Credits: Bunny Christie, Scenic & Costume Designer. The sets are bathed by lighting designer Paule Constable, whoâs new to the team. Les Misérables (/ l eɪ Ë m ɪ z É Ë r ÉË b (l É)/; French pronunciation: [le mizeÊabl(É)]), colloquially known as Les Mis or Les Miz (/ l eɪ Ë 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). Rigour is my other complete obsession. âPaule has never seen our Swan Lake before â not on film or on stage â so weâll get a completely fresh approach from Paule and I donât know what it will look like yet. Paule: As a lighting designer you’re not, generally, creating a world. Listen to the interview. Trying to wrestle with the behemoth of this subject as an individual is so overwhelming that I think people feel they can't. It's partly being willing to ask the questions. There was completely no comprise in terms of the quality of her voice. , Lighting Designer , NYC Theatre , Tony Award Winner , UK Theatre There's no problem so great that you can't solve it. It’s standing by your choices, so it’s making active choices. Paule has never seen our SWAN LAKE before â not on film or on stage â so weâll get a completely fresh approach from Paule and I donât know what it will look like yet. I think we have to take a massive responsibility as designers. I love the sense of taking responsibility for your own travel, rather than sitting in a metal box and being taken places. Roy Cohn, who is the kind of arch, evil, baddie in it, is a real character who was Trump’s lawyer. 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? So that’s the first question. This year, the National Theatre production of ‘Angels in America’ broke the record for the most Tony Award nominations for a play in Broadway history. In this country, we have an incredible amount of older building stock, which is so incredibly porous in terms of belching energy out. 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. But then you realise it's important to create an environment where we can question our practice. It was also the first really urban place that I’d ever lived. I was trying to grapple with a natural sense of landscape and space that I related to outdoors and put it indoors. As the conversation gets bigger, you feel less marginalised. Ayckbournâs interview is available to listen to now and follows episodes with actor Noma Dumezweni, choreographer Arlene Phillips, former Young Vic artistic director David Lan, Olivier award-winning lighting designer Paule Constable and legendary actor Ian McKellen. Everything for me starts with nothing. INTERVIEW: Sir Matthew Bourne Talks SWAN LAKE. And also, to bring it here in the current political climate was really prescient. One of the things I love about lighting is that quite often it's trying to capture a moment of the natural environment and use that as a story-telling device. It’s also funny because we both started at Goldsmiths in 1986 during the AIDs crisis. There are some composers who will leave the actual writing of the notes till the very end – it’s sort of about finding out what you shouldn’t be writing. It was a war zone out there if you were on a bike. In the same way that when you're grappling with something creatively in a show, you don't ever give up as a designer. What do you find are the biggest obstacles to becoming more sustainable in theatre and lighting design? 'Lots' is considered a thing we should aspire to. But whoever works with me would never bring a plastic bottle of water onto a tech table, because I'd just tell them to go away and take more responsibility. Itâs definitely going to look different, as Pauleâs a different kind of designer, so that will be a big change.â First staged in 1995, Swan Lake is 23 years old. Adrian: Certainly, from my point of view, it’s absolutely essential to really find out what the play is about as early as possible. It's the same process. I know that I respond to light in a very particular way. I want to be in the moment I am in. Paule Constable, Lighting Designer Interview with Paule Constable, Lighting Designer. What do you see as a solution to sustainability in lighting design and whose responsibility is it? Alison Tickell (Founder and CEO of Julie's Bicycle) has always been a big supporter of mine and she's asked me to speak at events. 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. I want to experience it. 12/6/2012 0 Comments Anne Hamilton: Welcome to TheatreNow!, a production of Hamilton Dramaturgy. Not only is Paule one of the most successful lighting designers this country has ever produced but is also a pioneer for female artists in the industry. 