In this post I will evaluate the final outcome for the lighting by exploring photographs from the dress-run that was photographed by Phil Crow.
Section 1:
For the whole first section of Inka the cast used wholly movement to introduce the audience the narrative of the play and the tone of the plot. As we wanted this movement piece to be a strong opening to the piece I wanted the lights to also be as impacting as the movement. I also wanted to indicate to the audience that what was to follow would be dark and emotional. Bearing this in mind, I used purely the side lights for majority of the opening to show off the cast’s bodies and the shapes they were creating. Additionally, this lighting would create a lot of shadows and dark spaces on stage, a visual metaphor for the tone of the piece.
The preset of Inka, as performers took it in turns to enter the space. Solely lighting the stage with side lights. The intensity of the lights were low so to create a lot of darkness in the space.
As Section 1 begins, once all performers got into position in stage, the intensity of the side lights faded up. This was done so that the performers were lit more, resulting in more blocks of darkness as the performers’ bodies created large amounts of shadows. Also by raising the intensity, highlighted the performers’ bodies, making the movements more impacting as the muscles and shapes of the performers’ bodies were more defined creating a more aesthetic shape.
The side lights were especially effective in the part of Section 1 when the cast were all clumped together downstage as a lot of darkness was cast on to each cast member as they were passing someone else. This created the confusion of what limb belonged to what person, a successful illusion as at this moment of the piece we were all ensemble and all portraying the development of Inka, so individuality was the not our aim.
After this moment the lights crossed faded to a wash on just the down stage part of the space. The lights went from the lights in the above picture to the one below. I decided to have different lights here because I wanted the cast’s faces to be prominent whereas in the rest of this section seeing the cast’s face’s were not as important as this moment. The cast are staring at the Inka box hanging above the stage, with gradual smiles growing on their faces, showing the audience that Inka is to be desired and as the box is above us shows a position of power it holds over the cast, as they are in a pile on the floor.
The above picture, was the only part of Section 1 that characters and relationships were explored. As this moment stands out dramatically I wanted the lights to stand out too. I decided to use solely the back lights positioned either side of the Rostra and the light bulbs. As the light bulbs were a motif that when a memory was shown they would be on, I established this motif at the very start as this part could be perceived as a memory.
The photo above shows a moment where the cast moved into the beams of light created by the two floor lights, resulting into silhouettes on stage. This lighting then makes the action on stage sinister as I reach for Fliss as she leans back wards towards the audience.
The picture above and below shows the transition of lights for when Fliss is lifted. I raised the intensity of the lights to add to the spectacular nature of the action on stage. Along with the cast’s facial expressions and the music, this moment became even more poignant with the use of brighter lights.
The final image displaying the lighting from Section 1, was when we lifted Fliss to retrieve the Inka box hanging above the stage throughout the whole of the opening. The solely used the center stage side lights for this moment so that the audience were wholly focused on what was happening. Additionally, by only using the center stage side lights, created a single beam of light across the space so that apart from the cast in the beam of light the rest of the stage was in darkness. This single beam of light also hit the reflective material on the Inka box, creating a glowing affect on the box.
Section 2:
As this section was such a contrast to the section before I wanted the lights to also be a contrast. I lit the stage with a white wash on the whole space, the intention behind this was to give the impression of honesty and openness between Lydia playing the Investor and the audience. I wanted a connection and relationship between the Investor and the audience from the beginning. Therefore, a white wash would help achieve this. Additionally, throughout the section a moving spot light was aimed at the audience to make them feel involved with the action on stage.
Section 3:
This section of the play is arguably the most positive in the piece. The tone of the section is up-beat and the text is about fondling looking back at memories. Bearing this in mind, I wanted the lighting to be positive as well. To achieve this, I used a wash on stage the was an orange colour, representing the ‘rose-tinted spectacles’ that the characters are looking through.
When I walked on stage and sat near the Inka box downstage, I lowered the intensity of the lights to highlight how Isaac’s inclusion into the family had a negative impact on the family. I then raised the intensity of the downstage side lights to draw the audience’s attention to the action taking place in that section of the space.
