Omar Madkour / Lighting Designer portfolio

Omar Madkour Lighting Designer

Omar Madkour Lighting Designer

Bio Omar Madkour is a stage lighting designer located currently at his hometown Cairo, Egypt. He is a BA graduate of the Theatre program in The American University in Cairo ’11 where he studied design under professor Stancil Campbell.

Madkour’s design work includes eight plays he lit. The most recent of which marks his first international design; the play was performed at the Maxim Gorki theatre in Berlin.

Madkour currently freelances as a stage lighting designer in Cairo with a passion to broaden his experience and network of connections.

Besides light design Madkour has always been an avid theatre practitioner; he did various stage jobs.

He has a lot of acting credits on his résumé. He worked as a production manager for Downtown Contemporary Arts Festival for two years, and a production assistant on Irish international festival Clonmel Junction Festival. He also worked as a technical director for internationally acclaimed and awarded Egyptian director Laila Soliman on her latest play Zig Zig. Madkour toured as a lighting designer, actor and technical director locally and internationally to professional festivals and venues. www.omarmadkour.com

Objective There is an active yet highly struggling performing arts scene in Cairo. Theatre technology is no different. Egyptian theatre is ages behind. While stage lighting is taking a shift towards LED’s, automated lighting, media design and integrating projection and mapping, Egyptian theatres work with equipment that is obsolete abroad. Some independent theatres in Cairo run on manual twoscene present consoles and a twelve channel DMX dimmer rack.

Due to my better Bachelor education at the American University in Cairo I was exposed to more advanced lighting systems; not the most advanced internationally but good enough to give me a proper understanding of lighting systems and to put me on a road that qualifies me to be different and work with professional and foreign theatre companies who come to Cairo.

I have proven myself over the past five years as an enthusiastic, professional and creative lighting designer. However, I am certain there is a lot more for me to learn. I would like to enhance my artistic design skills through a more professional theatre environment and more analytical preparation and rehearsal process.

I am really keen on learning lighting technology like automated lighting; not only how it is operated but how the lighting system is designed and how it functions. I am also interested in projection design, mapping, dynamic projection, and integrating video in lighting a stage. Theatre as an art form changes and develops over the ages, and digital theatre has become a definite key player in contemporary performance art. It has broken so many boundaries and presented numerous possibilities to what a designer can do.

While digital theatre and media design is a discipline on its own, I am eager to learn it under a light design curriculum since lighting is my specialization of interest. I do not intend on working as a video artist, but I seek to acquire the technical skill that should allow me to augment my designs and compliment my work.

This kind of technical/digital theatre is not remotely being introduced to the performing arts scene in Cairo and one of my goals out of a postgraduate degree would be to present it to theatre academia in Egypt.

I here present all the lighting plots I designed as well as samples of magic sheets, cue sheets, ideas for cue designs, 3d visualizations of floor plans and color sheets.

For Her

The Interrogation

Measure for Measure

To Kill a Mockingbird

Waiting for Godot

Ordinary People

Is Anybody Out There?

Ordinary People 2016

LQ

Page

Time

Standby: when she sits on the desk

Description

18

16

8

Go: translation from AR line “I imagine there is something warm, nice the brain shrinking� and humane in the middle of our memories, or lack of them. Like most of the play, this moment should be visually contained.

A one-act monodrama by Zainab Magy. The play was one of three in HILFE, DAS VOLK KOMMT! A cooperation between Maxim Gorki Theater/ Studio Я and Literarisches Colloquium Berlin.

Funded by Robert Bosch Stiftung.

The play was performed at Studio Я in Maxim Gorki theatre in Berlin; and the Jesuit Theatre in Cairo.

Photo courtesy: Ahmed Taha

Inspirations

Z

6

4

Peter Pan front R04 Z

7

desk

top

10

R68 desk

9

Z

Z

8

970

desk R68

818

5

Deckenhรถhe bis Lichtraster: 317cm

R120 Peter Pan back

R60 front of desk

H 215

Magazin

12

signal light

11

H 223

H 196

Notausgang Magazin

H 199

Garderobe

1

Bel/Ton

nt fro

Key to Plot ETC Source-4 Zoom 15°-30° @ 575w

4

Selecon High Performance @ 750/1000w

3

PAR64-MFL

4

Lighting- Rectagular Lamp 01

1

2

front R60

Z

Focus Color

Channel

+17

+33

+50

+66

+83

Size

Count 1 1 7 3/8"X7 3/8" 1 190mm 1 190mm 2 H 203

3

Color +50R04 R120 R60 R60 R68

Foyer

fro

nt

Color Summary

H 199

Garderobe

Detail:

Inszenierung

Maßstab: Regie: Bühnenbild: T.E.: Stand:

Grundriss

1:50 Name Name TT.MM.JJ TT.MM.JJ

Studio

Maße in cm

Premiere: Bearbeiter:

TT.MM.JJ Name

Waiting for Godot 2016

LQ

Page

Time

Act

Standby: Vladimir “Does he feed you well?”