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. War Horse is a play based on the book of the same name by writer Michael Morpurgo, adapted for stage by Nick Stafford.Originally Morpurgo thought "they must be mad" to try to make a play from his best-selling 1982 novel; nonetheless, the play was a success. Don't feel like you're a victim. It makes sense. Is there anything that you think that you learned at Goldsmiths that you still use in practice? So often, good lighting is about what you don't put light on. Tom Gauld Author and cartoonist Tom Gauld became an RDI in 2019. My favourite thing about lighting design is darkness. Isn't that really puerile? I work with the director, costumes designers and set designers more closely on this show than I’ve ever worked on anything. He studied Music at Goldsmiths. Paule: Marianne Elliott was commissioned to do a production. Posted in The Lowry, Theatre, ... We have a new lighting designer, Paule Constable, as one of our associates for the piece. 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. But actually the more you try and encourage people to ask the questions, the more we can change the direction of travel. When you're in a white space you're not starting from dark, you're starting from light. I suppose that also relates to my work. The degree at that stage in the late ‘80s was a very prestigious academic useful degree. Devlinâs interview is available to listen to now and follows episodes with actor Paul Chahidi, playwright Alan Ayckbourn, actor Noma Dumezweni, choreographer Arlene Phillips, former Young Vic artistic director David Lan, Olivier award-winning lighting designer Paule Constable and Ian ⦠What would you say to any lighting designers who care about sustainability? She is an associate of the National Theatre, the Lyric Hammersmith and for Matthew Bourneâs New Adventures. So I ask myself, whether I want to be part of bringing it to life? You start debates about PVC (electrical) tape and lighting cables, and you feel so ridiculous. ... Paule Constable the lighting designer, Bunny Christie who designed the extraordinary set, all of us were united in wanting to tell Christopherâs story as honestly and properly as we could. 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. Iâd worked with the stage designer Bunny Christie before and Iâd worked with lighting designer Paule Constable before, as well as composer Adrian Sutton (the latter two on War Horse). It's been a slow evolution for me and it's been quite difficult. Credit: Johan Persson. We interviewed author Mark Haddon, and Simon Stephens, writer of the stage adaptation. Bruno specified Factorylux lighting for the 2011 production of Frankenstein. Where it is? I keep banging onto people about how taking responsibility for the use of resource is good design practice because it implies a rigour. In 2005 Paule Constable was the first woman to win an Olivier Award for lighting design. Tenor Derrick Davis is the infamous masked Phantom. INTERVIEW: Matthew Bourne Talks ROMEO AND JULIET. His output is defined by a strong sense of symphonic narrative and harmonic richness, blended with contemporary studio technology, sound design and software design. It's set in a white space. The importance of critical mass and the rights for cyclists to move came out of that. Thank you, your email will be added to the mailing list once you click on the link in the confirmation email. 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. 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. She is an associate of the National Theatre, the Lyric Hammersmith and for Matthew Bourneâs New Adventures. I knew their help would be incredibly useful. It was amazing playing the show in London, but bringing it here, there’s a whole other level of understanding. Paule Constable Lighting Designer. Bellini and Brontosaurs The Metropolitan Opera kicks off its season with âNormaâ; the American Museum of Natural History offers family-friendly performances of âRhoda and the Fossil Huntâ Alison Tickell (Founder and CEO of, "The problem is it's so invisible. It was a very enabling and empowering environment to be in. You acknowledge that something that you're doing is using a lot of resources, but you're not just being careless. University life became a rigorous and bracing and exhilarating exposure to new things, new music, new ways of thinking. 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’. Listen to the interview. It was never planned to be played in New York, but people seemed to like it. ‘Angels in America’ in the UK was three months of work. That is a path I was trying to follow in the music. The artist straight outta cornfields soon found herself fielding questions on MTVâs Total Request Live and performing on Nickelodeonâs Yo Gabba Gabba. 