My Master's Dissertation research while I was studying at Rose Bruford College in London.

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Abstract:

This paper is the culmination of research and ideas surrounding the theory that, as lighting designers for theatre and other performance types, our emotional response to the work is just as important to the process as that of the other creatives involved. I created a three-part research process that involved surveys and a live dance show to test this idea and to prove further that audience response varies, but that should be seen as a tool rather than a threat to the process or the outcome. I read papers, interviews, and book chapters by other designers and creatives in the lighting design industry in order to get a sense of where others' heads are at in terms of what’s important to them and how they think a design should come about. I admire and look up to many of those designers whom I read from, and will continue to consider their ideas for my further education. However, I strongly believe that a lighting designer’s emotional response to a work, and our creative input, would be just as beneficial early on as other designers involved. 

By surveying people on their emotional responses to various songs, and then asking them to provide colors as a translation for those emotions, I was able to gauge what others might interpret my work as when putting together my own lighting design for dances to the same songs. I then tested whether an audience watching those dances, without the music, would be provoked to feel similar emotions when provided with only the visuals of color choice and movement. I think this work proves a lot for the field of dance lighting design, and can be further pushed for those who design for the stage in other capacities.