4

56

10

1

Go: boy’s exit

Description Its night all of a sudden; use top/ back R68 mainly; add some fronts.

Synch time w moon rise video.

A play by Samuel Beckett and directed by Mustafa Khalil. The play was produced by Mustafa Khalil and Jason Will and performed on the Falaki Theatre, Cairo.

Photo courtesy: Ahmed Taha

Inspirations

8

7

6

5

4

3

2

1

PATCH

226

229

231

234

30

32

35

39

DMX

Front 4 R60

Front 3 R60

Front 2 R60

Front 1 R60

Front 4 R60

Front 3 R60

Front 2 R60

Front 1 R60

Focus

Back Grid

Back Grid

Back Grid

Back Grid

Front Grid

Front Grid

Front Grid

Front Grid

Position

28

27

26

25

24

23

22

21

PATCH

204

209

214

220

156

162

166

171

DMX

B&T R4 68

B&T R3 68

B&T R2 68

B&T R1 68

B&T R4 68

B&T R3 68

B&T R2 68

B&T R1 68

Focus

Electric 4

Electric 4

Electric 4

Electric 4

Electric 2

Electric 2

Electric 2

Electric 2

Position

48

47

46

45

44

43

42

41

PATCH

252

261

62

53

254

257

251

259

DMX

Tower, floor

Tower, floor

Side

Side

Tower, side

Tower, side

Tower, side

Tower, side

Focus

USL

USR

Balcony SL

Balcony SR

DSL

DSR

USL

USR

Position

B&T R1 21

Electric 2

Electric 2

53

52

51

249

xxxx

314

286+285

Tree, front

Tree, side

Cyc Lights 3

Cyc Lights 2

Cyc Lights 1

Electric 4

Electric 1

tower USL

Floor

Pipe

Pipe

DSR 170

B&T R2 21

Electric 2

54

127

Tree, top

Electric 4

Tower, floor 31

165

B&T R3 21

Electric 2

55

206

Nezar silhouette

260

Front Grid

32

160

B&T R4 21

Electric 4

56

217

49

Front 1 NC

Front Grid

33

155

B&T R1 21

Electric 4

57

29 40 Front 2 NC

Front Grid

34

219

B&T R2 21

Electric 4

9 11 37

Front 3 NC

Front Grid

35

213

B&T R3 21

DSL

12 33

Front 4 NC

Back Grid

36

208

Tower, floor

13 31

Front 1 NC

Back Grid

37

250

14 26

Front 2 NC

Back Grid

50

15 23

Front 3 NC

Electric 4

30

16

227

Waleed silhouette

10

17

207

Electric 1

58

mound

Electric 4

151

B&T R4 21

59

203

Front Grid

60

38

Boot

Front Grid

Back Grid

34

Hat

Front 4 NC

39

238

19

19

40

18 20

Measure for Measure 2016

LQ

Page

Time

Scene

Standby: When Angelo enters

Description

44.5

64

5

4.1 to 4.2

Go: When Mariana joins Angelo & Isabella

While Isabella & King watch from their hideout place, Angelo should look like he has plunged already into his lustful sin. Alternate a crossfade of different sharp beams of “hot” colors coming from different angles… synch alternations with the music.

A play by William Shakespeare and directed by Waleed Hammad. The play was produced by the Theatre Program at the American University in , Cairo and performed at AUC s Gerhart Theatre as well as The Falaki Theatre.

Photo courtesy: Ahmed Taha and The Department of the Arts, The American University in Cairo

Inspirations

LQ

1

17.5

26

40

T

0

Scn#

-

4.1

2.3

2.2

synch VQ1

3

10

7

P#

-

29

39

60

NOTES

Preshow LX NOTE: synch pedestrian video with LQ Standby: NA

GO: before we open the house.

scene LX Standby: Angelo ‫حب البنت العفيفة قدر يقهرين‬ GO: when Hisham steps off the platform

change of focus Standby: ‫مني اليل هيصدقك يا إيزابيل؟‬ GO: ‫سلمي جسمك إلراديت‬

cross fade from last cue to Mariana humming Standby: King: ‫لو كانت حياتة الخاصة متامشية‬ GO: Escalus: ‫أنا رايح أزور السجني‬

Description

both the stage and the auditorium are lit for audience interaction.

There should be the general sense that we are on a street. Add tree gobos & traffic lights. It is early day. Possibly add a store window for Pompey Bum on SL wall

start fading out the previous sub on the same GO for this cue... use mainly neon lights for the Provost’s office… add general lights for the rest of the stage. Add jail door gobo

, lights focused on the table. Isabella is on Angelo s desk now. Make it look closed and claustrophobic… as if there is no one around to save her from him. There should be some lights for him where he will exit from.