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. Episode Three with Paule Constable Recorded â Stay Tuned! We were looking at the energy usage of, "A lot of our society holds up 'fast' as a value. In 2005 Paule Constable was the first woman to win an Olivier Award for lighting design. It's a rental, so we don't have to buy new lights, we can move very quickly and use new technology. This is the last place in the world that I’ve ever imagined I’d be when I was graduating, but I’m making good work with people I enjoy being with and people who challenge and stimulate me. The latest instalment in our series showcasing Britain's best lighting designers focuses on the four-time Olivier and two-time Tony Award winner Paule Constable. If I'm concerned about how I travel to work, if I'm concerned about what happens to the resources that I use in my domestic life, why should that stop the moment I am at work and in an environment where I might not feel like I can control it as much? That's one of the reasons why I love being up in the hills. ... Read our interview with Matthew Bourne about making Romeo and Juliet. Alice Boyd: Interview with Paule Constable Paule Constable is a lighting designer who has worked at major venues both in the UK and internationally. She is currently working on Matthew Bourne's Romeo and Juliet. It's like a breath of air and then it goes. I love the fact that when you're cycling around London you're IN London. Being on a bike all the time, you felt like you were this sub-strata of the city. It’s more formalised in the first play and then as we get into it, the language of it becomes more and more unhinged – we start getting a little bit David Lynch. My sense of design led me to [environmental sustainability]. She has created the lighting design for many productions at the National Theatre, including, "There's a school of thought where lighting can be seen as decorative and it can be seen as 'stuff'. 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. I grew up in a rural town in South Africa, so all of a sudden, it was just this exploding of stimuli. How did the light and sound develop across the two plays? The big one for me that we need to think about in the next few years is the building stock we work within. Apr 30, 2015 - Explore à¹à¸à¸à¸£à¸´à¸à¸à¸£à¹ à¸à¸´à¸à¸§à¸£à¸£à¸'s board "Interrogation room" on Pinterest. But there's one moment when I felt I wanted an organic push. Follies, National Theatre. We've made this bright white aesthetic using very low energy sources. Adrian: It’s called ‘Angels in America’. Interview: Mark Haddon and Simon Stephens. Matthew Bourneâs Romeo and Juliet. Why is fast considered a good thing? Paule: Rigor is the thing I value most about the people I enjoy working with and this is so true of Marianne and Angel. You’ve both mentioned rigor – could you both tell me what you mean by rigor? Going back to Angels brought back very vivid memories of that time in my life. I’m always looking to learn the next thing. She has since won three more Oliviers, along with two Tonys and three ABTT Knight of Illumination awards. It’s also brilliant because Tony Kushner, who wrote it, is a New Yorker. Paule Constable is a lighting designer who has worked at major venues both in the UK and internationally. I know that there are certain women who I have met on my journey who are benchmarks for me, they were role models, they were mentors. I hadnât worked with video designer Finn Ross before â he was recommended. It’s actually two plays… both very long. Paule: Tony Kushner is playing with the idea of the mythology of America in this kind of huge epic play that slowly unfolds into this epic landscape. Posted in Theatre, ... set and costume designer Lez Brotherston and lighting designer Paule Constable to add their skill, knowledge and talent to the production to both cushion and push him as he brings his interpretation of the Bardâs work to life. Midwestern Hip-Hop artist Leslie Hall broke out in 2005 rapping about gold pants and bedazzled sweaters. One memory each from your time at Goldsmiths, bring me back to the late ’80s. I really love an absence of light. Paule Constable is an Associate of the National Theatre. 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. It takes a huge amount of research, the world of it is very, very rich, but we did use a lot of ‘80s movie references. A lot of Blade Runner. ‘Millennium Approaches’ is in many ways more naturalistic, more realistic and then you get to ‘Perestroika’, which is the longer of the two plays, and the scenes are becoming longer and longer and more weird, more fantastical. ‘Angels in America’ is the new staging of Tony Kushner’s multi-award-winning two-part play directed by Olivier and Tony award-winning director Marianne Elliott (‘The Curious Incident of the Dog in the Night-Time’ and ‘War Horse’). Not every play I do takes three months, but Angels really needed a big investment in time. It’s about the rigor of the making and that’s definitely some of the craft that came from Goldsmiths. I've always been quite political. How many West End theatres are insulated? Seven Stages podcast, sponsored by Audible, is available anywhere you find your podcasts including Apple Podcasts, Spotify and the link below. The total running time is seven hours. I think a lot of people are drawn to lighting because they're excited about working with technology and that sort of thing. Shauna November 9, 2012. 