Sasha Wu Theater Lighting Design

PING-HAN

WU

2015-2018

Theatre Lighting Design

Lighting is a way that not just holding a show but having a talk.

To performer To audience To ourself

Wu, Ping-Han Born in 1996, Tainan Taiwan Current senior student at National Sun Yat-Sen University Department of Theatre Arts Specialized in Theatre Lighting Design

As a Lighting Designer 2018 A Woman Of No Importance Director:LIN, YI-CHENG Location:Dadong Art Center

2018 Wedding Memories Director:LI, ZHONG-WEI Location:Dadong Art Center

2018 I Can't Figure It Out

Director:LIN, JIA-YU Location:219 Experiental Theater

2017 Love of The Ocean

Director:LIN, YI-CHENG Location:Kaohsiung Cultural Center Jhih-Shan Hall

2017 WSDC World Reading Tour in Kaohsiung The Startled Bird

2016 Ten of Dreams

Director:CHANG, SHAN-CHUN Location:219 Experiental Theater

2016 No Comment

Director:NIU, ZHEN-WEI Location:Garden Creative Place

2016 Vacation In Kaohsiung

Director:LIN, YI-CHENG Location:Kaohsiung Cultural Center Jhih-De Hall

2015 Original Intention

Director:LIN, YI-CHENG Location:219 Experiental Theater

As a Master Electrician and Programmer

Director:YANG, SHIH-PING Location:Koahsiung Main Library Theater

2018 Ocean Designer:CHEN, YEN-TING

2017 The Very Thought of You

2018 The Mousetrap Designer:SHOA, CHIH-HUNG

Director:CHEN, GUAN-WEI Location:Black Olive Leaf Theater

2017 Dear God

Director:NIU, ZHEN-WEI Location:Face Creative Place

2017 Le Bourgeois Gentilhomme Designer:LIN, YAN-SHENG 2017 Playing House Designer:WANG, YONG-RU

Content

01

Wedding Memories

02

A Woman of No Importance

03

Love of The Ocean

04

Ten of Dreams

05 06

I Can't Figure It out

Dear God

07

Photography

01 Wedding Memories

ABOUT

ABOUT

THE PLAY

LIGHTING DESIGN

Lee Xiu-Guo accidentally found a household certificate and began to recall his past and deceased mother. Through his vague memories, he began to think about where he came from and started his journey of root seeking. Through his sister and father's dictation, he began to put together his memories about his mother in his mind and also found a touching story of his mother's past.

It was a troublous times in China because of a civil war between the Kuomintang and the Communist Party. His mother had a little sister, Cui Yu. Cui Yu fell in love with a storyteller, Ai Ming, and they decided to run away. So XiuGuo's mother had to replace Cui Yu to be married to a cobbler, Lee, who has kind to her family. But the days of stability were soon over. The rise of the Communist Party made the society nervous at that time. Many years passed, Cui Yu and Ai Ming joined the Communist Party. And they returned to there hometown and denounced Cui Yu's mother.

Eventually, Cui Yu's mother died. After that Xiu-Guo's mother and Lee escaped to Taiwan and lived in a stable life for years.

One day, Ai Ming appeared and told Xiu-Guo's mother of Cui Yu's death. And this sadness finally made Xiu-Guo's mother died in sorrow.

After heard of this story, Xiu-Guo finally completed his memories about his mother and her past. In the last scene, Xiu-Guo's father, Lee told everyone about his love for XiuGuo's mother. And it made Xiu-Guo find out of where he came from and where he belonged.

It was my first lighting design experience in a grand theater instead of an experimental theater. So the usage and idea of lighting was different for me. Therefore, I chose to use some Moving Lights and LED Lights this time in order to make my usage more diverse.

Most events and places of this play was real. As a result, I did lost of research about weathers, colors and ambiences of that times. In terms of the time and ambience, I always defined my main light and auxiliary light first in each different scene.

Then the angle, color and intensity. In order to make the color of scenes rich and to fill light, I chose to use Robe LED 1200 wash beam overhead and Acme XP-20R on the truss above the orchestra pit. In use of the cyclorama, I chose to use ETC LED CYC and three different color of clouds in order to let the cyclorama more changeable along with scenes.

I had been kept working on evoking people's emotions by my lighting. It was definitely a fresh experience for me in lighting design. I learned a lot of possibilities of lighting and also kept reminding myself that there is still lots of thing to learn.

KEY

CH NO. UNIT NO. ROTATER GOBO COLOR NO.