, start with the entire stage really dimmed. It would be great if we can t see the king very clearly. We see Mariana clearly on the SL higher platform only. It should look like the king appears out of the darkness

INVENTORY Z

ETC Source-4 Zoom 25째-50째 @ 575w

8/8

Z

ETC Source-4 Zoom 15째-30째 @ 575w

8/8

Strand Toccata 10/26 @ 2/2.5kw

16 / 17 4/4

Strand Alto 20/38 @ 2/2.5kw

2/2

Strand Toccata 15/38 @ 2/2.5kw

1 / 11

Strand Alto 8/16 @ 2/2.5kw

0 / 10

Strand Quartet 15/25 @ 500/650w

2 / 12

Strand Quartet 22/40 @ 500/650w

2/2

dt R rick 46 1

Strand Cantata F @ 1.2kw

61

Strand Alto 14/32 @ 2/2.5kw

12 / 17

2-Panel Barn Door

6 / 12

Strand Quartet F @ 500/650w

4 / 15

7.5" 2 Leaf Barn Door

0 / 12 5 Isabelle R60

73

Strand Cantata PC @ 1.2kw

12 / 15

4-Panel Barn Door

8/6

Strand Quartet PC @ 500/650w

4/4

7.5" 4 Leaf Barn Door

4/4

PAR64-MFL

1/0

KEY TO PLOT Focus Color Gobo 1 Dimmer Channel

COLOR SUMMARY Count 2 2 2 2 2 2 1 245mm 2 150mm 2 185mm 5 190mm 1 245mm 5 245mm 2 190mm 1 150mm 2 185mm 2 Cantata PC 4 150mm 2 190mm 2 245mm 1 245mm 2 190mm 1 190mm 1

8 k ric dt 42 be R3

Size 245mm 190mm 185mm 245mm 245mm 245mm

68

Color R119 R31 R31 R336 R342 R46 R57 R58 R60 R60 R60 R60 R60+R119 R65 R68 R80 R80 R80 R80 R80 R98 S312 various

64

90

84

R68 backstage 2

38

Z

auditorium 4 b R ed 58 tric ous k vari hurch 6 c 1.3

Z

Z

66

24

high deck 4

51

89

aisle

2.3

1 R3 bella Isa

22

high deck 2

G

89

8

front 8

10

G

tree gobo

top 4 R80

18

k

R68 backstage 1

20

7

Z

Z

13

Measure For Measure William Shakespeare

28- ELECTRIC FIVE-1 2 4 34 k R tric d be

6

front 7

Z

Z

7 k ric dt 36 be R3

67

G

R80 top tail

27

top 3 R80

17

4

37

5

Z

28

R119 R60+R119 front head front head front tail R60+R119 front tail R119

29

85

1.4 window 82

R31 2.3 Isabella

83

front 6

top 2 R80

16

30

86

R60 aisle middle spot R80 aisle middle

top head R80

52 auditorium 2 front 4 R60

be R4 dt 6 ric k 5

26

65

high deck 6 R80

1.4 window spill

5 skyline

23

G

Department of the Arts, American University in Cairo Director: Waleed Hammad Designer: Omar Madkour Aug 15th 2016 Falaki Theatre Scale at 1:50 63

Z

87

R60 aisle middle

5 clouds front 3

3

54

72 r

R60 auditorium 3 front 5

Z

hide place bed trick R65

22- ELECTRIC FOUR-1 high deck 3

15

top 1 R80

34

Z

71 19

42

6 3 33 k R tric d be

Z

Z

9

G

2

bed tric Isabella

G tree gobo

dt R rick 58 2

be

69 front 2

sides 4 R60

S312 1.3 window sides 3 R60

2.1 blacony R31 2.3 pink R60 sides 2

16- ELECTRIC THREE-1

57

high deck 5 R80

53 R98 Frz 1.1 12

46 front 1

81

auditorium 1 R60

43

44

25

62

1

32

2.3 pink R31 Frz 1.1 R98

70 Z

G

R60 1.2 journalists

2 2. ll

14

cross cross

88

aisle middle

21

high deck 1

b

Z

50 56

G 3.

1 ja R il c 60 e

R57 3.1 jail cell

R60 sides 1

R ja 60 il d oo G

31

1.2 mest window G Z

10- ELECTRIC TWO-1

4- ELECTRIC ONE-1

11

G

48

35

41

For Her 2015

LQ

Page

Time

Scene

Standby: same GO for LQ5

Description

6+ fog

2

5

2

Go: as soon as Narrator exits

Boy1 is in a nightmare but he is not aware of it. He thinks he is in a dream. Boy2’s entrance in the middle of the fog is kind of a wakeup call to Boy1 regarding losing Girl1

A play written and directed by Moustafa Khalil.