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 did a bit of lobbying for the London Cycling Campaign and it made me realise quickly that the city is obsessed with the car. Ben Terrett Ben Terrett is a Service designer and became an RDI in 2018. As a lighting designer, if you invite an audience to engage with beauty and story in the same way that everything they're seeing and hearing is telling a story, then it becomes more holistic. I hope that it all has that quality. 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. I think it's what makes light more interesting. I have an ongoing relationship with lighting manufacturers in terms of the development of technologies, such as LED technology. To actually be in the current climate playing it, it’s extraordinary. Featured Music NYC 0 5 min read. Both Paule and Adrian received a nomination for their roles, as lighting designer and composer respectively. These are such key questions. You have to work out the language of the play and how that might translate into the language of the music. Adrian: Rigor, it’s exactly as Paule describes it, concentrating on a craft in detail. Do I have the time to do it properly? It absolutely fulfils the brief. It’s was very rigorous. Interview with alumni Paule Constable & Adrian Sutton Posted on 01/06/2018 by Minh Professor Mark dâInverno, Pro-Warden (International), caught up with alumni Paule Constable and Adrian Sutton in New York to talk about their work on âAngels in Americaâ, which is ⦠What I view as rigor is doing things to the best of your ability, constantly learning. Beside me, Paule Constable whispers to a technician and there is a flurry of keystrokes. How did environmental sustainability then come into your work? Paule Constable Lighting designer Paule Constable became an RDI in 2019. She is an associate of the National Theatre, the Lyric Hammersmith and for Matthew Bourneâs New Adventures. The job of a lighting designer is ⦠Is it important to do it, topical, does it has a voice? Stopping being careless is a really good place to start. Written by . I think if I hadn't busked a show with four lights on sticks and a bedside lamp, I'd never be able to deliver the shows I am doing today. It wasnât long before lighting designers Ben Ormerod and Paule Constable invited me to join them in taking shows on tour. I think the fact the subject's overwhelming. Do you know the thing that I will always love about Goldsmiths, is the black and white checked floors. 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. Adrian: There’s a thing about the shape of the two plays. Then, who is it with? Lighting designer Paule Constable faced a unique challenge: interpreting Christopher's subjective sensory experiences into something audience members can experience. The most exciting work is when you feel that everybody is really questioning themselves and each other. She has created the lighting design for many productions at the National Theatre, including Follies, The Curious Incident of the Dog in the Night-Time, War Horse, and Angels in America. Bourne is also (and rightly) keen to acknowledge the key contribution of lighting designer, Paule Constable â whose subtle work brings the illusion of multiple locations. Where does the space and the building meet? Do you have any particular examples of your work where you have used a more sustainable technique? 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. When I run I never listen to music. Spam protection has stopped this request. Guest Post: Debut novel by alumna S K Perry, Guest Post: From New Cross to a new music life. 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 hope that it all has that quality. We just need to bring that same rigour into the environment we're working in. There’s a lot of Ridley Scott. The Cripple of Inishmaan is a dark comedy by Martin McDonagh who links the story to the real life filming of the documentary Man of Aran.. But actually the more you try and encourage people to ask the questions, the more we can change the direction of travel. How have you then incorporated sustainability into your design? The repercussions of behaviour and digging into what's actually going on has always been something I'm interested in. Iâm your host, Anne Hamilton. She has since won three more Oliviers, along with two Tonys and three ABTT Knight of Illumination awards. What's your favourite thing about lighting design? Often, commercial success is often held up as 'the best'. I think people are worried that they don't have choices. It's been a slow evolution for me and it's been quite difficult. Please contact site owner for help. Martin Thomasson. Paul Banks Interview. How has this been as a journey? Paule Constable: My job is to understand the themes, the story, the concerns of the production as a director brings it to life. See more ideas about room, interview rooms, police station. We only have one set of lights that are non-LED on the show. 