97

26 ETC

19 ETC

36 ETC

8" FRESNEL 2KW

50 ETC

PAR64(M)1KW

3

ROBE 1000BEAM

L161

I

IRIS

1750 1700 1650

#58

1600

#57 #56 空桿 #55 #54 RP

1550

#53 空桿

#54 RP

#52 電動升降 1500 1450 L119 L161 NC L180 1

2

3

L119 L161 NC L180

4

1

2

3

L119 L161 NC L180

4

1

2

3

L119 L161 NC L180

4

1

2

3

L119 L161 NC L180

4

1

2

3

L119 L161 NC L180

4

1

2

3

1400

L119 L161 NC L180

4

1

2

3

4

1350

#51 背黑幕 #50 空桿 #49 空桿 #48 空桿 #47 空桿 #46 5E

#46 5E

#45 翼幕#7 #44 沿幕#5

#45 翼幕#7 #44 沿幕#5

#43 空桿

#43 空桿

1300

15

17

15

17

16

18

16

10

5

18

5

281

10

6

11

6

11 282

7

12

7

12

7

12

8

283

13

8

13

9

14

9

1250

14

19

21

19

21

20

22

20

22

L200

117

L161L103

NC

L161

114

L156

111

L161L103

L200

117

L161L103

NC

L161

114

L161L103 L161L103 L156

111

L200

118

NC

L161

115

L161L103

L161L103 L161L103 L161

L200

NC

L161

112

118

L161L103

L200

115

112

L161L103

L161L103

L161 L174 L161L174 L161L174 L161L174

#41 空桿

#40 4E

#40 4E

1150

#39 反響板#4

#39 反響板#4

1100

#38 #37 #36 #35

#38 #37 #36 #35

1050

L161

NC

L200

L161

NC

119

116

113

119

116

1000

113

950 900 65 NC

2.511 511

77

87

L201

NC

L205 L161

93 L243

66

NC

78

87

93

L201

NC

L243

253 256

HZ-500

43

31

32

50

L161

NC

NC

44

299

299

L134 L103 L161 L103

104

33

51

34

45

NC

L134

NC

L161

105

96 L243

90

84 L201

NC

72

96 L243

NC

90

83 L201

NC

71 NC

750

2.386

650 600 550

300

L205 L161

300

500 450

252 255 63 NC

Z-1500

39

27

L161

NC

L205L161

75

86

92

64

76

86

92

L201

NC

L243

NC

L201

NC

L243 251 254

61

73

85

91

62

74

85

46

40

2.201 L134

L161

28

L201

NC

L243

NC

L201

NC

L243

L205

NC L134

23

56

58

NC

36

24

三合院 三合院

NC

47

102

L205

48

29

L134

2.237

41

49

NC L161

103

30

L134 2.275

42

L161

NC

95 L243

89

82

70

95

89

81

NC

L201

NC

L243

NC

L201

L161

NC

57

59

NCL161 L161

25

37

26

L161 L161

38

94

88

80

68

94

88

79

NC

Z-1500

L161

NC

L161

NC

NC 261

261

L161

262 262

NC

263 263

L161

L243

NC

L201

NC

L243

L201

NC

#30 翼幕#5

#29 反響板#3

#29 反響板#3

#28 3E

#28 3E

#27 空桿 #26 沿幕#3

#27 招牌 #26 沿幕#3

#25 空桿

#25 空桿

#24 #23 #22 #21 #20 #19 #18 #17

#24 #23 #22 #21 #20 #19 #18 #17

空桿 空桿 翼幕#4 沿幕#2 空桿 空桿 空桿 空桿

空桿 空桿 翼幕#4 沿幕#2 空桿 右樹林 招牌 右樹林

#16 反響板#2

#16 反響板#2

#15 翼幕#3 #14 空桿 #13 空桿

#15 翼幕#3 #14 空桿 #13 空桿

#12 2E

#12 2E

250

#11 #10 #9 #8 #7

#11 #10 #9 #8 #7

200

#6 反響板#1

350

67

150

三合院 三合院

L161 NC

#30 翼幕#5

400

69

300

35

91

101

#34 #33 #32 #31

翼幕#6 沿幕#4 空桿 左樹林 左樹林 招牌 空桿 空桿

800

106

2.349

#34 #33 #32 #31

翼幕#6 沿幕#4 空桿 空桿 銀幕 空桿 空桿 空桿

850

700

2.312

#42 空桿

#41 空桿 1200

L156 L103L156 L103 L156 L103 L156 L103

#42 空桿

NC

100 50

空桿 翼幕#2 沿幕#1 空桿 空桿

黑紗 翼幕#2 沿幕#1 空桿 三合院

#5 翼幕#1

#5 翼幕#1

#4 1E

#4 1E

#3 對開大幕

#3 對開大幕

#2 眉幕

#2 眉幕

原吊桿 List

演出吊桿

0cm 800

900 850

700 750

600 650

500 550

400 450

200

300 350

250

100 150

200

100 50

0cm

Ｃ L

50

150

250

500

400

300 350

450

600 550

700 650

800 750

900 850

KEY

ETC19

ETC 10

ETC36

ETC26 191

192

2.001

2.016

ETC ZOOM

PAR64(W)1KW

LED CYC

193

194

195

196

197

198

199

2.031

2.046

2.061

2.076

2.091

2.106

2.121

ACME XP-20R

184 中華商場 LED SOURCE

176

180

174

172

L156

NC

NC

NC

125 L156 128 L103

L134

L161

160

L103

L103

NC

152

L201 L205

144

L134

143

L134

L134

148

L134

147

175

L201 L205

NC

L161

156

NC

173

138

164

L174

163

L174

134

L161

183 中華商場

NC

LED SOURCE

124 L156 127 L103

L134

L161

159

NC

151

L201 L205

L201 L205

L161

155

NC

137

133

L161

182 中華商場

B O X

R i g h t

勞軍

166

LED SOURCE

S t a g e

123 L156 126 L103 L161

L205

L201

122 L156 140 L161

L205

L201 L205

142

L134

L134

146

L201 L205

L161

154

NC

162

L174

136

132

L161

NC

NC

157

L161 NC

149

L134 L201 L205

NC L205

141 L205

L134

L134

145

L201 L205

L161

153

NC

161

204

勞軍 167 L174

135

L205

131

L161

NC

三合院

L205

NC

爆炸

爆炸

170

215

三合院 三合院

214

L200

U P P E R

L200

208

L101

L174

171

2 F

L205

207

169

L O W E R

S t a g e

L161

L161

三合院 三合院

NC

三合院

L200

150

L e f t

203 165

121 L156 139 L161

3 F

NC

B O X

勞軍

168

206

205

213

NC

L134

L161

158

勞軍

LED SOURCE

202

201

NC

181

L161

中華商場

2 F

NC

3 F

216 L200

U P P E R 211

212

210

209

SIDE LIGHT

107

900

400 850

650

750

NC

550

NC

L201

300

450

2.431

350

L201

NC

三合院

三合院 L201

NC

NC

108

100

250

L201

三合院 L201

L201

150

三合院 NC

NC

L201

NC

2.465

100 0cm

50

NC

50

NC

NC

NC

L201

400

300

900

350

250

150

L201

TRUSS

L201

550

450

NC

NC

L201

L201

650

NC

750

NC

C A T # 1 250

250

CURTAIN WARM

221

L201

221

226

226 241

L201

NC

NC

222

222

227

242

241

242

L201

L201

NC

223

227

NC

L201

228

228

NC

NC

223

L201

229

NC

229

NC

224

L201

224

L201

230

NC

230

NC

225

L201

225

250

250

CURTAIN WARM

L201

C A T # 2 231

231

236

236

232

232

237

237

233

238

238

CL

233

239

239

234

234

240

240

235

235

850

LIGHTING MAGIC SHEET page 1

CYC

L119

L161

1

2

BACK LIGHT NC

5

L180

3

6

7

L161

8

9

4 L103

10

11

12

13

14

TOP LIGHT

NC

31

32

33 34

27

28

29 30

23

24 H.C

43

TOP LIGHT

L161

44

L134

45

39

40 41

42

35

36

38

H.C

NC

16

37

19

46

47

H.C

L201

20

L103

18

21

TOP LIGHT

56

L161

57

58 59

H.C

L243 GOBO

65

66

72

71

77

78

84

83

87

90

93

96

63

64

70

69 75

76

82

81

86

89

92

95

61

62

68

67 73

74

80

79

85

88

91

94

172

L205 171

173

176

184 183

L205

L156 城牆

175

180

174

BOX L200

BOX L161 201 202

48 49

NC GOBO

170

中華商場

母親

NC

169

22

三合院

SIDE 最後一道

NC

L174

NC

50 51

25 26

L161

17

191 192 193 194 195 196 197 198 199 TOP LIGHT

DIAGNAL L156

15

GROUND ROW LED CYC

page 2

SIDE 第一道

203 204

209 210

182 181

BOX

211 212

三合院

L201

NC

F.O.H

三合院

213 214

BOX L174

爆炸

215 216

L102

BOX L205 205 206

207 208

F.O.H

L201

F.O.H

NC

L201

221 222 223 224 225 226 227 228 229 230

F.O.H

241

250

NC

242 1000 WASH BEAM 104

105 106

101

102 103

GOBO

114

112

113

115

LADDER 左舞台

L103 128

L174 138

124