The play was performed at the Gerhart Theatre in The American University in Cairo, and the Falaki theatre and Rawabet theatre in Downtown Cairo.

Photo Courtsey: Moustafa Khalil & Yomna Osman

Inspirations

Typical

Color Summary Color NC NC NC R02 R08 R118 R19 R36 R57 R60 R62 R63 R64 R65 R68 R68

Size 8" Fresnelite 190mm 159mm 159mm 159mm 159mm 159mm 190mm 159mm 159mm 159mm 190mm 159mm 159mm 8" Fresnelite 159mm

Count 2 2 2 1 1 3 2 6 1 9 1 1 1 9 6 2

7 LX 19

Key Color

Channel

16 17

18

15

17

par64 CP60

20

15-30° Source Four Zoom

Strobe

CONTROL

PAR 36

Barndoor

21

FOR HER a play by Moustafa Khalil Lighting Designer: Omar Madkour Venue: Rawabet Theatre DATE: April 2015

Harmony PC par64 CP62

1 LX

2 LX

3 LX

4 LX

5 LX

6 LX

1

7

L201+R119

L201+R119

1

G325 + R132

R312

4

R397

8 11

2

9

L201+R119

G325 + R132

12

4

L201+R119

G325 + R132

Black Backdrop

L201+R119

G325 + R132 7 L201+R119 10

R349

G325 + R132

G325 + R132

L202

6

12

The Interrogation 2015

LQ

Page

Time

Scene

14

58

25

1

Standby: When he proceeds to sit next to her Go: translation from Arabic line “Will I worry about them or the mouths I have to feed?”

Description Change of focus for him to tell his story why he works with the occupation forces… for the first time we see a human side to him and we figure he is seeking approval from others.

Should look intimate between them, focus the lights on them, but keep the desk visible in the background… a reminder of where we still are. Light the desk mainly with ceiling bulb, desk lamp & their specials.

There should still be this sense that we are in a scary place, where anyone can appear from a corner of the room and brutally torture her.

A play by Farid Kamel and directed by Dr. Mahmoud El Lozy. The play was produced by the Theatre Program at The American University in Cairo and performed at AUC’s Gerhart Theatre.

