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automated lighting, media design and integrating projection and mapping, Egyptian theatres work with equipment that is obsolete abroad.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