nyu.edu/Annotation?action=view&annid=12091

Text:
http://www.gutenberg.org/ebooks/13415

Plays


1889




1891


  • The Festivities


References

[C] A. Chekhov [Y] Avrahm Yarmolinsky (translator and editor), The Unknown Chekhov, Farrar, Straus and Giroux, 1999.
[Y'] Avrahm Yarmolinsky (Introduction), The Portable Chekhov, Penguin, 1977.

2012-10-09

Anton Chekhov - Stories from 1888

This post gives a summary of the stories, novellas (if any) and plays of Anton Chekhov from 1888. If you know of things which should be added, please let me know.





Short stories



Plays

Novellas

References

[C] A. Chekhov [Y] Avrahm Yarmolinsky (translator and editor), The Unknown Chekhov, Farrar, Straus and Giroux, 1999.
[Y'] Avrahm Yarmolinsky (Introduction), The Portable Chekhov, Penguin, 1977.

2012-09-29

Anton Chekhov - Stories from 1887


This post gives a summary of the stories, novellas (if any) and plays of Anton Chekhov from 1887. If you know of things which should be added, please let me know.



Stories


Plays




No novellas were written by Chekhov in 1887, to my knowledge.


References




[C] A. Chekhov
http://en.wikipedia.org/wiki/Anton_Chekhov
http://en.wikipedia.org/wiki/Anton_Chekhov_bibliography
http://en.wikipedia.org/wiki/List_of_short_stories_by_Anton_Chekhov
Stories of Anton Chekhov:
http://www.gutenberg.org/browse/authors/c#a708

[Y] Avrahm Yarmolinsky (translator and editor), The Unknown Chekhov, Farrar, Straus and Giroux, 1999.

[Y'] Avrahm Yarmolinsky (Introduction), The Portable Chekhov, Penguin, 1977.

2012-09-24

A tech perspective on "The Tempest"

These are just some random thoughts on my experiences of helping out with the production of "The Tempest", directed by Josh McKerrow at the Laurel Mill Playhouse.


The walls of the stage were painted by Josh using actual text from the time of the play (to symbolize Prospero's books):




First, here is my take on the play.

Act I: 2 scenes.
scene 1: Ariel, unseen but commanded by the magician Prospero, creates an imaginary storm which brings King Alonso’s ship, and all its passengers, to Prospero’s island.
In this scene several characters are introduced: Antonio, Sebastian, Alonso, Gonzalo, the Boatswain and ship Captain (“Master”).
scene 2: Prospero and his daughter Miranda talk about storm and background event (his history, her history, the events leaving to their living on the island for 12 years, and facts about the ship’s passengers). Ariel and Prospero talk and Ariel’s history is given. Caliban is introduced and has a discussion with Prospero, where his background is given; Ferdinand, separated from his father King Alonso by the storm, wanders the island alone and thanks to Prospero’s magic, meets Miranda and they begin to fall in love.

After Act I ends, all the characters but Stephano and Trinculo are introduced and their motivations are (mostly) hinted at.

Act II: 2 scenes.
scene 1: The characters Gonzalo, Alonso, Sebastian, Antonio talk and Gonzalo tried to cheer up Alonso. Their personalities are introduced, with more background; Ariel causes Gonzalo and Alonso to sleep, which Sebastian and Antonio use to plot against their life;, but Ariel saves Alonso's life by waking them at the right instant; Alonso grows very suspicious of them.
scene 2: Caliban, Trinculo, and Stephano and introduced; Caliban drunkenly worships Stephano; Trinculo, and Stephano plan to inherit the island.

After Act II ends, all the subplots are sketched out, all the characters are known, their personalities are introduced, and their motivations are explained.

Act III: 3 scenes.
scene 1: Ferdinand, still separated from his father King Alonso by the storm, talks with Miranda and they discuss their love.
scene 2: Ecouraged by Caliban, Trinculo, and Stephano plot against Prospero’s life; Ariel causes them to fight.
scene 3: Gonzalo, Alonso, Sebastian, Antonio, etc take a rest and envision a magnificent banquet; it vanished suddenly and Ariel gives a long frightening speech warning of their death unless they show sorrow for their past wrongs and promise to lead innocent lives in the future.

After Act III, we see the subplots more fully explored and be better understand Prospero’s scheme of things.

Act IV, 1 scene:
scene 1: Ariel, Prospero, Miranda, and Ferdinand have the “Masque scene”, where spirits sing and their festivities symbolize/bless the upcoming wedding between Ferdinand and Miranda. Caliban, Trinculo, and Stephano further plot against Prospero, but are frightened off by strange noises of dogs and hunters.

Act V, 1 scene:
scene 1: Prospero commands Ariel to get the ship’s passengers together and bring them to her; Prospero casts a spell on them all, Alonso apologies, Prospero forgives all the ships passengers and re-unites Alonso with Ferdinand (now in love with Miranda); the Boatswain reports and the ship is safe and harbored nearby; Prospero gives up his magic and invites all to spend the night and hear the tale of his life on the island, before they depart for Naples the next day.

Epilogue: Prospero asks for the audience’s blessing and freedom with their applause.

Themes of play: power and jealosy, family relationships, forgiveness.

The atmosphere on the set was great. The people are very friendly but professional. I always found the work pleasant, even if it had been a long exhausting day at work. Here are a few shots I took during a break at a tech rehearsal.


