In The Head of Mary, my primary goal was to paint the setting with a naturalistic light, emphasizing the visceral quality of the script. Simple lighting of the settings in a realistic style clearly conveyed the emotional content. Throughout the play a pattern of monologues emerged; during the monologues the characters broke out of the setting and talked directly to the audience. To emphasize these transitions, the lighting departed from its naturalistic looks and focuses on the actor. A spot light enabled extreme isolation of these characters during their monologues. As the play concluded, the setting transformed into a purely spiritual realm. The lighting likewise transformed, by shifting from naturalistic to simplistic, misty moonlight turned white, harsh, and pure as snow.
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