127

137

133

126

136

132

135

131

117 SIDE MID

118

123

116 L156

L200

108

SIDE LOWER L134

111

LADDER 右舞台 L156 125

L161

ACME XP-20R 107

NC

雲

119

L205 L201

L161

三合院

122

三合院

140

三合院

121

三合院

139

SIDE HIGH

NC L161

SIDE

L161

134

勞軍

148

152

156

160

164

143

147

151

155

159

163

166

168

142

146

150

154

158

162

165

167

145

149

153

157

161

L205

L201

F.O.H

NC

231 232 233 234 235 236 237 238 239 240

城牆

招牌

144

141

F.O.H

L205

253 252

L161

256 255

251

254

L161

262

序、尾 門

NC

261

L161

263

299

序、尾 GOBO 300

HZ-500 511 HOUSE LIGHT 501

Zhong Hua market in 19th century.

Wall outside the village.

The civil war between the Kuomintang and the Communist Party

Sun shines into the hallway which becomes my inspiration.

So I cut LED Leko into rectangle shape in order to pretend it as the light shines into.

Every dancer holds a porcelain piece in order to symbolize a broken part of Xiu-Guo's memories.

In this prologue dance, I want to create a mysterious ambience so I use deep blue as main color on my cyclorama. And I use a warm color sidelight as my main light in order to highlight the body movement of dancers.

A complete procelain symbolizes Xiu-Guo's complete memories.

Xiu-Guo's mother and sister in the livingroom.

I choose the top light as my main light inside the house.

Xiu-Guo in his childhood and his sister.

A young couple Cui Yu and Ai Ming.

In this scene, I use the diagonal as my main light. And I also use a warm color light from the wall inside to pretend the light comes from there village.

Cui Yu and Ai Ming plan to run away at night.

Cui Yu and Ai Ming join the Communist Party.

I also use lots of color symbol in some scenes and my cyclorama.

Cui Yu's mother is being denounced.

In this scene, I use deep red to symbolize that the ambience is very nervous and in danger.

Civil war between the Kuomintang and the Communist Party.

I make some effects with the sidelight and cyclorama light in order to pretend the gunfire and bomb light.

Xiu-Guo's mother and Lee plan to escape to Taiwan.

There stable life in Taiwan.

I also use the top light as my main light inside the house.

And in order to make a difference between outdoor and indoor, I use a cold color from the door outside to pretend it as the moonlight.

Ai Ming tells Xiu-Guo's mother of Cui Yu's death.

Purple color offten symolizes good luck in chinese tradition. So I also add this element on my cyclorama in this marriage scene.

In Xiu-Guo's memory, he asks younger Xiu-Guo to recall his memory about his mother.

Lee tells everyone about his love for Xiu-Guo's mother.

Xiu-Guo's mother died in sorrow.

I use a strong light behind the door in order to make a visual effect that Xiu-Guo's mother walks into Xiu-Guo's memories.

Xiu-Guo completes his memory about his mother.

Eventually, Xiu-Guo finds out where he came from and where he belonged.

I use a clean spot to let audience focus on them.

02 a woman of no importance

ABOUT

ABOUT

THE PLAY

LIGHTING DESIGN

In the garden of the Hunstanton estate, Lady Caroline Pontefract was patronizing Hester Worsley, a wealthy young American visiting England for the first time. As Hester revealed her admiration of Gerald Arbuthnot, he enterd and told Lady Hunstanton that he had been made as Lord Illingworth's secretary. Lady Hunstanton was pleased for Gerald and invited his mother, Mrs. Arbuthnot came to the Hunstanton estate. A witty and powerful man, Lord Illingworth flirted with Mrs. Allonby and accepted her challenge to make Hester fall in love with him. However, Lord Illingworth was shocked when he saw Gerald's mother, Mrs. Arbuthnot. Because she was Lord Illingworth's ex-lover. But when they were young, Lord Illingworth refused to marry her when she got pregnant with Gerald. Gerald found out that his mother obviously disliked Lord Illingworth and his job offer, but she refused to explain the reasons why. Knowing that her son was in love with Hester, but also knowing Hester's view on the sin of an unmarried mother, Mrs. Arbuthnot decided to tell Gerald the story of Lord Illingworth. After that, Hester suddenly rushed to tell Gerald that Lord Illingworth tried to kiss her. Gerald was very angry and tried to kill Lord Illingworth until Mrs. Arbuthnot declared that Lord Illingworth was his father. In the next day, Gerald still in shock but wrote a letter to Lord Illingworth, asking him to marry his mother and refuse his offer job. However, Mrs. Arbuthnot told Gerald that she would not be married to Lord Illingworth. Hester heard of their conversation and supported Mrs. Arbuthnot's decision. And she also implied her love for Gerald. When Lord Illingworth arrived and tried to marry Mrs. Arbuthnot and accepted Gerald as his son. But Mrs. Arbuthnot refused and told him never show up again.

This time, I tried to create a non-realistic style on my cyclorama instead of a realistic style. It was really a big challenge for me. In terms of the time and ambience, I did lots of research on the color's mix and color's symbol. I used ETC LED CYC to let my color selection rich and also made the chromaticity of scenes increased. I also tried some deep color front lights on 2F auditorium in order to fill color this time. In the first scene, the time axis of the scene was long, so I tried to make a slow movement of lighting along with the time. In order to make out the movement I wanted, I chose to use two different colors of my diagonal and some Moving Lights. I put the Gobo of the leaf on Moving Lights and let them slowly change of the position, color and intensity along with the play. For the indoor scenes, it was a fresh experience for me on my usage of the front light and the adjustment of the color temperature. Because the acting area was nearly out of the downstage so it forced the front to become my main light. It was another good experience for me to learn this time. And I also did lots of bold shots and received many feedbacks.

KEY

97

26 ETC

19 ETC

36 ETC

6" FRESNEL 1KW

8" FRESNEL 2KW

50 ETC

PAR64(M)1KW

ACME XP-20R(M3)

ROBE 1000BEAM(M3)

LED CYC

3

L161

CH NO. UNIT NO. ROTATER GOBO COLOR NO.

