LIGHT TALK Episode 69 - "Feeding Your Soul - Interview with Paule Constable" LIGHT TALK is a place where lighting designers can feel free to express what really annoys them about the industry, lighting education, and the art of stage lighting design. Adrian Sutton is a composer best-known for his scores for the National Theatre’s hits ‘War Horse’, ‘Coram Boy’ and ‘The Curious Incident of the Dog in the Night-Time’, all of which have gained him Olivier nominations and in the case of the latter, a joint Olivier Award for Sound Design in 2013. Growing up in the ’80s, there were very, very few women in the world that I went into. She was very exciting to be around. Stopping being careless is a really good place to start. It's changing because we are starting to live with the effects of climate change, but how do we actually get people to take responsibility when it's not direct cause and effect? It's been a slow evolution for me and it's been quite difficult. It's the same process. Is it people I’ve worked with; I have a lot of really long relationships so it’s generally that it’s people I’ve worked with before. ", I hope that it all has that quality. So I ask myself, whether I want to be part of bringing it to life? That means sometimes I’ll do things for nothing if I want to. There’s a lot of Ridley Scott. Apr 30, 2015 - Explore เอกรินทร์ ทิพวรรณ's board "Interrogation room" on Pinterest. The most exciting work is when you feel that everybody is really questioning themselves and each other. Isn't that really puerile? It’s not about getting hung up on whether you’re making art – just do the work and know the art may or may not show up, but it’s not your job to try to make art – it is counterproductive. I've always been quite political. ‘Angels in America’ in the UK was three months of work. Do you know the thing that I will always love about Goldsmiths, is the black and white checked floors. INTERVIEW: Sir Matthew Bourne Talks SWAN LAKE. In the midst of the AIDS crisis and a conservative Reagan administration, New Yorkers grapple with life and death, love and sex, heaven and hell. The graph we were were looking at for the energy is almost like a graph of its visual energy. Also the piece both in terms of me and what else I’m doing and also if it feels like the right place to be doing that project. There are five or six occasions during the show where we use these lights for a short period of time and the energy spike is incredible. I know that I respond to light in a very particular way. Everything for me starts with nothing. Paule’s works prolifically in theatre and has won multiple awards, including the 2005, 2006, 2009 and 2013 Olivier Awards for Best Lighting Design, and the 2011 and 2015 Tony Awards for Best Lighting Design of a Play for ‘War Horse’ and ‘The Curious Incident of the Dog in the Night-Time’. His output is defined by a strong sense of symphonic narrative and harmonic richness, blended with contemporary studio technology, sound design and software design. In her exclusive Seven Stages interview, she reminisces about how she first stumbled across lighting design. My favourite thing about lighting design is darkness. That is a path I was trying to follow in the music. I have an ongoing relationship with lighting manufacturers in terms of the development of technologies, such as LED technology. Les Misérables (/ l eɪ ˌ m ɪ z ə ˈ r ɑː b (l ə)/; French pronunciation: [le mizeʁabl(ə)]), colloquially known as Les Mis or Les Miz (/ l eɪ ˈ m ɪ z /), is a sung-through musical adaptation of Victor Hugo's 1862 novel of the same name, by Claude-Michel Schönberg (music), Alain Boublil and Jean-Marc Natel (original French lyrics), and Herbert Kretzmer (English lyrics). Is it important to do it, topical, does it has a voice? I often feel like a bit of a charlatan because I'm not a scientist, I don't know anything! Why is fast considered a good thing? Alison Tickell (Founder and CEO of, "The problem is it's so invisible. Gradually, the light intensifies yet somehow softens. It absolutely fulfils the brief. In 2005 Paule Constable was the first woman to win an Olivier Award for lighting design. It’s also funny because we both started at Goldsmiths in 1986 during the AIDs crisis. We only have one set of lights that are non-LED on the show. How has this been as a journey? Beside me, Paule Constable whispers to a technician and there is a flurry of keystrokes. What do you find are the biggest obstacles to becoming more sustainable in theatre and lighting design? ". I think the fact the subject's overwhelming. You're amongst people and, while you're cycling faster than people are walking, you're interacting with people in a city in a very visceral way, in a way you don't in a car. It’s standing by your choices, so it’s making active choices. One of the biggest questions is "who is supplying energy to the buildings we work in?". Writing the music score for a play is a bit like designing a set, you have to understand what the issues are and really find out about the characters. The impacts of our daily lives go far beyond our own existence. Seven Stages podcast, sponsored by Audible, is available anywhere you find your podcasts including Apple Podcasts, Spotify and the link below. But actually the more you try and encourage people to ask the questions, the more we can change the direction of travel. That's a two way conversation. The big one for me that we need to think about in the next few years is the building stock we work within. Paule Constable read English and Drama at Goldsmiths and trained in lighting design while working in the music business. I’ll read the play so I know what I need to achieve and what we need to do to get from the beginning to the end of it, but I won’t read it to have my own strong feeling about how I want to interpret the play – my job is to interpret this production of it. She is an associate of the National Theatre, the Lyric Hammersmith and for Matthew Bourne’s New Adventures. What I view as rigor is doing things to the best of your ability, constantly learning. Seven Stages podcast, sponsored by Audible, is available anywhere you find your podcasts including Apple Podcasts, Spotify and the link below. Always ask the questions. 