Photo courtesy: The Department of the Arts, The American University in Cairo

Inspirations

61

157

81

58

DMX

5

4

3

2

1

PATCH

Area 6 NC

Area 5 NC

Area 4 NC

Area 3 NC

Area 2 NC

Area 1 NC

Focus

35

25

73

138

118

123

DMX

37

36

35

34

33

32

31

PATCH

Area 7 R60 back

Area 6 R60 back

Area 5 R60 back

Area 4 R60 back

Area 3 R60 back

Area 2 R60 back

Area 1 R60 back

Focus

98

5

26

153

152

137

43

DMX

67

66

65

64

63

62

61

PATCH

Desk lamp

search CSL

search USC

Stars - side

Stars - control

Window side

Window front

Focus

199

120

196

172

146

48

69

97

96

95

94

93

92

91

explosion auditorium 4

physical ceiling lamp

physical desk lamp

her monologue floor level

her monologue diagonal SL

her monologue diagonal SR

her monologue top

Focus

108 6 78

Channel PATCH

114 Area 7 NC

door floor level

7

70

House 68

67

210

71

House 68

explosion auditorium 5

18

72

House 68

98

Area 1 top R68

145

73

House 68

200

41

Area 2 top R68

80

74

House 68

Ceiling lamp

66 42

Area 3 top R68

36

75

House 68

68

Area 1 R68 back 107 43

Area 4 top R68

90

76

House 68

97

11 Area 2 R68 back 110 44

Area 5 top R68

128

77

House 68

Area 8 R60 back

6 12 Area 3 R68 back 1 45

Area 6 top R68

53

78

House 68

38

4 13 Area 4 R68 back 70 46

Area 7 top R68

51

79

House 60 PAR

27

124 14 Area 5 R68 back 121

47

Area 8 top R68

54

81

House 60 PAR

Area 8 NC

2 15 Area 6 R68 back 3

48

Area 9 top R68

125

82

House 60 PAR

8

7 16 Area 7 R68 back 20

49

explosion US 1

96

83

House 60 PAR

113

151 17 Area 8 R68 back 99

51

explosion US 2

89

84

House 60 PAR

explosion auditorium 6

18 Area 9 R68 back

72

52

explosion US 3

85

85

aisle top

99

21 19 Area 1 R60 front

100

53

explosion DS 1

68

86

aisle

202

30 21

Area 2 R60 front

88

54

explosion DS 2

149

87

Actor entrance

17 22

Area 3 R60 front

59

55

explosion DS 3

11

69

16 23

Area 4 R60 front

104

56

explosion auditorium 1

126

150 24

Area 5 R60 front

95

57

explosion auditorium 2

Area 9 R60 back

13 25

Area 6 R60 front

171

58

explosion auditorium 3

39

12 26

Area 7 R60 front

175

59

101

15 27

Area 8 R60 front

176

Area 9 NC

9

28

Area 9 R60 front

9

10

29

136

8

240cm

150cm

10

12

11

CROSS UNDER SEATS

2

1

1

3 4

3 4

5

5

6

6

7

7

8

8

9

9

9

10

10

10

40

2

1 2 5 7 8

8 9

3

10

2

6

6 7

7 8

353.48cm

1

150cm

4

4 5

5 6

6

5

3

3

3 4

STAGE SPACE 725 X 725

4

2

2

9

8

7

1

1

RAILINGS

her monologue

LI

11

13

EN 160 G LI R AI

explosion

explosion

176

175

171

3 2

FOG

R

24 F

O

21 F

O

26 F

200

160

F

explosion

200

N

120

D

RAILINGS

S

E

C

S

G

N

AN

15

TR

LI

AI

CROSS UNDER SEATS

S

14

G

R R

80

120

N

TO

40

AI

AC

08

172

13

R

MFL

12

12

80 230cm

12

11

11

182cm

200

1

206

220

BOOTH ABOVE AUDIENCE ENTERS

116 + 3 SEATS

THE INTERROGATION THE AMERICAN UNIVERSITY IN CAIRO GERHART THEATRE CENTER FOR THE ARTS - DEPT PVA DIRECTOR: MAHMOUD EL LOZY LIGHTING DESIGNER: OMAR MADKOUR DATE: JANUARY 2015 SCALE: 1:50

House 65

13

15 60

60

2

6

1

3

her monologue

60

ex pl

31

59

58

G

68

he rm

Ho

2 e e us logu o on MFL

65

ETC S4PAR 650W 6 UNITS

80

81

48

96

95

60

13

n

io

os

pl

ex

G

FLOOR LEVEL

F

house

PRACTICALS AS NOTED

MFL

104 318

STRAND FRESNEL 1000W 10 UNITS

65

53

65

157

House

3

G

DIMMER #

FLOOR LEVEL

TEMPLATE

COLOUR

FOCUS

51

F

House

43

ETC-S4 36 DEGREE 575W 10 UNITS

THE INTERROGATION THE AMERICAN UNIVERSITY IN CAIRO GERHART THEATRE CENTER FOR THE ARTS - DEPT PVA DIRECTOR: MAHMOUD EL LOZY LIGHTING DESIGNER: OMAR MADKOUR DATE: JANUARY 2015 SCALE: 1:50

explosion

61

2

on

os i

1

08

window ETC-S4 26 DEGREE 575W 28 UNITS

House

18

65

60

150

ETC-S4 19 DEGREE 575W 17 UNITS

G

House 145 16 17 146

60

ETC ZOOM 25-50 DEGREE 575W 9 UNITS

KEY TO PLOT

ETC ZOOM 15-30 DEGREE 575W 4 UNITS

149

her monologue

G

G

65

G

128

65

house

54

2

3 4 6

7

MFL

152

5

7

151

21 68

68

6

8

20

5 68

70

68

8

69

1

7

4

72

7

68

60

60

ex

78

73

n

30 68

98

9

26

68

6

97

lamp

lamp 68

8

60

9 68

99

118 60

27

2

3 68

5

60

25

9

explosion 318

100

6

60

101

85

60

13

60

n io os

89

pl ex

113 114

88

6

G

60

90

65

35

36

65

G

House

House

house

house

1339cm

60

e 60

house

MFL

120

123 121

desk lamp nc

1

desk lamp

3

2

tra

n

or E

t

Ac

68

60

68

house

MFL

125

68

124 126

107

si o

o

pl 31 2

67

66

search

G

68

stars

68

4 68

2 1

4

search 68

8

11

9 7

68 68

60

60 60

60

5

5

110

window

3

G

68

9

stars

aisle 60

4

108

MFL MFL

152

153

5 1

8 9 10

12

4

8

stars 60

her monologue 08

G G

60

138

137

136

To Kill a Mockingbird 2013

LQ

Page

Time

Act

6

20

5

1

Standby: Atticus “One thing does not abide by majority rule, a person’s conscience” Go: Jean “I thought I had interesting information”

Description Should look like memory lights, in the sense we are seeing this place in her memory. Even though she stands in the middle of the set, the place should not look like its physically there. No colors that determine time; preferably have some shadows

A play by Christopher Sergel and directed by Moustafa Khalil. The play was produced by Helen O,Grady Academy (Egypt) and toured to perform at various high schools in Cairo. , Photo courtesy: Helen O Grady Academy (Egypt) NOTE – this play was performed in high schools that did not own floorplans and rigging plans.