1750 1700 1650

#58

1600

#57 #56 空桿 #55 #54 RP #53 空桿

1550

#52 電動升降 1500 1

2 2.409

2.406

21

N.C

37

47

38

48

3

4

2.412

2.415

5

6

41

2.418

2.421

407

42

7

43

2.424

1450

165

L202

21

22

22

23

24

24

25

L134

25

L134 2.163

L134

1400

90 N.C

L156

N.C

L156

L103

199

L103

L103

191

L103

L103

L103

L103

L161

L103

L103 L156 L135 L156 L156 L135 L156 L156 L135 L156

51

61

31

52

62

32

53

63

1350

33

#51 #50 #49 #48 #47 #46

背黑幕 空桿 空桿 空桿 空桿 5E

#45 翼幕#7 #44 沿幕#5

1300

39 501

49

40

50

26

26

171

L103

L103

27

172

27 173

28

29

29

30

30

L103

L103

L103

L103

54

64

44

55

65

45

56

66

2.510

2.511

HZ-500

N.C

L156

N.C

L156

L103

L161

L161

L103

L161

419

L103 L156 L135 L134 L156 L135 L134

34

L185

36

108

502

HZ-500

L156 L135 L134

35

1250

#43 空桿 #42 空桿 #41 空桿

1200

#40 4E

1150

#39 反響板#4

1100

#38 #37 #36 #35 #34 #33 #32 #31 #30

46

108 1050

415

2.391

416

151

N.C

2.331

L156

164

417

L205

2.346

N.C

L156

1000 950

N.C

2.361

79

N.C

L156

418

152

2.376

900 404

125

103

107

126

103

174

107

405

109

182

110

106

132

113

106

406

131

113

翼幕#6 沿幕#4 空桿 空桿 銀幕 空桿 空桿 空桿 翼幕#5

#29 反響板#3

850 #28 3E

N.C

2.082

N.C

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N.C

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N.C

L161

L156 屋子 L135 屋子

2.109

N.C

N.C

N.C

L180

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N.C

2.136

L180

800 750

2.470

2.474

451

2.478

452

2.482

453

700 650

454

600 550 500 401

411

412

402

413

414

403 450

123

102

2.001

N.C

124 N.C

102 N.C

L119

L205

B.D

B.D

101

122

2.271

N.C

101

N.C

L205

L200

B.D

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2.028 L119 L205

2.286 N.C

B.D

N.C

2.301 L200

L119

L205 L201

B.D

B.D

B.D

B.D

75

86

L201 L205

141

76

95

L200 142

L119

166

L205

L119

87

L200

77

N.C

167

L200

96

L119

88

144

L205

L201

161 71

78

B.D

L201

N.C

2.316

181

146

L201

B.D N.C

L119

L201

N.C

85

121

145

81

91

N.C

82

92

175

93

83

L200

L119

B.D

B.D

94

N.C

112 L180

2.055

129

105

N.C

L205 L201

143

84

104

128

111

350

L180

104

127

#24 #23 #22 #21 #20 #19 #18 #17

空桿 空桿 翼幕#4 沿幕#2 空桿 空桿 空桿 空桿

#16 反響板#2 #15 翼幕#3 #14 空桿 #13 空桿

400

112

N.C

111

#12 2E

250

#11 #10 #9 #8 #7

200

#6 反響板#1

300

150

空桿 翼幕#2 沿幕#1 空桿 空桿

#5 翼幕#1 #4 1E

L201

73

130

L185

163

L201

72

105

#27 空桿 #26 沿幕#3 #25 空桿

74

N.C

N.C

L180

N.C

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L180

100

#3 對開大幕

162 50

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原吊桿 List

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90 301

L161

302

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303

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301

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302

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303

L161

11

12

2.427

90 13

461

2.430

LED PAR

LED CYC

90

14

2.433

15

2.436

PAR64(N)1KW

462

463

2.439

ACME XP-20R

PAR64(M)1KW

LED STRIP

90 16

17

2.442

2.445

464

18

19

2.448

2.451

230

L161

306

L161

311

N.C

312

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311

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312

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313

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305

225

L156

305

313

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306 L161

314

314 214

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229

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204 213

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228 L156

223 L156

207

203

N.C

212

L156

227 L156

222 L156

BOX Right Stage

BOX Left Stage

206

N.C

226

215 N.C

L156

221 L156

233

232

231 N.C

N.C

UPPER 201

LOWER

N.C

N.C

205

L156

234

2F

N.C

N.C

183

236

235 L200

237

L200

SIDE LIGHT 2.454

2.458

2.462

2.466

238

L200

L200

240

239

3F

L161

L161

L161

211

2F

L156

N.C

202 L161

L134

431

L134

241

432

L134

433

434

244

243

245

421

422

423

424

425

2.486

2.486

2.486

2.486

2.486

408

409

2.190

900 850

2F AUDIENCE R Stage

3F

242 L134

650

750

N.C

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300

450

350

2.217

100 250

150

100

0cm

50

50

2.244

400

300 350

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550

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L085

L134

L134

L180

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14

295

14

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L180

2F AUDIENCE L Stage

299

296 L134

L134

L085

L085

300

291 292 287 288 283 284

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14

281 282 285 286 289 290

750

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294

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410

293 14

298 297

400 550

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246

550 L201

300

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L201

NC

L201

NC

100 250

100

150

L201

NC

NC

0cm

50 L161

L201

L161

NC

50 L161

NC

L201

L161

400

300

NC

NC

L201

900

350

250

150

L201

550

450 NC

NC

L201

650

750

L201

CAT#1 251

251

256

256

252

252

257

253

257 271

L200

L200

261

261

NC

NC

L200

L200

NC

266

262

262

267

NC

L200

253

258

258 271

271

NC

NC

259

259

254

254

260

260

255

255

271

L200

NC

NC

L200

L200

NC

269

264

264

270

NC

L200

L200

270

265

265

CAT#2 266

267

263

268

268

CL

263

269

850

page 1

BACK LIGHT

LED CYC 1

3

2

4

21 5

6

12

13

TOP LIGHT

14

15

16

24

25

L103

26

17

18

27

28

29

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L119

N.C

76

39 40

34 35 36

30

L200

71

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78 73

85 74

86

81

82

83 84

91

95

96

92

93 94

HOUSE GOBO

47 48

41

49 50

44 45 46

164

L156 109

L135 110

42 43

DIAGNAL GOBO

L156

52 53

L135

61

S.2 SPECIAL

32 33

54 55 56

87 88

page 2

S.1

L134

51

77

L156

31

79 75

DIAGNAL

37 38

L156

19

TOP LIGHT

L205

23

7

GROUND ROW LED CYC 11

22

L103

62 63

161 162 163

FRONT

S.3 OUTSIDE

L185 L201

171

WINDOW L161

N.C

165

L161

172

L161

231 232

BOX L200 233 234

BOX N.C

239 240

N.C

237 238

F.O.H

L201

243 244

PRETENT N.C

PRETENT SIDE N.C

182

175

L185

183

S.2 壁燈

241 242

BOX L134

235 236

173

DOOR

174

181

WINDOW L161

PRETENT

166 167

BOX L161

S.4 SPECIAL

701 702

703 704

S.3 走道

S.3 壁燈 245 246

705

707

706

64 65 66 H.C

H.C

NC

