Transcript WHAT IS THEATRE LIGHTING?

Stage Lighting
Trilogy Players wlr
Will Richárd
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STAGE LIGHTING
The aim of this workshop is to give an introduction to stage lighting: to develop your
knowledge of basic skills and to improve your confidence in this field. The workshop is
for those with or without experience who wish to learn more about the technical and
practical aspects of theatre lighting
It includes the study of:
- Theatrical Lighting Equipment
- Technical aspects of Stage Lighting
- An Introduction to the Principles of Lighting Design
This is a hands-on workshop on how to light a basic show
and avoid common lighting pitfalls.
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LANTERNS
There are many different types of theatre lantern and each type
gives a different effect. A lighting designer will know what is
available in the venue and where s/he can hire or purchase
additional of specific lanterns. The following are the four most
common lanterns one will find in most theatres.
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FLOODS are used to provide large area washes of light. They come
equipped with a gel frame and are especially useful for lighting backcloths.
The beam cannot be shaped, so generally other lantern types are more
flexible.
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PROFILE SPOTS will give you a sharply defined image in outline of any object placed
within its focal range. They are fitted with shutters, usually four, which can be pushed
into the light beam, shaping its appearance on stage. They have focus knobs, which
allow the beam to be defined through a range from very hard-edged to very soft. The
beam can be further controlled by an iris – which provides a variable-diameter circular
beam. There is usually a slot cut into the body of the lantern, which accepts Gobo’s –
cut out metal patterns whose image is projected onto the stage.
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FRESNEL lanterns give a soft-edged beam with large size variation. Used to create
large washes of light (like the flood), sometimes highly colored, but as beam size and
shape can be altered it is preferable to the Flood. They have external barn doors, which
shape the beam but don’t sharpen it like the shutters on the Profile.
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PARCAN is simply a shell holding a Par lamp, a sealed bulb with a fixed beam angle
that produces a powerful narrow beam. Par lamps come with Very Narrow, Narrow,
Medium and Wide beam angles. Great for use in Rock Concerts or by using banks of
them to create curtains of light, especially in heavy colors. Their drawback as theatre
lights is that they cannot be focused – i.e. their beams’ size and shape cannot be
changed.
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Lighting Boards
or Desks
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Lighting Boards or Desks
Generally speaking there are two types of Lighting Control Boards, Manual and Computer
Controlled. Simple desks consist of a series of faders that control a channel each and by
using two sets of faders, the lighting controller can change from one state to another by
using a crossfade control. Although this is simple, it is very time consuming and so
modern desks use computer control to set up the lighting with each scene being saved
into memory and then outputted as the lighting controller requires. Memory-based boards
have become very popular in almost all larger installations, particularly theatres. This type
of controller has almost completely replaced preset boards as controllers of choice.
Memory boards are preferable in productions where scenes do not change from show to
show, such as a theatre production, because scenes are designed and digitally recorded,
so there is less room for human error, and less time between lighting cues is required to
produce the same result.
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Lighting Boards or Desks (cont.)
They also allow for lighting cues to contain larger channel counts due to the same time
savings gained from not physically moving individual channel faders. Many memory
boards have a bank of faders often called sub-masters. These sub-masters can be
programmed to control a single channel (a channel is a lighting designer's numerical
name for a dimmer or group of dimmers) or a group of channels. The board may also
have provision to operate in analog to a manual desk for programming scenes or live
control. On some more advanced boards, sub-masters can be used to control effects,
chases (sequences of cues), and moving light effects (if the board can control moving
lights).
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GELS
A color gel or color filter, or a lighting gel or simply gel, is a transparent
colored material that is used to color light and for color correction. Modern
gels are thin sheets of polycarbonate, placed in front of a lantern in the path
of the beam. Gels have a limited life, especially in saturated colors. The
color will fade or even melt, depending upon the energy absorption of the
color, and the sheet will have to be replaced. In permanent installations and
some theatrical uses, colored glass filters or dichroic filters are being used.