Also, they had fixed hung lights, and no option of rehanging, only refocus. Hence there are no LX plots nor magic sheets.

Inspirations

TKAM Lighting Ideas LQ 1 Preshow: looks like something bad is about to happen – try to have shadows of the tree – not colorful – stage is visible for preshow live announcement LQ 4 Looking at this place in memory – make sure it does NOT look realistic – the whole stage is not lit; centre is bright and it fades out towards the dark edges.

LQ 5 Early evening, it looks natural… well lit… not a lot of shadows.

LQ 6 Something similar to “memory lights” from LQ 4… but keep it a bit bright.

LQ 7 Early noon… bright… realistic LQ 10 Dim night lights with lantern special – maybe use middle blue light and a little of sides.

LQ 10 & 11 Lantern turning on and off, add special for it. Synchronize with Ben. LQ12 Blue lights for scene change. Would be nice to see their silhouettes clearly yet the stage is not bright really.

LQ 13, 17, 19, & 21 Court scene… It is indoors – try and have little shadows to compliment the suspense of the scene –the mood is serious and intense.

LQ 15 & 16 Have lights on certain chairs (Tom’s and Atticus) (Nezar’s) – rest of stage can be dark – use blues – make it dim…

LQ 22 Keep some lights on for the set change till Jean starts her monologue while Freedom is playing.

LQ 23 Cool lights… dull atmosphere. Can be a general cool wash. Use some blues to set the mood to next cue LQ 26 Dark but visible – use both 60’s and 65’s

Is Anybody Out There?

2011

LQ

Page

Time

Act

Standby: When Nezar falls on floor

3

332

8

1.2

Go: after Sara’s “Are you Ready?”

Description The song lights should look like a fantastical dream under water…

Hassan is only a figment of her imagination, the hope that keeps her going.

A play by Nageeb Sorour and directed by Dr. Mahmoud El Lozy. The play was produced by the Theatre Program at The American University in Cairo and performed at AUC’s Gerhart Theatre.

Photo courtesy: The Department of the Arts, The American University in Cairo

Inspirations

LQ T

Scn#

P.#

Description

Notes

1

1

325

House & general lights are on

2

1 to 2

332

House lights off & working lights are still on After Nada asks Seif to turn off house lights

3

2

332

Cross fade from working lights to scene lights

After Sara’s “Gahzeen?”

4

2

333

Change in scene leveling

After first «El Shams Namet» ends

5

2

334

Change in scene leveling

6

2

336

Change in scene leveling

7

2 to 3

337

Fade to black; followed by working lights

8

3

337

Cross fade from working lights to scene lights

9

3 to 4

342

Cross fade from scene lights to working lights

10

4

342

Cross fade from working lights to scene lights

11

4

344

Cross fade to song lights

12

4

345

Cross fade to scene lights & black out on Hassan

13

4

349

Fade to black, except for Hassan & Naeema When Marakbey’s start eating

14

4 to 5

351

Cross fade to working lights

15

5

352

Cross fade to scene lights

16

5 to 6

356

Cross fade to working lights

17

6

359

Cross fade to scene lights

18

6

365

Cross fade to song lights

Cue starts with the doff

19

6

366

Cross fade from song to scene lights

Cue starts half way through the last chorus

20

6 to Int

370

Cross fade to working lights

21

Int.

370

Fade in house lights

After Sara’s announcement for intermission

22

Int

370

Fade out house; working lights still on

As actors are taking their positions

23

7

370

Cross fade to scene lights

After Sara’s “Gahzeen?”

24

7

373

Change in leveling and scene focus

As peasants exit

25

7

374

Change in leveling and scene focus

As Hanna finishes «Hassan ya Kholy El Gneina»

26

7

380

Change in leveling and scene focus

When Naeema leaves the Kahl

27

7 to 8

380

Fade to black, followed by working lights

After Naeema’s Mawal

28

8

380

Cross fade to scene lights

29

8 to 9

384

Fade to black, followed by working lights

30

9

386

Cross fade to scene lights

31

9 to 10

390

Blackout; followed by a fade in to working lights

32

10

409

Cross fade to scene lights

33

10 to 11

414

Cross fade to working lights

34

11

415

Cross fade to scene lights

35

11 to 12

428

Cross fade to working lights

36

12

428

Cross fade to scene lights

After Sara’s interlude and following the protest sound

37

12

431

Strobe followed by under the rubble lights

After the sound cue of the bridge splitting apart

38

12

435

Shift to Hurries and Na’eema

After «Salma ya Salama» ends

39

12

438

Cross fade on Hassan’s entrance

40

12

438

fade to Black followed by general lighting

for curtain call - «Soora»

41

12

438

House lights go on

Audience gets the fuck out of the theatre!!!