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L201

151

152

125

126

132

131

145

146

123

124

130

129 141

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121

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128

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107

1000 WASH BEAM

雲 GOBO

419 415

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ACME XP-20R

L161

143

NC

301 305

311

302 306

312

303

313 314

LED PAR

WALL

H.C

NC GOBO

L180 GOBO

401 402 403 408 409 410

F.O.H

L161

103

106

123

102

105

112

101

104

111 LADDER 左舞台

LADDER 右舞台 N.C

N.C GOBO

L156 GOBO L156

214 218

204

208

228 224

213 217

203

207

227 223

212 216

202

206

226 222

211

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225 221

215

R.P

WINDOW

MOON

LED STRIP

LED PAR SIDE

L202

251 252 253 254 255 256 257 258 259 260

431

432

433

434

199

191 FOREST

271

N.C

F.O.H

L200

F.O.H

NC

261 262 263 264 265 266 267 268 269 270

2F AUDIENCE

2F AUDIENCE

281 282 283 284

2F AUDIENCE

L134

285 286 287 288

HZ-500

L180

289 290291 292

421 422 423 424 425

452 453 454

N.C

461 462 463 464

L085

451

NC

108

407 404 405 406

F.O.H

GOBO N.C

293 294 295 296

501 WALL GOBO N.C

297 298 299 300

502

I try to find a way of changing realistic cyclorama into non-realistic. So I start with the research of the main light's colors and layered colors

There have different layers of colors during sunset.

I also use lots of the leaf Gobo to create an ambience that this place seems to be surrunded by woods.

It is the pre-act before the annoucement.

The maids are decorating for the upcoming party.

I cut Leko into rectangle shape from offstage in order to pretend that it is the way where the sunlight comes out. And I also make a layered color from the left to the right.

Gerald is telling Lady Hunstanton that he has been made as Lord Illingworth's secretary.

Hester Worsley admires Gerald Arbuthnot.

Along with the music, the maid in front of the door is singing for their love.

I choose to use the romantic purple and a spot in order to let audience to notice that there has somthing unique between them.

Something starts happening between these youngs.

People in the upper class always has ridiculous talks.

Mrs. Allonby and Lady Stufield often tease about mans.

Hester Worsley overhears their conversation.

I use a Gobo on the cyclorama to make a symbol as diverse values between the people in upper class and Hester Worsley.

Hester Worsley disagrees with their points and decides to fight back.

Mrs. Arbuthnot visits the Hunstanton estate.

Mrs. Arbuthnot meets Lord Illingworth and tries to convince Gerald to give up the job offer from Lord Illingworth.

Lord Illingworth is having his conversation.

Lord Illingworth is trying to imply Gerald that he is his father, in fact, and keeps convincing him to accept his offer.

I cut a Leko into rectangle on the wall in order to pretend it as the moonlight shines in.

Gerald doesn't understand why his mother refuses to let him accept the job.

Mrs. Arbuthnot decides to tell Gerald about Lord Illingworth's story.

Along with a sadness music and a projection cue. I choose to use a spot and a follow on Mrs. Arbuthnot while she is telling the story. In order to make a focus on them.

However, after heard of the story, Gerald still chooses to trust in Lord Illingworth.

Hester suddenly rushes in and tells Gerald that Lord Illingworth tried to kiss her. Gerald is very angr y and tr ying to kill Lord Illingworth.

Mrs. Arbuthnot declares that Lord Illingworth is his father, in fact.

Along with the music, I use a spot light on them before the curtain closed in the end of this scene.

In the next day, Gerald still in shock but writes a letter to his father, asking him to marry his mother.

Needless to say that Mrs. Arbuthnot refues to be married to Lord Illingworth.

Gerald tries to ask for his mother's forgiveness.

Hester hears of their conversation and supports Mrs. Arbuthnot's decision.

Hester tells Gerald her love for him.

I also use Moving Lights to add some gobo on the wall in order to make some mottles on it.

Lord Illingworth arrives and tries to marry Mrs. Arbuthnot and accepts Gerald as his son.

Mrs. Arbuthnot refuses every suggestions from Lord Illingworth and asks him never show up again.

03 LOVE OF THE OCEAN

ABOUT

ABOUT

THE PLAY

LIGHTING DESIGN

In the beginning of the play, Hui Fen went back to her mother's hometown in order to meet her grandfather and tell him of her mother's death. But she also found out a story about her mother's past and the reason why she left her hometown and never came back.

Hui Fen's mother A Xia was born in a village nearby the ocean and her family had been a fishing village for generations to live. So she had to help her family for fishing since she was young. But it was not the life that she wanted to live. However, she wanted to live her life in the urban city instead of a fishing village. She had a close friend of childhood, A Xiong, who was also born in a fishing village and liked A Xia very much.

Although he didn't dislike the life that he lived on now, he also hoped A Xia could live the life that she wanted. After years, they grew up and fell in love with each other. Until one day, A Xiong went fishing but died in an accident. Sadness struck at A Xia, she tried to drown herself into ocean but eventually failed. After that, she found out that she got pregnant with Hui Fen. She started to worry about her children would face to the destiny just like her, living in a life that they don't want.

Then, she met A Lai, who was a foreign bride. She encouraged A Xia that the destiny is not destined. So A Xia decided to leave her hometown to live a new life.

Hui Fen told her grandfather, Yong Fa, her mother always missed her family after she left. Yong Fa was very regretful and told Hui Fen to live the life she wanted.

It was my first experience to do a musical. I did lots of research on every song's content and ambience. Because every song in this play had a story to tell so I put these songs into different categories by the melody and story. Then, I tried to find some symbols in these songs to be my inspirations of each scene. It became a challenge for me to make some visual effects that had to match each song's melody and ambience.

For example, I used Moving Lights to make a sea ripple effect in order to match the ambience of the ocean. And I also used Moving Light's Gobo and effect to make a water ripple effect.

Because I do love the musicals personally so I felt very excited and also learned a lot this time.

