Theater lighting

The lighting concept invited the audience to pass through a journey of limitation and confinement, crossing through rivers and flows, reflections and visual illusions with mirrors, in a voyage in which magic was always present through the light and reality could be as fantastic as our imagination can create.

I was commissioned to develop a set design that would represent the machine, based in the Delleuze concept of rhizomatic thought, so the space would be surrounded by a machine that represent the way our thoughts flow in our heads.

The stage had the constant presence of an ice block, that worked like a dancing lens on the stage, multiplying the light with all its possible optical phenomena. The light was the element between the performer and the water. It crossed everything spreading colors, refraction, reflection and the dance between these aspects and the emotional state of the scene.

The direction, color and constant unnoticed movement in the lighting makes the ping pong balls in the space look like spread landscape elements and the Devourer into an unrecognizable organism that can be seen but many times can not be understood in its totality.

The space in which the performance was settled was the Ori, a space of the Orixás spirituality. The lighting had the role, then, to bring this spiritual place in which our consciousness and nature meet, in the places where black ancestrality is celebrated.

The lighting brings always 4 sides in different colors to the space and the bodies, representing the continuous complexity of the bipolar disturb, in which mania and depression share the same bodies and spaces.

AS Rita said, lighting is music for who is death, and she was dancing to the light.

How could lighting represent a raw feeling, an anger sensation on itself? How could light create your own spatial narrative and occupy the stage with one clear message?

How can lighting make you hear? What to illuminate when the most important is the sound?

The research started and was developed referencing new photography directors in films and TV series that are shaping a new way of illuminating dark skin tones: with colors, and color contrasts. With a new color pigment to be lit, the colors on light also proposed a question.

The technical research, here, was to figure out how to lit the black skin and white skin in the same scenes without devaluing each of the actors. In the end of the process, the lighting represented the passage of time through the different spaces of the narrative.

The light, then, was monochromatic and cold when related to this future land and warm in the scenes that related to the ancestors that would support her through the new challenges against the old racism.

At the play Stricken I was responsable for the interior design and lighting project of the play.

The design would bring a very geometric design that played with the color temperature of the dimming and the red reflection from the earth in the floor.

Ensaio Geral was a play inspired on the Theater from the 70s, that would come from the rehearsal of a group to sketches with dramatic monologues.