'Light and a Long Day’s Journey Into Night\r'

'For many a(prenominal) directors, a LONG DAYS JOURNEY INTO NIGHT clay a cross collateral character study. That is to say, since the profligacy is punctuated with a number of dysfunctional characters the emphasis on the drama of the breeze should be on the effect of the characters. If the actors atomic number 18 non properly presenting the uniqueness of these characters hence the play will fall apart. This is not an faulty assessment nor would it be a flawed nestle to tell.\r\nBut, if molding and character examination were the only reflexion of this play to be fleshed out then the turn up would be single foc exampled. This is because the very title of the play tensiones that it takes place during the day and this would evoke the notion that the greater and brighter the agilitying of the play the more potential for knockout drama will be the result.\r\nWhile â€Å" contend” with lighting has often been employed as a strategy for evoking mood it is almost a clich é of a cliché that shadows are employed to throw a trusted mood. Then again, why would they not be? The use of shadows can often be employed to realize a unique environment that can stress fear, confusion, foreboding, et al. With LONG DAYS JOURNEY INTO NIGHT, however, this would be downright impossible. after(prenominal) all, how many shadows can you create during the day?\r\nWell, yes, on that point are a number of ways you could commingle shadows into a solar day scenario but this would not be my particular approach. Instead, I would prefer an approach where daylight literally â€Å"burns” non-stop through the transactions. The reason for this is that such(prenominal) an approach would create a heighten mavin of realism by pushing the character flaws of the cast to the forefront. In other words, it becomes difficult to cutis in broad daylight and this would be the approach taken to strip the characters somewhat bare.\r\nThe cast of characters are litera lly â€Å"loaded” with flaws. There are alcoholics, drug addicts, the grievously ill, etc. Now, this is not to condemn the characters for their problems as more than as it is to point out they are characters battling demons. The problems that these characters very much contend with are very real. As such, there should be no attempt made to skin the characters flaws and that means a symbolic and literal light needs to be shined upon them.\r\nSo, when there are scenes presented which are designed to highlight these flaws the scenes should be very bright lit in the manner of shinning daylight. This will create make any masking of their problems difficult as it creates a subtext of the problems being out in the open.\r\nAgain, this is not to say that the use of shadows and intermingling dark lighting into the proceedings will not work. Any attempt at manipulating the lighting in a motivated and good manner has the potential to be successful. But, this would not be the approa ch I would intend to take when directing the play. As such, the use of shadows would be limited to as minimal as possible.\r\nTo do otherwise would victimize a major aspect of the play: it is intend to take place in daylight and to hide daylight through generic or aseptic lighting would undermine critical subtexts that make it a powerful work. Daylight brings the play and its themes into the â€Å"real reality” and this concept is an important one. The play embraces the daylight and so should the plays director.\r\n \r\n'