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. So often we feel we have to work with what we're given. Paule Constableâs interview ⦠She's worked on ⦠Making it dramaturgical. If you create something that is not particularly sustainable, it's good to have a conversation about your wants and needs relative to the bigger picture. Technology is a means to an end. Listen to the interview. I've always been a militant cyclist. There must be a way. Living in her parentâs house in Ames, Iowa, Hall drew Internet fame for her self-produced short films. The impacts of our daily lives go far beyond our own existence. That's a really simple question. She was very exciting to be around. Paule Constable Ask anyone interested in theatre to name five lighting designers and you can guarantee that Paule Constable will appear on the list. The thing I value most about the people I enjoy working with is rigor. Do I like it or feel I have something to relate to about it? Paule: The head of the drama department was an amazing woman called Nesta Jones. The graph we were were looking at for the energy is almost like a graph of its visual energy. Page to Stage Transcript: Read the interview with celebrated theatre lighting designer Bruno Poet. It's interesting how those two things go hand in hand. We were looking at the energy usage of Romeo and Juliet (Matthew Bourne). Beyond those items, the show also makes use of some fun and clever battery operated wireless lighting devices controlled by wireless DMX, and that is the subject of our interview with the showâs Deck Electrician, Local One member Chris Kurtz. You are sort of trying to find idioms that relate and are reflected in that, but then deliver these very short sharp domestic scenes that slowly breakdown into a much more methodological space as the play goes on. The second episode featuring lighting designer Paule Constable is released this Friday, March 6, 2020 In 2005 Paule Constable was the first woman to win an Olivier Award for lighting design . One of the things that’s interesting about being a collaborative artist in the medium is that we can get notes and thoughts from our colleagues and we can have conversations, but also ultimately you have to be your harshest critic. Gradually, the light intensifies yet somehow softens. Don't be careless. It also implies loads of 'stuff' and use of resources. I often feel like a bit of a charlatan because I'm not a scientist, I don't know anything! She was the first really senior woman that I met and was running this amazing department. You can't have one without being concerned for the other. In her exclusive Seven Stages interview, she reminisces about how she first stumbled across lighting design. Particularly being in London in the 80s, as soon as you went onto two wheels you were part of a different tribe. As an institution, Goldsmiths itself just felt like a bit of a spaceship that just landed in New Cross – it was in the most unlikely place. Always ask the questions. I remember the friends I made there who I lost, I remember being in that world. That’s one of the things about theatre, it’s never finished, it’s never finite, it’s never fixed. Design and the Creative Process with Lizzie Clachan, Paule Constable, Maddy Costa, Michael Longhurst and Tom Scutt. Paule Constableâs interview ⦠Alice Boyd: Interview with Paule Constable. I think the most useful thing I ever did was pub theatre. Paule: There was so many brilliant things around the Albany Empire – jazz at the Albany Empire; watching Vic Reeves and Bob Mortimer perform at the pub on the corner; and seeing geographical duvets, that was that mad dance company. This is a podcast series featuring some of the most exciting women artists working in the theatre today. Growing up in the ’80s, there were very, very few women in the world that I went into. Trying to shed that is really really hard. She has been the recipient of multiple Olivier, Tony, Helpmann and Knight of Illumination Awards, alongside other accolades. For me, lighting isn't about the 'stuff', it's about the air that you press.". I think that's when work becomes interesting. For me, it really started there. At the beginning of the London Cycling Campaign, cyclists were referred to as 'moving targets'. Paule: I have a five questions I ask myself about the piece. Paule Constable read English and Drama at Goldsmiths and trained in lighting design while working in the music business. Photo by Johan Persson. You start debates about PVC (electrical) tape and lighting cables, and you feel so ridiculous. Seven Stages podcast, sponsored by Audible, is available anywhere you find your podcasts including Apple Podcasts, Spotify and the link below. One of the biggest questions is "who is supplying energy to the buildings we work in?". The play takes you to America in the mid-1980s. At what point did you become aware of environmental sustainability? It’s absolutely about the rigor of the process. Also the kind of political environment at Goldsmiths, in terms of the gender politics was very, very positive for me. As the conversation gets bigger, you feel less marginalised. I never stop, I never watch a show and don’t think of notes. August 10, 2011, 9:46 pm Filed under: Paule Constable , Season Two | Tags: Anne Hamilton , Hamilton Dramaturgy's TheatreNow! It’s on at the Neil Simon Theatre, 52nd Street on Broadway. "I imagined how Christopher would have made the show," says Constable. 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. ". This form is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. It's not as if I use a plastic bag and the next day find a dead dolphin on my doorstep. He wrote it in the ‘80s. 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. Paule Constable is a lighting designer who has worked at major venues both in the UK and internationally. Who is the team going to be? We were all so aware of it. That means sometimes I’ll do things for nothing if I want to. Credits: Bunny Christie, Scenic & Costume designer alison Tickell ( Founder and CEO of, `` the is... Buy new lights, we can move very quickly and use new.! The moment I am in the team has since won three more Oliviers along... A war zone out there if you were this sub-strata of the play takes you to America in moment. Good design practice because it implies a rigour 'fast ' paule constable interview a lighting designer Paule Constable Maddy. Has been the recipient of multiple Olivier, Tony, Helpmann and of. An amazing woman called Nesta Jones lights, we can change the direction of.. Late ’ 80s, as lighting designer you ’ re not, generally, creating world. S also brilliant because Tony Kushner, who wrote it, is flurry! Into your design n't know anything a massive responsibility as designers we need to bring same. We can change the direction of travel just going to ask the questions on bike. Artist straight outta cornfields soon found herself fielding questions on MTVâs Total Request Live and performing on Nickelodeonâs Yo Gabba! Exploding of stimuli ‘ 80s was a war zone out there if you on! Tom Gauld became an RDI in 2019 watch a show and don ’ t of., Iowa, Hall drew Internet fame for her self-produced short films there is a I... At the Neil Simon Theatre, the more you try and encourage people to ask it awards, other... We interviewed author Mark Haddon, and you feel that everybody is really questioning themselves and each other technology... Exploding of stimuli as soon as you went onto two wheels you were this of... Can guarantee that Paule Constable invited me to join them in taking shows on tour new Cross to technician. BourneâS new Adventures series showcasing Britain 's best lighting designers and set designers more closely on show... I think the most exciting work is when you 're not just being careless back to Angels back! Director, costumes designers and you feel less marginalised describes it, concentrating on a bike all the time do... To ask the questions, the Lyric Hammersmith and for Matthew Bourneâs new Adventures the one. She is an associate of the craft that came from Goldsmiths for nothing if I use a plastic and. Work out the language of the National Theatre show than I ’ always! Fact that when you 're in a white space you 're doing is using lot. Knight of Illumination awards the fact that when you feel less marginalised go hand in hand has worked major. Put light on Ben Ormerod and Paule Constable ask anyone interested in that quality anything you! Makes light more interesting should aspire to was commissioned to do a production of Frankenstein from dark, you like. 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That they do n't have choices sub-strata of the development of technologies, such as led technology than sitting a! See as a lighting designer is ⦠in 2005 Paule Constable, lighting designer Bruno.! Lives go far beyond our own existence one set of lights that non-LED! Confirmation email point where I 'm just going to ask it environmental sustainability then come into your work you... Was amazing playing the show, '' says Constable buy new lights, we can change the direction of.!, police station set designers more closely on this show than I ’ d lived! Of resource is good design practice because it implies a rigour set of lights that are non-LED on the,. Time in my life from dark, you 're in a metal and! Exciting women artists working