I decided to cue the lighting change after the scene change, as we were not only performing characters but also ensemble and as part of that ensemble we all helped scene changes. This also diverts away from naturalistic performances of having a blackout in between each scene.
Section 4:
As this section is set in the old family home, years after the memories thought about in Section 3, I wanted that image of old and aging to be present in the lighting. I lit the space with a wash on the stage, except this wash was grey and not as bright as the previous lighting state. 
Part of this section Molly’s character, Imogen, asked Inka to show her a memory. Here again I used the light bulb motif. I faded out the other side lights leaving just the down stage side lights so only Molly was in focus.
Section 5:
This section smoothly begins straight after Section 4, without a break in action. As there was no break I did not want there to be a break in the lighting. To accomplish this smooth transition, the lighting changed from the previous state back to the Section 1 lighting but with added light bulbs, as this whole section was a memory movement piece.
The light bulbs were also used to represent a starry night sky. A typically romantic image. The lights also lowered intensity when I stood upstage, again to highlight the change Isaac carried when he came into the family.
Section 6:
Similarly to the transition between Section 4 and 5 the transition between 5 and 6 is equally as smooth. The action continues from Section 5 into Section 6 so by using a lighting change and change in music, the two sections can be distinguished.
The section starts with Isaac talking with Inka alone. As he is alone I wanted his isolation to be present in the lighting. Just the downstage side lights were used in this moment to darken the rest of the space leaving just me lit.
In this section Isaac enables Inka’s facial display and this is the moment that the live camera is first used. A spot came on Fliss so that the camera would pick her up and her image would clearly be displayed on the cyclorama. I also raised the intensity of the side lights at this moment to highlight the emotions that Isaac was feeling and not knowing how to handle.
Also in this section, Isaac’s two sisters join him in the scene. They have separate approaches to the situation. Imogen is more sympathetic towards Isaac, so is lit by the same lit as him as she is sat down next to him, to show their connection. Isobel however, is more aggressive towards Isaac, this is highlighted by how Poppy is not as lit as the other performers. She has more darkness on her body as her character has more darkness within her, by showing her selfish attitude towards Inka.
Section 7:
This section shows the relationship between Isaac and Mia, the start and end of it. It starts with a movement piece with upbeat romantic music accompanying it. I felt that the lights for this movement piece should be similar to Section 1 lighting and for the same reasons to highlight the bodies of the performers to highlight the movements. However, as this movement piece was on some boxes and the performers were sat down for majority of it, I solely used the center stage side lights with a high intensity. A high intensity was used to create brightness across the space, to represent the optimism and excitement that the characters would be feeling at the start of their relationship.
The next part of the section was a conversation between Mia and Isaac about Inka’s facial expression. The lighting changed to light more of the space so that it would create a different setting to the previous lighting state, as the audience have now travelled from seeing the start of Isaac and Mia’s relationship to an established part of it, maybe several months in.
The performers move from standing behind the Inka box to standing either side of it. The lighting benefits this as the performers stand in front of each side light creating a shadow on the other person. This is done to purposely create darkness on each other, as an argument is about to take place, which will eventually lead into the end of their relationship. This darkness on the performers’ bodies foreshadows the darkness that is about to come as after this moment Mia’s memory takes place where the audience find out Mia was only attracted to Isaac because he had parents that had passed away as well as her. For Mia’s memory I had just the downstage side lights lit on Esther so she was lit but Isaac was stood in darkness, with the only light hitting him coming from the light bulbs that had now come on with the memory motif. The picture below shows this memory scene.
The three pictures below show the final part of Section 7, the end of Isaac and Mia’s relationship. This part starts with a repeat of the movement piece between myself and Esther that was at the start of the section. However, as the movement has changed slightly to tell a different story the lighting should also fit that. Instead of having a high intensity I had a low intensity so that the performers bodies were majority all black, to highlight the happiness that has left them and their relationship. This is the first time in the play that Fliss enters the space as Inka, therefore that moment had to be highlighted, therefore she was lit by not being blocked from the lights but me and Esther were blocking each other from being lit so the audience should be focussing on her approaching myself and Esther. Once Fliss had replaced Esther in the movement, we were no longer being blocked from the light and the intensity was raised similarly to the movement piece at the start of this section to again show excitement that Isaac was feeling about his relationship with Inka.