Audience’s entrance

Before the second «El Shams Namet»

Cue starts with the doff

End of scene

End of scene

Is Anybody Out There?

Ideas for lighting Scene 1 · House Lights on – no fluorescent · General lighting on stage (very simple) – N.C. (working spots & PAR) · One big room (stage and auditorium) Scene 2 · House Lights off · Blues (#60, 65, and 68); Greenish (93 or 73); and N.C. · More shadows on the B.S. area · Use profiles to keep it concentrated on the sea nymphs and Na’ema · More lights on after Na’ema wakes up (after the sea nymphs’ song) · Might have a special color for Hassan (throughout the play?!) · Special light on Na’ema (it is her dream, she’s dreaming it but she is not) · Special on Hassan · Add an arm for the translucent cycs specials? So they won’t be too close!

Scene 3 · It is night… not very dark though · NC, No Color Blue, and #65 (special) · Projection gobos for trees or something Scene 4 · Boat/mast silhouette? · Special for Hassan · Lights coming from behind the sails (can be used in the song or the finale) · N.C; Amber; and have some light Blue as a reflection for the water Scene 5 · It is a timeless moment · Tree gobo · Very sharp lights · They can be in a sharp edged lighted area, with the tree gobo and the rest of the stage is dark!

Scene 6 · Afternoon, around 2.00pm · NC, No Color Blue and Amber lights · Some texture on the floor? · There is a soft, warm spot where we see Na’ema and peasant… everything around them is not completely dark, but definitely not as bright as them (we can see what’s around them from the light spill) Scene 7 · General lighting (NC, and Amber) at the beginning of the scene… there are no lights at all on old man · There is a cross fade so that lights get more focused on Na’ema (DS) as the other peasants leave the stage. · Another cross fade as Na’eema and the old man

have their conversation

· At the beginning we can see everything from

the light spill, including the backstage area; but as the scene goes on and the fadeout happens, we barely see anything but the areas where Na’ema and old man are · A quicker cross fade for Na’eema’s song · Do we have #365?

Scene 8 · Timeless monologue · Tree gobo · There is a sense of wind · Moving leaves (gobo?) – dangling leaves and shining through them · One spot of light (soft) and we do not see anything around them · Can have some color?

Scene 9 · Lighting the cycs from the back so we get a view of the dummies’ silhouette (#98) · A faded down Blue R65 color on peasant women as they mourn their dead husbands with some gobo in it (something like a cell?)

Scene 10 · General lights (N.C.) · We can see the backstage area Scene 11 · Red-ish colors since we’re getting close to sunset · Backyard of a factory Scene 12 · Strobe lights can happen gradually · Strobe lights during demonstration… lights beam at audience for one second then scene lights (under the rubble) come up · Inconsistent beams of light so that the actors onstage seem like they are standing under the rubble; there should be lots of shadows – NC · It should be super bright · As the sound is fading out, the lights should flicker as they are coming up · After the scene, in Hassan’s song, a change of lights happens so that the singers are warmly and smoothly lit, there can be still some shadows but definitely less than before. The actors in the back are obvious through the spill of lights that hits them. Do not remove the under the rubble lights!

Curtain call · General lighting

A

1

6

2

16

G

2

07

2TR.CRT 57

R

U

12 H 4H SN

D

12 EM

62

143 93 141

A M 7N 0 90 6

4 4BOAT 60

4

9W AS

G

65

2H

SN

2

JA N

3

75

12

60

2C

TN

S

2Y O

R

A

2N M

68

R

U

H

18

4

60

93

60

65

71

145

5S

N

C

G

51

G

125

156

63 99

19

99

IS ANYBODY OUT THERE? AMERICAN UNIVERSITY IN CAIRO GERHART THEATRE CENTER FOR THE ARTS - DEPT PVA DIRECTOR: MAHMOUD EL LOZY LIGHT DESIGNER: OMAR MADKOUR DATE: 16 MARCH 2011 SCALE: 1:50

126

H

12DEMO 17

114

AS

3

60

3

12NMA 148

FOCUS COLOUR TEMPLATE UNIT # DIMMER #

H

MFL

PRACTICALS AS NOTED

9W

60

2 G

91 141

62

M STROBE ETC S4PAR 650W 20 UNITS

N

M 16

G

4BOAT STRAND FRESNEL 1000W 35 UNITS

C

R

U

2N 95

ETC-S4 50 DEGREE 575W 24 UNITS

5S

5 H 12

R SN

2H

U

H 12

76 72

ETC-S4 36 DEGREE 575W 60 UNITS

HOUSE

1 60

146

M A

HOUSE

7N 60

156

ETC-S4 26 DEGREE 575W 60 UNITS

KEY TO PLOT

ETC-S4 19 DEGREE 575W 40 UNITS

DE 12

144

1 115

ETC ZOOM 15-30 DEGREE 575W 40 UNITS

4HSN

1339

153 50

K BC

2HSN

64

AN

61

98

69

G

12FLASH M.