86

85

N.C

199

56

91 92 93 94 57

6

L156

L156

L156 2.045 L165

52

91 92 93 94 63

53

7

L165 2.054

L165

L119 面紗

53

91 92 93 94 54

8

54

L165 2.063 L165

91 92 93 94 9

L165

91 92 93 94

55 10 66

55

2.072 L165

L165 2.081

L161 窗戶

58

91 92 93 94

58

L161 L161

59

L161

59

L161

L205

L205

+160cm

83 35

L161

29

+100cm

L243

77

21 L201

35 N.C

30

L243

42

1

L201 2.001

22 N.C

N.C

14

2.381

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60

43

2 2.009

N.C

N.C N.C 面紗

61 60

15

3 2.018

44

2.408

N.C

L161 面紗

16

45 4 N.C

62

2.027

2.435

23 46 5 N.C

N.C

2.036

31

36

L201

L243

24 N.C

32 L201

90

84

36

L161

L243

78 N.C

73

74

L200

33

25

17

L243 L201

33

N.C

26

L243

L201

87

L161 N.C

11

18

47 37

N.C

2.301

12

N.C 民宿 L161 N.C

64 48 38

2.327

49

13

N.C 4-5床 L161 N.C

N.C

L161

39

L200 L161 N.C

65 50 40

2.354

N.C

51 41

19

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27

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34

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20

L201

28

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34

88 L205

L205

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81

82 L161

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50

0

100

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0

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N.C

71

72 L200

L200

101

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132 136

105

102

102

106

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103

107

107

104

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L161

135 NC

105

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131

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101

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133 L200

137 NC

141

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ETC 750W Source4 26° ETC 750W Source4 36° ETC 750W 15°~30° 6" Fresnel 1KW JOLLY 1000 PC 1.2KW LED RGBW PAR 45°

HZ-500

HZ-500

150

117

118

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150

119

120

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142

NOTE: LED PAR 從2.001開始 外加DIMMER從101開始編 霧機 Address 2.511 三桿訊號跟電源皆由左舞台下 LED.1000皆吃電盤 電腦燈 LED PAR 外加DIMMER接ISOLATOR(接2PORT)

TYPICAL 12

CH NO.

UNIT NO.

GOBO L201

ROTATER

I

IRIS

COLOR NO.

134 138

L161

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+160cm

89

52

57

56 L156

91 92 93 94

+160cm

2.511

+100cm

91 92 93 94

HZ-500

+100cm

+120cm

79 N.C

+120cm

L161

80

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大 海 的 女 兒

LIGHTING MAGIC SHEET

LED PAR

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L201

BACK L165

2S TOP N.C

DIAGONAL

SP

面紗下的容顏

42 43 44 45 46

1S TOP N.C 37 38 39 40 41

63 52

53

54

55

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58 59

56 57

GOBO

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60

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SP 民宿桌子

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64

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Side Light

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66

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89

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101 102 103 104

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80

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86

77

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84

75

76

81

82

111 112 113 114 115 116 117 118 119 120

BOX L

L200 NC L161

L200 NC

L161

131 135 139

133 137

141

132 136 140

134 138

142

Smoking Motion & Other

105 106 107

CAT＃2

L161

79

BOX R 92

Side Light

199 FOLLOW 199 HZ-400

200 House Light

The sea ripple and water ripple are my inspiration in order to match the concept of the ocean in this play.

I use the Moving Light to make a visual effect of the sea ripple.

Hui Fen sings a song about her mother's sorrow.

I choose a deep blue with LED Pars in order to symbolize her mother's sad emotions. And I add the sea ripple to symbolize that her moher can not be apart wih the ocean in her life.

Hui Fen sings a song about the life in the fishing village.

Warm and cold colors create a strong contrast between Hui Fen and her grandfather, Yong Fa.

A fishing village life.

A Xia and A Xiong in their childhood.

I use a strong diagonal light as my main light in order to pretend it is the way that the sunlight comes.

Yong Fa and his wife.

It calls Taiwanese Beach Seine which is also a way of fishing.

This song adds some dancing elements in order to express its meanings of fishing works.

So I use the sidelight as my main light to hightlight dancer's body and choose a warm color to match the time during sunset.

This dance has different understandings.

The dancer can be regarded as fishes , fishing mans or the water in the ocean. But I choose to pretend they as the water in the ocean. Under this concept, I use the sea ripple effect to create an ocean atmosphere and use a cold color sidelight to pretend it as the monnlight shines on the surface of the ocean.

A Xiong is telling A Xia that he dreams to become the greatest fishing man.

Therefore, I try to ceate a playful ambience.

A Xiong and A Xia fall in love with each other.

A Lai is a foreign bride and has no friend in Taiwan so she often feels helpless and alone. Therefore, I use the water ripple to symbolize her emotions.

She sings a song about her fear and helpless.

A Xia sings a song for her miserable destiny.

A Xiong died in an accident and the sadness strikes at A Xia

She tries to drown herself into the ocean.

A Lai encourages A Xia to stay strong and tells her that the destiny is not destined.

In the final dance, I use all the non-traditional lights, including Moving Lights and LED Pars to create a happy ambience.

04 TEN OF DREAMS The seventh DTA Winter Production Festival Best Lighting Designer of the year, 2016

ABOUT

ABOUT

THE PLAY

LIGHTING DESIGN

The first dream, a woman asked her lover to wait her for a hundred years on her deathbed. She promised that she would came back to him after a hundred years. However, the man waited day and night before her grave, suddenly he realized that a hundred years had passed but nothing happened. The second dream, a monk laughed at a warrior that he could never understand Zen. The warrior bet that he could make it before midnight but he failed eventually. The third dream, which is a story about causality. A father carried his son in a forest. Suddenly, his son asked him still remembered this forest or not. Because in the preexistence, the father killed his son in this forest. The fourth dream, a boy was abducted by an old man and disappeared eventually. The fifth dream, a defeated and captured warrior asked for a last sight of his lover before he died. A general promised to wait until sunset.

The sixth dream, a famous graver Yun Qing craved a statue of the king in front of the Huguo Temple in Meiji era. One of onlookers tried to imitate him but failed eventually. The seventh dream, a man woke up on a ship. Not knowing why he was here and could not bear of being alone, Eventually, he drowned himself into the ocean to release himself out. The eighth dream, a man went to a barber to get a haircut. He met a strange hairdresser and saw some strange pictures in the mirror. The ninth dream, a mother took her child to a shrine to prey for her lost husband. The tenth dream, Zhung Taro loved beautiful woman. One day, he helped a beautiful woman to take her fruit basket home. Suddenly, many strange things happened.

This was a play that describing dreams. Each dream had it own story but had no connection with each other. Some of them may had their meanings, some were not.

My original idea was that I wanted to create the magic ambience and the sense of beauty for each dream. I had focused on the interaction of the light and shadow this time. I was thinking that not only the intensity and color, the shadow is also an important element that can be seen in lighting. So I did lots of research in the shadow this time in order to match the shadow with the light in my work and create a different level of the visibility and beauty. It also made me see more possibility of lighting this time.

ETC36

ETC26

ETC19

Fresnel

PAR64(W)L

PAR64(W)S

LED

123

ETC50

CYC 500W

LED PAR

煙機 L201

N.C.

33

L203

34

L203

37

L205

38

L205

CH NO. GOBO OR IRIS COLOR NO.

