Hi all, sorry for not updating recently. I have been tremendously busy with work and university. However, I am back.
So, recently, I have been putting together my first introduction for my dissertation. It may have taken some time, however I am finally getting there. Even if I had a tantrum about positivism, interpretivism etc, it was well worth it. Got more knowledge and hey, research pays off. I now know what type of research I am going to be doing.
Anyway, I have babbled. Feel free to read through the introduction. As always feedback is welcomed. How else would we improve?
Have fun guys, and remember. Stay creative.
How does the hue on lighting influence the hues on scenery?
Within this dissertation, I have decided to cross over two of my favoured specialisms within Technical Theatre. Although it is both technical and production based, I feel that this is best suited to me, as I have a keen interest in both areas, also I will have more options for work when I have finished my degree. The areas which I have decided to research into is lighting and scenery, with the use of hues. The main aim of this area is for me to get a fuller understanding of how both areas work well together, in order for me to be a successful set designer within the industry. However, in order for me to get the understanding I need, I will need to undertake a great amount of research which will consist of interpretivism in the form of grounded theory and secondary research from the use of textbooks, internet, journals etc.The reasoning behind my research methodology is that I am adopting an inductive process where my theory will be developed from the evidence. I have chosen this method, purely as I will be entering the reality which I am trying to understand i.e lighting on scenery. With the use of grounded theory, I will be combining theory and research in order to seek explanation for the phenomena I will produce, in the way of changing the hues. This type of research will lead to a limited area of inquiry meaning I will be focusing on the hue change more than anything else. The theory that I will be devising will be backed by both research and data. My aim behind this method is to get my answers from substantive and move onto formal theory.
As I have decided the method of research and the topic I would like to know more in depth about, I will now discuss the importance of why it should be examined. I personally feel that anybody who would like to be in the industry as a set designer should know about lighting and vice versa. It is important to know this as there could be hue clashes, and creating hues that are undesired, which could have an impact on the performance. This could lead to circumstances, such as a warning as it would be clear there was no communication between the two departments. As both lighting and set design is closely allied with semiotics, it sets the atmosphere and era which will be interpreted by the audience. If this goes wrong, there will be a feeling of juxtaposition and the audience may not understand what is implied. Lighting and set, you may say is a gestalt, as it creates a whole production that is perceived even though it is made up by different elements. This is why I feel that myself and others need to know about what complications may occur when mixing hues.
There will be a basis for a critical discussion on the topic of this dissertation, as by changing the hue of the set, you are changing the audience perception of what is happening on the stage. Also, it will allow me to look at the opposite of how to correct a setback. There are many ways on this, and this will lead to a debate on which ways this can be done. I shall have to validate the opinions given by the practitioners by reconstructing the method and also by cross referencing, as there may be more than one practitioner that has done said method.