9H.

A M 3SIDE

67

N

C

5S

N

G

98 65

4SAIL

60

1

4SAIL

2HAN

13

G

G

3SIDE

65

M DE 12 G

MUSICIANS

65

4 3

8

3ST

ARS

2 D EM

7

11SIDE

8

3SIDE

11SIDE

2 13 12 11 12DEM

M

G 11SIDE 23

11PLATFORM

& 12 N

7O

91

2H

S O N 2Y JA 2

01

65

49 65

58

74

151

40

111

7

11

G

2YOS

60

2H 112 26 116 27 AN

TS

4SONG

PS N

7OM&N 7OM&N

13 60

13

110

133 36 55

147 32

60

8

65

142

K

7

22

65

MFL

140 87 100

G

128 98

2TR.CRT

59

6

M

N

12

2 1210 60

G

48

K

100 142 142 H AS FL SH 12 5S LA C 12F 86 N

68

10 G

LADDER

120

K

68

A

2TR.CRT

BC

65 47 62 68

6

82

53

02

G 65

2TR.CRT

BC 1 5S 2D EM C

N

M

AT

25

LADDER

2JAN

7NMA

DE 12

O

11

60

7

G G 25

16

8

43

42

41

141

38

37

141

28

23

34

33

60

80

54

83

131

80

131

G

56

152

66 10 113

24

35

102

39

T RS R .C GE5 R N 6 101 2T SI 6

9

6SCN

60

10

5 9

5

20

140

4B

8NMA

11 121 7 103 21 154 70 12

60

6NMA & PSNT

BC 9H.M.

3SIDE

134

TS AT SN BO 4

31 88

G

2TR.CRT

65

127

81

132

K

7P

1 94 60

6

65

G

G

23

G

65

23

02 02

02

02

155

AISLE

46 BC

01

N C 6S

3STARS

02

G

140

3CRESCENT

02

11PLATFORM 02 02

8NMA MUSICIANS 2NMA

G

G

81

83 60

G 104

117 LAMP

02

02

02

02

9 9

5 60

2HSN

68 65

02 318

4HSN

M

02

DE 12

MFL

Résumé

Related Experience

2016 (light & scenic) ORDINARY PEOPLE, Zainab Magdy (creator); Studio Я in Maxim Gorki theatre in Berlin and the Jesuit Theatre in Cairo.

2010 Assistant Lighting Designer, THREE SISTERS, Stancil Campbell (designer); Malak Gabr Arts Theatre.

2016 WAITING FOR GODOT, Moustafa Khalil (dir); Falaki Theatre.

2006 Light Hanging Crew, THE ILLUSION, Stancil Campbell (designer); Falaki Theatre.

2016 (light & scenic) MEASURE FOR MEASURE, Waleed Hammad (dir); Gerhart Theatre and Falaki Theatre.

Softwares & Consoles

2015 FOR HER, Moustafa Khalil (dir); Rawabet Theatre, Gerhart Theatre and Falaki Theatre.

2015 THE INTERROGATION, Mahmoud El Lozy (dir); Gerhart Theatre.

2013 TO KILL A MOCKINGBIRD, Moustafa Khalil (dir); American International School theatre, New Cairo British International School theatre and Hayat International school theatre.

2011 (light & scenic) RIVERSIDE DRIVE, Jason Will (dir); Gerhart Theatre.

2011 IS ANYBODY OUT THERE?, Mahmoud El Lozy (dir); Gerhart Theatre.

Vectorworks Spotlight (Excellent); LXSeries: LXBeams & LXConsole (Excellent); Microsoft Office (Excellent); Internet research skills (Excellent); MagicQ Chamsys (Good); Lightwright (Fair).

Related performance softwares: AVmixer Pro (Excellent); Resolume Arena (Good); Cinema 4D (Fair).

Lighting Consoles: various ETC console models; Jester consoles; Behringer EuroLight; Avolites.

References Stancil Campbell, PhD Retired Professor of Theatre Department of the Arts The American University in Cairo stancil@aucegypt.edu Davison Scandrett Professional Lighting Designer davisonscandrett@mac.com Ruud Gielens, PhD University Professor Theatre Department RITCS School of Arts Brussels & VUB Brussels ruudgielens@me.com

** All inspiration pictures are off the internet. Credit goes to artists and websites from where they were gathered. No credit goes to Omar Madkour.

Omar Madkour Lighting Designer W www.omarmadkour.com E o_madkour@aucegypt.edu M +2.0100.562.9843