Section 8:
Similarly to Section 7 this section had contrasting parts to it that needed different lighting. It is unclear whether this section is really happening or if it is simply in Isaac’s head and this is what he would imagine it would be like to be with a physical Inka. Therefore, I wanted ambiguity with the lighting as well. As the majority of text was mainly delivered by me exploring what love meant to Isaac, the other performers were equally as important in this section as their movements were highlighting the thoughts and feelings that Isaac was experiencing. With this in mind I wanted the other performers as equally as lit as myself, as the audience were welcome to watch what they were doing and listening to what I was saying at the same time. The below image shows how myself and Poppy can both be seen.
There was a particular moment in the section when the performers join into a line, a contrast to their previous positioning. In this moment, I solely used the downstage side lights to create one beam of light that the performers were stood in, highlighting the line that Isaac was talking about and how he is in the middle, physically and emotionally.
Inka shows Isaac a piece of music that she has created for him. I repeated the same lighting from Section 1 when the group are in a pile on the floor, when their facial expressions are important. I repeated this lighting because again, the performers’ faces are important too. They show the happiness that they are feeling in that moment. Right before this moment myself and Fliss emulate the movement from Section 5, when Sam and Will are sat downstage star-gazing. For that moment I repeated the lighting state used for Section 5, hence why the light bulbs are left on as whilst Isaac is listening to Inka’s song he is also admiring the starry night sky, similar to how his parents did.
After Inka’s song, things go wrong with Inka and she keeps repeating ‘I love you son.’ This then drives Isaac over the edge, making him lose his patience and emotionally explodes. To show this gradual build up of anger I had a raise of intensity and having the light bulbs flicker more frequently that lasted over 1 minute and 40 seconds, so the crescendo of the lights at their brightest and most frequent flickering would be immediately after Isaac’s line ‘I know how to fucking count!’ Which was followed by the first black out in the performance. I put this black out here as I wanted it to add to the impact of the final line before the black out, giving the audience a moment to reflect on what Isaac had just said. The image above and below highlights the difference in intensity of lighting and emotion.
Section 9:
For the penultimate section of the play, the action takes place back in the family home similarly to Section 4. Therefore, as the setting is the same as Section 4, the lighting is the same too as I simply repeated the lighting state. However, I raised the intensity of the lights so it was brighter than Section 4. I did this to show how the house was not as dusty anymore after the siblings have cleaned it, also in this section Isobel opens up to Isaac and expresses emotions she has never showed him before. To heighten the emotion in this section the lighting should be brighter to highlight the action on stage.
Near the end of this section, the parents return to show the final outcome of Inka before she was given to Isaac all those years ago. I wanted the focus to be solely on Sam and Will downstage, so I lowered the intensity of lights on me and Poppy and raise the downstage lights. Practically, I did this so that the videos on the cyclorama would be more visible.
Section 10:
The final section of the play takes place an unspecified period of time after the action in Section 9 at the Inka Launch. The Investor is now in the action with some of the characters from the family narrative as Isaac and Isobel are going to sell Inka alongside the Investor. To show this inclusion as they now collaborate, all three performers have the same lighting a spot light lit on them from the front. To also show the connection between Isaac and Isobel and the Investor, the spot light on the audience that was only used whenever the Investor spoke was now being used throughout this section. There was a moment when Inka starts speaking expessing her emotions, at this moment I used another slow fade, this time instead of raising the intensity I gradually lowered the intensity of the lights into a blackout and at the same time I faded up the light bulbs over the same amount of time, so after the final line ‘The good and the bad, but that’s your choice.’ The stage would be black except for the light bulbs, a final image that shows the representation of new technology and new ideas, also showing the stars in the sky that were previously explored, leaving the audience wonder what the future will hold with the inclusion of Inkas into society.
All photos sourced from:
Lincoln School of Fine and Performing Arts (2018) Bleeding Edge Theatre presents ‘Inka’ [image]. Available from https://www.flickr.com/photos/61839232@N02/albums/72157696328261174 [accessed 26 May 2018].
– Charlie