BELATED Reports part one

September
Part one OF REPORT (writing the reports seems to take much longer than the meetings themselves. - not sure there will be time to write the rest of this, seeing that we are currently planning to be filming whatever we are going to do this coming Sunday, September 21 2008. Howver its such good stuff, I'll see how I'm going. Might write it up later on - finding TIME being the challenge.)

LAURA IDEAS (missing from last report sept 11 2008)
Wants to experiment and get as much out of the experience as she can
to push the barriers,

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2nd visit to Tallaght Theatre September 13 2008
Present: Michael L, Shane (theatre technician), Laura R, Sinead, Elizabeth. Dave was working, Stephanie unavailable.

SHANE ideas on using light to give a sense of movement into the distance by using a low light and walking away from it, causing the shadow to contract, and to pale. ILLUSION using shadows even though the person doesn't actually walk very far.

MICHAEL on using simple enough tricks, to give the effect we want, without using very technically complicated stuff.
Also might work using three people instead of just one, using the projection of continuity.

SHANE on possibility of conveying a longer time by having a young person, followed by someone older, then someone old gives more perspective of time

ELIZABETH Even though we are still at the ideas stage now, by next Tuesday or Wednesday, we need to know exactly what we are doing.
Need to throw out all the vague ideas, and get it down to what we are going to do - five minutes or less if possible.

MICHAEL on 'value for effort' - doing white make-up for such a short piece might be more work than the effects would be worth.
If we decide to use masks rather than makeup, they have to be directed.

ELIZABETH - even a hood/mask combined ....

SHANE: Have we blocked the show - where it begins and where it ends?

ELIZABETH: Need to decide how narrative it is going to be, or just a snapshot into the Camino.

ELIZABETH: Explains what is THE CAMINO - a pilgrimage across the north of Spain, started about 1200 years ago as a pilgrimage, but now is also a challenge for anyone who wants to do it.

SHANE We will have to come up with some sort of script - you have to have something to make a lighting design around
Lighting adds to the story, you have to have some sort of story to light. Try and keep it as simple as possible. One light can do loads - that's just as simple

Sometimes you can absolutely overdo it, and it just doesn't work.
I don't know what sort of piece ye are going to come up with, but keep it as simple as possible, and ye will be OK.

ELIZABETH: (on seeing the extent of the rig) there is so much in it, the difficulty will be so say what we are not using, and to limit ourselves to keep it simple.

SHANE, from listening to what ye are saying, I keep coming back to keep it simple. And keep your colours simple also.
... use of light for example to show harshness by shining light, only upwards to the face.
... take some close ups so these can be slotted in afterwards
...might do these with side lighting to emphasize the face

Sometimes in a live performance the emotion is much more obvious, but when its filmed, its not the same. You can help to bring the emotion through the camera by giving close-ups.

ELIZABETH On the actual Camino, starting in the darkness, the light really was coming up from behind.

SHANE - these lights can be faded in very slowly, even over two or three minutes to show approaching dawn.

Elizabeth: Great to see what's here ...
SHANE: .... to play with. Don't be afraid to experiment either, just try and keep it simple.

ELIZABETH: Joey's suggestion: Start with ONE LIGHT and push that as far as you can take it, before adding a second light.

SHANE: on work he has done with only three lights or less. Even though they had other lights, just because you have them you don't have to use them.
Trust your instinct. Go with your gut feeling and keep it simple, and you'll be fine.

ELIZABETH on her preference for black and white, shadows, reflections.

SHANE there must have been moments of joy on the walk ... well that's where you would put in the colour - to make it warm.
To show the harshness, keep it open white, black and white ...

ELIZABETH likes idea of keeping it black and white with just glompses of colour - actually that's how it was. examples of bowl of cherries, butterflies,

SHANE on how changing light can portray the 'bowl of cherries', also facial expression, especially face into the light, can give impression of hope.

TO BE CONTINUED

In case you aren't aware, Sinead has also been recording our progress on the Tulips Page if you want a look.