四顆蛇燈並在一起迴路 號碼100 煙機迴路號碼200 有一組共用迴路，多加 留意 側燈、地燈位置之後再 訂(先大概位置) 燈線要理好 LED DIMMER NUMBER 從101開始 煙機為200

55

SIDE LIGHT

59 60 58 68

52

29

L119 67 45

44 64 6

LED

L205L201L205 51 57

L201

5

12

L201

20

L075

L201

LED

L205 L201

L205

46

64

L201

16

L161

30

L119

24

52

L205L174 L174 L102 L161

28 11

L201

L105 N.C.

燈具使用量

49 15 LED

4

L201

14

L205

3

L201

2

L201

13

L205

1

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53

L201

L201

50

65

56

L201 L161

L201 L161 L161

42 61 L119

62 41 63

31

跟場七地排燈共用 迴路

L201 L161 L161 62

L201 56

26 9 8 17

L075

L119

L119

10

L201 L201

L205

27

18

L075

51

L201 L161

47

LED

21

L205 L105 66 66 L201 L115 L115 N.C.

43

現有量 使用量

19

L075

LED

22

57

L205

LED

23

LED

NC

LED

KEY

25 7

L161 53

ETC 750W 50° ETC 750W 36° ETC 750W 26° ETC 750W 19° Par 1000W Wide Fresnel 500W CYC 1000W

23 14 10 8 24,11 8 12

61 48 L119 32

L205

54

35

L203

39

L205

SIDE LIGHT 36 40

L203 L205

<夢十夜> 導演:張善淳 舞監:陳偉勤 燈光設計:吳炳翰 燈光助理:劉子瑄、吳威霆、劉宜蓁、陳立婷、楊榮

祥 地點:中山大學219實驗劇場

L205、L075 CYC

L201 WASH

LED COLOR WASH

6

12

5

11

16

20

24

28

4

10

15

19

23

27

14

18

22

26

13

17

21

25

3

9

2

8

1

7

L203 SIDE LIGHT

L205 SIDE LIGHT

45

DREAM 2 SPECIAL 51

100

47

蛇燈

51

DREAM 4 WATER LIGHT

42

DREAM 3 SPECIAL 52

52

53

53

56 61 62 63 62 61

41

50 L201

L205

48

DOWN STAGE FACE LIGHT

PROJECTION LIGHT

54

DREAM 5 SPECIAL

DREAM 6 GOBE L102 L174 58 68

DREAM 7 L205 L174 59 60

57

DREAM 7 BACK AND SHIN BASE

56

32

55

57 56

31

49

40

39

36

30

46

38 43

35

29

DREAM 1 SPECIAL

L201 SQURE LIGHT 44

37

34

33

L119 SIDE LIGHT PAR

DREAM 8 64 L205

64 L205

66 L115

66 L115 65 L205

DREAM 9 SPECIAL 67

蛇燈 100

煙機 200

The first dream, a man is waiting before his lover's grave.

I use a clean focus and sidelight to make a beautiful scene.

The woman promise that she will come back.

I use the sidelight as my main light to highlight the woman's body.

One hundred years has passed but nothing happen.

The second dream, a warrior is trying to understand Zen.

I use two clean focus on them in order to create a balenced contrast on there shodow.

The third dream, the father carries his son in a forest.

I use a light green as my main color to create a weird ambience and a cold color main light to pretend as moonlight in this scene.

I use a back light to make a silouette behind and also use a deep blue on shin base in order to create a mysterious ambience.

The father sees there preexistence.

The fourth dream, a warrior is asking to see his lover for a last time.

Cold and warm colors create a strong contrast between this warrior and his lover.

The seventh dream, a man wakes up on a ship but not knowing the reason why.

I cut Leko into a rectangle shape in order to symbolize a ship shape. And this clean light also brings me a beautiful shadow effect.

The eighth dream, a man goes into a strange barber and sees many weird things.

The ninth dream, a mother takes her child to a shrine to prey.

I cut many rectangles surrounding in order to symbolize that this mother has fallen into her fear and anxiety of losing her husband.

The tenth dream, Zhong Taro is a fruit seller. And he loves beautiful woman.

He is surrounded by pigs.

I use the deep blue shin base and the sidelight as my main light in order to create a weird ambience

05 I CAN'T FIGURE IT OUT

ABOUT

ABOUT

THE PLAY

LIGHTING DESIGN

At the beginning of the play, Sui Wen-Bin, who committed suicide by jumping off the building was sent to the hospital for an emergency surgery. During his coma, two people appeared in his brain who claimed to be Hippocampus and was in charge with his brain. Sui Wen-Bin certainly didn't believe it until they took him back to the memory of the day he divorced his wife. He was shocked but quickly calmed down after that. He started to recall some parts of his life before slowly. Some of them made him feel regretful, some of them made him feel happy and wanted to live again. It gradually made Sui Wen-Bin realize that he had done many wrongs in his life before. After that, no matter how many efforts he had done for change, he still couldn't change anything to his real life. He started to regret his decision of suicide. Eventually, he reviewed his memories silently until his memories was drained.

The play happened in a human's brain. In terms of the human's brain often contained and mixed with many things, I chose to use many rich colors and patterns as symbols in this work. And because the human's brain barely rested so I added some floating elements in scenes. Besides, things in our brain always changed quickly so the time of lighting cue also took a important part. And due to the LED Par and LED Strip, the choice of colors for me became more diverse. It also made me learn a lot of the possibility of colors.

ETC36

ETC26

ETC19

Fresnel

PAR64(W)L

PAR64(W)S

LED

123

ETC50

CYC 500W

I MOVE575 220V

LED PAR

STRIP

LED PAR 45 L201

101

101

L201

102

L201

L201

102

103

L201

L201

104

L201

104

L201

105

105

L201

L201

111 112

L205

113 114

L205

L205

L200

115 116

CH NO. GOBO OR IRIS COLOR NO.

L200

L200

L205 L200

117 118

151

152

153

154

501 GROUND

2.201

2.206

2.211

N.C L161

L161 N.C

N.C

17

L201

201

2.401

12 18

N.C L201

12 18

N.C L201

13

N.C L156

2

L161

7

3

L161

N.C

8

N.C L161

圓 N.C

31

4

N.C 41

圓 32

21

L156

柵欄

柵欄

21

L156 N.C 樹葉

樹葉

22

6

N.C

42

N.C

9

N.C L161

35

90

N.C

5

10

N.C L161 36

星星

星星

49

L174

49

N.C

N.C

L174

33

14

N.C

14

L201

19

2.417

202 15 20

N.C L201

15

43

34

柵欄

N.C 47

51

55

2.025

52

2.007

56

2.033

53

2.013

57

2.041

54

2.019

70 66

L161 N.C

64

N.C

72

L161 N.C

163

2.101

2.119

164

20 16 44 柵欄 樹葉

樹葉

N.C

22

2.001

19

N.C L201

N.C

圓

圓

N.C L201

N.C

46

L156 N.C 45 N.C

LED

67

11

1

LED

71

N.C

N.C L201

LED

62

17

LED

NC

11

N.C

511

LED

L161 N.C

65

2.113

511

LED

69

63

LED

161

N.C

N.C

2.107

162

61

2.217

LED

KEY

48

N.C N.C

68

燈具使用量 ETC 750W 50° ETC 750W 36° ETC 750W 26° ETC 750W 19° Par 1000W Wide Fresnel 500W CYC 1000W