12/6/2012 0 Comments Anne Hamilton: Welcome to TheatreNow!, a production of Hamilton Dramaturgy. It's set in a white space. You start debates about PVC (electrical) tape and lighting cables, and you feel so ridiculous. I think a lot of people are drawn to lighting because they're excited about working with technology and that sort of thing. We're developing that technology to have beauty and story telling capacity, rather than being something that is just a brutal like for like use of a new technology. Professor Mark d’Inverno, Pro-Warden (International), caught up with alumni Paule Constable and Adrian Sutton in New York to talk about their work on ‘Angels in America’, which is currently on Broadway, and their Goldsmiths experience. One memory each from your time at Goldsmiths, bring me back to the late ’80s. She's worked on … It wasn’t long before lighting designers Ben Ormerod and Paule Constable invited me to join them in taking shows on tour. And also, to bring it here in the current political climate was really prescient. It’s absolutely about the rigor of the process. Often, commercial success is often held up as 'the best'. "I imagined how Christopher would have made the show," says Constable. And finally, I always have the question of money, which isn’t how much I’m going to be paid, but am I happy to do the work required for the amount I walk away with. I think people are worried that they don't have choices. Paul Banks Interview. “Paule has never seen our Swan Lake before – not on film or on stage – so we’ll get a completely fresh approach from Paule and I don’t know what it will look like yet. Posted in The Lowry, Theatre, ... We have a new lighting designer, Paule Constable, as one of our associates for the piece. Photo by Johan Persson. I've got to the point where I'm just going to ask it. For me, it really started there. It’s about the rigor of the making and that’s definitely some of the craft that came from Goldsmiths. How many West End theatres are insulated? One of the pieces of work I'm trying to do is looking at how we can engage at the creative front end with sustainability, making it part of the creative process rather than a stick to beat people with. Paule Constable, Lighting Designer It was amazing playing the show in London, but bringing it here, there’s a whole other level of understanding. At what point did you become aware of environmental sustainability? You have to work out the language of the play and how that might translate into the language of the music. Do I have the time to do it properly? Rigour is my other complete obsession. Paule Constable is an Associate of the National Theatre. It's interesting how those two things go hand in hand. The repercussions of behaviour and digging into what's actually going on has always been something I'm interested in. We interviewed author Mark Haddon, and Simon Stephens, writer of the stage adaptation. It’s actually two plays… both very long. I hope that it all has that quality. Paule Constable: My job is to understand the themes, the story, the concerns of the production as a director brings it to life. , Lighting Designer , NYC Theatre , Tony Award Winner , UK Theatre It's a rental, so we don't have to buy new lights, we can move very quickly and use new technology. The tour, with choreography by Scott Ambler and lighting by Tony Award winner Paule Constable, has a cast of 30, an eight-member corps de ballet, and 14-piece orchestra under musical supervisor John Rigby, making it one of the largest productions on the road. I love the fact that when you're cycling around London you're IN London. Don't feel like you're a victim. Paule: Rigor is the thing I value most about the people I enjoy working with and this is so true of Marianne and Angel. Where does the space and the building meet? It’s also brilliant because Tony Kushner, who wrote it, is a New Yorker. You can't have one without being concerned for the other. This is a podcast series featuring some of the most exciting women artists working in the theatre today. Both Paule and Adrian received a nomination for their roles, as lighting designer and composer respectively. As the conversation gets bigger, you feel less marginalised. A lot of Blade Runner. The play takes you to America in the mid-1980s. They were brilliant women who made me believe I could take the next step, whatever that was going to be, and Nesta was certainly one of those. I want to be in the moment I am in. So often we feel we have to work with what we're given. Technology is a means to an end. Tenor Derrick Davis is the infamous masked Phantom. Generally, a director and designer will meet and go, “This is the show, this is how and this is the sort of thing I can smell or feel about it.” Once that starts to be articulated is when I get involved – my work tends to be more reactive. I never stop, I never watch a show and don’t think of notes. She is an associate of the National Theatre, the Lyric Hammersmith and for Matthew Bourne’s New Adventures. Do you have any particular examples of your work where you have used a more sustainable technique? It also implies loads of 'stuff' and use of resources. It was also the first really urban place that I’d ever lived. Going back to Angels brought back very vivid memories of that time in my life. So often, good lighting is about what you don't put light on. To actually be in the current climate playing it, it’s extraordinary. Adrian: The thing about my degree at Goldsmiths was that it taught me the value of absorbing, listening and learning, doing everything that you can. I love the sense of taking responsibility for your own travel, rather than sitting in a metal box and being taken places. For me that we need to think about in the current political climate was really prescient have... Never stop, I do n't put light on really needed a big investment in time Stages! 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