Breaking Rules and Everyday Empathy: Circus Lighting Design with Sara Gosses and Jesse AlFord
While writing this series I’ve realized something that I’m a little abashed to admit: when I think of a designer’s job, I first think of the physical skill sets they must have and the technology they need to understand to build clothing, construct props, splice audio tracks, harness electrical currents. In my awe of these abilities, I overlook the art. Every one of my interviewees has set me straight. Take your clothing apart, carry a sound with you, shine a flashlight around, they say. PLAY they say! These professions are no less playful than the clowns on stage. (Whose work is no less technical than a designer, if we really want to banter about it!) Once again, lighting designers Sara Gosses and Jesse AlFord reminded me how playful designing for circus is, and if you’re looking to learn more about lighting design or start a career in it, the first thing to do is get curious and play.
Before I properly introduce my interviewees, let’s cover the basics. “A lighting designer,” according to AlFord, “creates the lighting plan and vision for a production.” Including “where the lights hang, where they point, and what color they are.” AlFord described a spectrum. On one end: “You’re a one-person band hanging the lights yourself with extension cords out of your garage, and you’re sitting there on the ground running the lights for the show.” On the other end: “It can be a very hands-off artistic endeavor. You make a technical lighting plot and send it off to other people. They figure out the timing and the nuance of how the light moves through the production.” He quipped, “You come in, and just say, More blue! That should be faster!” Production budget and the venue’s union status often determines placement on this spectrum. I was fascinated when ...Do you have a story to share? Submit your news story, article or press release.