現有量 使用量 23 14 10 8 24,11 8 12

<目前想不到> 導演:林家瑜 舞監:潘羽萍 燈光設計:吳炳翰 燈光助理:柯雅云、張紘毅、葉映萱、陶曉慧 地點:中山大學219實驗劇場

N.C WASH

N.C

1

11

14

12

15

13

16

2

3

4

5

7 10

49

54

53

LED PAR BACK 45度 55

56

57

I-MOVE 575 202

201

L161 GROUND 501

N.C GROUND PAR 511

GOBO 柵欄

22

N.C SPECIAL CIRCLE

17

19

18

20

41

61

34

N.C SIDE LIGHT 65

67

66

68

L161 SIDE LIGHT 69 70

45

71 72

44

43

46

47

48

L201 FRONT HOUSE

63 64

42

GOBO 樹葉

32

N.C SIDE LIGHT 62

LED PAR BACK 38度 52

36

33

GOBO 星星

51

35

31

8

9

N.C SPECIAL

21

L201 H.C

L161 WASH 6

L156 DIAGONAL

H.C

LED STRIPE

101 102 103 104 105

L205 BOX LIGHT 111 112

113 114

151

117 118

153

154

LED PAR B.BACK

L200 BOX LIGHT 115 116

152

162 161

163 164

There are the hippocampuses in Sui Wen-Bin's brain.

They control Sui Wen-Bin's brain.

I use colors and patterns to make this scene rich.

The hippocampuses take Sui Wen-Bin back to the memory of the day he divorced with his wife.

Sui Wen-Bin starts to recall some parts of his life before.

In terms of each memory has its ambience and emotion, I use different colors and patterns to symbolize them.

The hippocampuses are very naughty.

In order to symbolize that human's brain always in operation, I use Acme I-Move575 Moving Lights with Gobos to make an effect, letting them slowly float in this scene.

Because most of people's face are vague in Sui Wen-Bin's memories, the hippocampuses sometimes have to act those characters.

Sui Wen-Bin recalls of a swimming competition.

I use all non-tradition lights, including Moving Lights, LED Pars and LED Strips to create an ambience of a pool.

Sui Wen-Bin is trying to remember an important memory that he almost forgot before.

Sui Wen-Bin recalls a memory of he was having a interview.

Sui Wen-Bin recalls a memory of he was on a train and seemed to heading to somewhere.

Sui Wen-Bin realizes that he had done many wrongs and starts to regret.

No matter how many efforts he has done, there is still nothing change in his real life.

I use some leaf Gobos behind in order to make a symbol as grains of his brain.

After all, he chooses to review his memories silently until his memories was drained.

''God owns people, we own you.'' by the hippocampuses

06 DEAR GOD

ABOUT

ABOUT

THE PLAY

LIGHTING DESIGN

A police officer visited an alcoholic man and told him stop harassing stranger by making phone calls. The man said that he just wanted to find her daughter who ran a way from home. But the police hesitated to tell the man of the truth about his daughter's death. A few days ago, the daughter ran a way from home because she couldn't stand of her father's alcoholism and frustration after her mother's death. She ran to a male net friend's house for overnight. But she didn't know that her net friend was actually a murderer. The girl gradually dropped the murderer's guard in his heart after their conversation. They started sharing their story of their past and it made the murderer gradually regretted with his wrongs. With a thought of suicide, he took out a rope. But the girl was shocked and thought of he was going to kill her.

She ran out of the house in scare. After a while, the police officer found this murderer and told him the girl's body was found nearby here. The police officer suspected him and arrested him immediately. However, the murderer was released eventually because there had no enough evidence.

And the police officer went to him for a quarrel but killed him by an accident. Knowing the news of his daughter's death, the father was very sad and depressed. One day, he went into his daughter's room and tried to find some comfort in it. He turned up her computer and started playing his daughter's favorite game. Suddenly, he received a message from his daughter by his surprise. She told him to live well and not to blame himself anymore. After read the message , the father felt comforted and burst in tears.

It was definitely an unusual and fresh experience for me this time. Because this venue was an ordinary house instead of a theater. And all of my lighting fixtures were non-theatrical lights, including little flame lights, little cup lights and Christmas strings. Although the environment and tool were limited, I didn't want to simply light the stage up. I tried to imitate the light of our daily life by using those lighting fixtures I had. I also used some colors and different angles to create some non-realistic ambiences. It was an interesting lighting design experience for me absolutely.

Those are little cup lights and the power cable I used.

I also use Christmas strings and little flame lights.

This is a little dimmer which c a n b e u s e d to c o n t ro l of intensity.

This is my hand made console.

I use lots of little dimmers, power cables and power strings.

And this how we set up lighting fixtures.

A police officer visits an alcoholic man.

I use a cold color flame light outside the wndow in order to pretend the moonlight shines in. And I choose the top light as my main light indoor. I use a warm color to create a contrast between outdoor and indoor.

I use a cold color cup light to pretend the moonlight.

The girl goes to a male net friend's house for overnight.

Their view after they took drugs.

I try to use Christmas lights and little cup lights to create an ambience of universe.

They are A, B and C which are also drug addicts.

They always image some ridiculous things in there head.

They are on the top of a building and trying to jumo off.

They are washing their foots in the galaxy.

I use cup lights as the footlight in a lower level to pretend the light comes from street. And I also use a deep blue behind in order to create a mysterious ambience.

I also use the footlight but in a higher level in order to pretend the light comes from the galaxy.

They are planning something interesting.

I use a yellow color behind as my main color with some strange green color overhead in order to create a weird and playful ambience.

The father is having a conversation with the murderer in an interrogation room.

The police has his own justice so he goes to find the murderer for a quarrel.

The father tries to find some comfort after his daughter's death.

Suddenly, he receives a message from his daughter by his surprise.

His daughter asks him to live well and not to blame himself anymore.

People in this world always try to find their comfort, by drugs, by religions, by their family or by themselves.

Everybody has their comforts eventually.

06 photography

Tainan 2017

New Taipei 2017

Taipei 2017

Taipei 2018

Tokyo 2018

Tokyo 2018

Tainan 2018

Chiayi 2017

Chiayi 2017

Tokyo 2018

Tokyo 2018

Chiayi 2017

Tokyo 2018

Koashiung 2016

Taipei 2017