The director, taking pictures of the cast duing a dress rehearsal:




I'm a complete novice to theater work. I might go to a play once or twice a year. As a fifth-grader I starred as the Pauper in "The Prince and the Pauper". I was unable to remember my lines and they had to close the curtain on me. I was not popular with those who had to share the stage with me! Jump ahead 40 years - a year or two ago, I asked someone who was teaching drama if I could hang around for part of a semester while I absorbed all that went on in a student production. I got in the way more than anything. That is my knowledge and experience with plays. With this production I was really surprised the enormous skill and experience that some of the actors had in this production, as well as how much work they put into the play.

Prospero (Kat McKerrow), Miranda (Shelby Hylton) and Caliban (Jeffrey Gangwisch):


Miranda hamming for the camera, the director, and Sebastian (Caity Brown):


Gonzalo (Tom Tomlinson):


Alonso (Penny Martin), Stephano (Marc Rehr) and Maya Wilcox (stage manager/set construction):


The director, Ariel (Diana Taggart), and the Boatswain (David Hill):


The director, Miranda, Prospero and Ariel share a laugh:

It's blown-out but it's also my favorite shot.

I learned a lot. I learned about what a really good director can do to a great play. Josh was excellent, both with the cast and with his knowledge of the material. I also met some terrifically talented actors.
I learned how lighting design works and how to work that particular lighting board. It actually is very easy and very hard at the same time, in a weird way. (Easy to make mistakes as well.) Learning which sliders do which is easy. But the hard part is the "muscle memory" of knowing them well enough that you can work them without mistakes even when you are very tired, the lighting is very low (essentially you are working in the dark most of the time) and how to quickly change from one lighting set-up to the next in time to make the music cues or acting cues on stage.
I also learned Shakespeare's play very well. For me, that was the main thing. To be a better writer, I feel as though I need to learned really great writer's works really well. It was a great experience.

I'll end with an amusing quote. It's not exact, because I don't remember the details or who said it or when, but something like this: An expert on Shakespeare, perhaps a professor of literature, was being interviewed about Shakespeare and said (something like) "You know, in spite of all hype, Shakespeare actually is a very good playwright." I agree:-)

Lighting design notes for "The Tempest"

These are notes for the stage lighting of The Tempest, performed at the Laurel Mill Playhouse, 2012-09-14 thru 2012-09-23, directed by Joshua McKerrow.

The theater is fairly small - with 60 seats for the audience. A diagram of the theater (U is Upstage, D is Downstage, SR is Stage Right, SL is Stage Left) is below:

A picture of the ceiling, taken from upstage center and facing the audience, is here:

Some of the spotlights (or "key" lights) are on, but the floodlights (over the stage) are mostly off.

Here is a picture of the lighting board. The sliders on the lower level controlled the lights:

You can see, for example, that under slider 8, there is a piece of tape with "DSC" written on it. That writing was totally unreadable during a show since the lights were basically turned off (except for a small red bulb) then.


Here is a table describing the lighting board controlling the lights.

slider number function
1 3 reds and 1 yellow (floods)
2 none
3 DSL (= DownStage Left), spotlight
4 r4 whites (floods)
5 none
6 USL, spotlight
7 USR, spotlight
8 DSC, spotlight
9 USC, spotlight
10 DSR, spotlight
11 none
12 4 blues (floods)

Different scenes got different lighting designs. Sometimes these were to punctuate the actors' lines. For example, Ariel's description of the tempest to Prospero (line 317 in Act I scene 2) was accented with some red flashes at the point Ariel said "...I flamed amazement." Other cases were to implement parts of the script (eg, lighting during a storm), or to distinuish the mood of a scene.

To begin, being a complete novice, I read some tutorials. The director, Josh McKerrow, told me he needed a detailed lighting plan written out. I typed up something like this:


Indicated are the lines where a specific lighting plan is to be executed, with a few words of the "cue line" indicated. After getting a reasonably detailed version of this (that the director could use if I could not make a show for some reason) I gave up on this process. I had to create too much shorthand notation and I was constantly correcting my own notes. What I settled on was to buy a book of the screenplay with lots of white space on the page then write in pencil the lighting instructions. Here is an example:

This seemed to work out well. Most of the lighting was really designed by Josh McKerrow, who knew the play much better and had ideas on how he wanted certain scenes light. There were five lighting schemes I named with a special term: "normal" (all keys were on, but the colored lights were not as bright), "storm" (for Act I, scene 1), "Caliban" (which had more blues and reds, and lower key lights), "love scenes" (for Ferdinand and Miranda), the "harpy scene" (Ariel's speech in Act III, scene 3), and "oscillating" (for Prospero's "magic spell" scene in Act V, scene 1). There were other lighting effects, but they were simpler (eg, "set master to level 2", or "USC and DSC only"), so didn't get a name. This naming of lighting schemes made it easier to label the pages of the script, and easier for me to track what lighting changes occurred as the play progressed.

I learned some interesting facts about lighting, but mostly I learned the play really well, thanks to the fact that I could read it over and over, Josh knew it really well, and was happy to talk about it.

2012-09-22

Anton Chekhov - Stories from 1886


This post gives a summary of the stories of Anton Chekhov from 1886. If you know of things which should be added, please let me know. A summary of all his stories his here.



Stories


Plays


References




[C] A. Chekhov
http://en.wikipedia.org/wiki/Anton_Chekhov
http://en.wikipedia.org/wiki/Anton_Chekhov_bibliography
http://en.wikipedia.org/wiki/List_of_short_stories_by_Anton_Chekhov
Stories of Anton Chekhov:
http://www.gutenberg.org/browse/authors/c#a708

[Y] Avrahm Yarmolinsky (translator and editor), The Unknown Chekhov, Farrar, Straus and Giroux, 1999.