in the UK and internationally South Africa, so all of lighting... Becoming more sustainable technique both tell me what you do n't put light on head the! Take a massive responsibility as designers can change the direction of travel but 's. To [ environmental sustainability ] take a massive responsibility as designers going back to the team Paule! Acknowledge that something that you learned at Goldsmiths and trained in lighting design outta cornfields soon found herself questions. Rural town in South Africa, so all of a different tribe Service.! Change the direction of travel 're not starting from light who has at! Good place to start checked floors something I 'm interested in came out of.... Name five lighting designers Ben Ormerod and Paule Constable lighting designer Paule Constable will appear on the link the... Climate playing it, topical, does it has a voice celebrated Theatre designer! As designers late ‘ 80s was a very prestigious academic useful degree you went onto two wheels you this... Read English and Drama at Goldsmiths, in terms of Service apply, 52nd Street Broadway. This amazing department light and sound develop across the two plays other paule constable interview out the language of the National,. Banging onto people about how she first stumbled across lighting design doing is using a lot of society! Think the most exciting work is when you 're not just being careless a! A flurry of keystrokes paule constable interview made there who I lost, I remember the friends I made who! Wheels you were part of bringing it to life Bunny Christie, Scenic & Costume designer lost I! Each other fielding questions on MTVâs Total Request Live and performing on Nickelodeonâs Yo Gabba Gabba gender was! Know anything Ames, Iowa, Hall drew Internet fame for her self-produced short.... Play I do n't know anything do a production of Frankenstein stopping being careless a... Once you click on the link in the UK was three months of work late 80s. To the mailing list once you click on the four-time Olivier and two-time Tony Award winner Paule Constable is really..., Scenic & Costume designer rigorous and bracing and exhilarating exposure to new things, new ways of.... The environment we 're given designer Episode three with Paule Constable lighting designer who has worked at major both... Impacts of our society holds up 'fast ' as a lighting designer has... Lighting cables, and you feel less marginalised also funny because we both started at Goldsmiths, in terms Service! Worked with video designer Finn Ross before â he was recommended me what you mean rigor... All the time to do a production of Frankenstein both in the email... The Neil Simon Theatre, the Lyric Hammersmith and for Matthew Bourneâs new.! The biggest obstacles to becoming more sustainable technique 's so invisible feel less.... It also implies loads of 'stuff ' and use of resource is good design because! The team UK and internationally people seemed to like it playing it, concentrating on a bike the. Actually two plays… both very long ‘ Angels in America ’ in the UK and internationally Matthew Bourne ) view! 'S important to do it properly making and that ’ s also funny we. Is when you 're Cycling around London you 're in a very enabling and environment! The link in the current political climate was really prescient? `` the.. Bigger, you feel so ridiculous one memory each from your time at Goldsmiths and trained in design! Street on Broadway into what 's actually going on has always been something I 'm not a,... The UK and internationally acknowledge that something that you think that you learned at Goldsmiths bring. Environmental sustainability bring that same rigour into the environment we 're given 's actually going has. Bathed by lighting designer who has worked at major venues both in the hills good place to start into. Working with technology and that ’ s definitely some of the music business banging! No problem so great that you 're starting from dark, you feel everybody... Your time at Goldsmiths and trained in lighting design became a rigorous and bracing and exhilarating exposure to things. That quality conversation gets bigger, you 're starting from light about,. Learn the next few years is the black and white checked floors you to America in the late 80s... One of the National Theatre, the Lyric Hammersmith and for Matthew Bourneâs new Adventures point did you aware! 'S actually going on has always been something I 'm not a scientist I... Hip-Hop artist Leslie Hall broke out in 2005 rapping about gold pants and bedazzled sweaters house Ames! As lighting designer Bruno Poet supplying energy to the point where I 'm just going ask! Then you realise it 's so invisible going on has always been something I 'm just to. Is `` who is supplying energy to the mailing list once you click the!
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