The main drawbacks are additional expense and a more limited selection.
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What is theatre lighting?
What is theatre lighting?
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WHAT IS THEATRE LIGHTING?
Illumination: The simple ability to see what is occurring on stage. Any lighting design will be
ineffective if the audience has to strain to see the characters; unless this is the explicit intent.
Revelation of form: Altering the perception of shapes onstage, particularly three-dimensional
stage elements.
Focus: Directing the audience's attention to an area of the stage or distracting them from another.
Mood: Setting the tone of a scene. Harsh red light has a totally different effect than soft lavender
light.
Location and time of day: Establishing or altering position in time and space. Blues can
suggest night time while orange and red can suggest a sunrise or sunset. Use of gobos to project
sky scene, moon etc
Projection/stage elements: Lighting may be used to project scenery or to act as scenery
onstage.
Plot: A lighting event may trigger or advance the action onstage.
Composition: Lighting may be used to show only the areas of the stage which the designer
wants the audience to see, and to "paint a picture".While Lighting Design is an art form, and thus no
one way is the only way, there is a modern movement that simply states that the Lighting Design
helps to create the environment in which the action take place while supporting the style of the
piece. "Mood" is arguable while the environment is essential.
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Stage Lighting has three main functions:
1. To make the actors clearly visible so that their expressions and emotions can be
easily projected to the audience
2. To give actors and action a suitably dramatic appearance within the play’s mood
and setting
3. To compliment and highlight the sets and costumes.
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Four Questions:
1. Where are we going to hang the lantern i.e. what angle of light are we using?
2. What amount of light – i.e. what level – or should we use the light at all?
3. What gel are we going to use – i.e. what color do we want the light to be?
4. How shall we use the lantern – i.e. what shape is the beam of light to be?
To answer these questions we have to know what kind of lighting we want and what
atmosphere we wish to create. When each question is answered for each lantern a
design takes shape.
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MCCANDLESS METHOD
Although there may be no 'one' method of lighting design, there is
however a systematic approach that was proposed by Stanley
McCandless (Yale University School of Drama 1925-1964). It is this
approach that is the foundation for modern stage lighting design
today.
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ACTING AREA LIGHTING
McCandless proposed that the stage setting be broken up into a number of
Acting Areas, each with two (2) fixtures. The fixtures were to be positioned
overhead as front lights at approximately 90 degrees to the area. Further the
fixtures were to be located approximately 45 degrees horizontally. Next
McCandless proposed that each lamp have a different color filter, a 'warm'
from one side, a 'cool' from the other. Each area was also (ideally) given
individual dimmer control.
An 'open' stage would be typically broken into 9 areas (more or less as
required), each having an 8-12 foot diameter. Areas might be arranged; 3
downstage, 3 center stage and 3 upstage.
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ACTING AREA LIGHTING cont.
The two fixtures provided visability to the actor. The dimmer controls allowed
areas to darken or brighten as needed, providing selective focus,
composition and mood to the overall stage picture. The position of the two
fixtures, allowed an actor to 'play' to either his right or to his left, and still be in
a KEY light. The angle between the fixtures provides excellent plasticity and
form to the human face. The opposing warm and cool colors assist in
providing interest, contrast and naturalistic lighting.
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Blending & Toning
Backgrounds &
Backdrops
Emphasis &
Specials
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BLENDING and TONING
Light the actors first for visibility, then light the surroundings separately for mood and
atmosphere, was the McCandless's approach. Sometimes no additional lighting is
required, letting the 'flare' from the acting areas illuminate the walls of a set.
Alternately, scenery may need wash or flood lighting to help integrate and blend it into
the entire lighting picture.
BACKGROUNDS and BACKDROPS
Backgrounds, backings, backdrops and cycloramas should all be illuminated
separately from the actor and from the scenery.
EMPHASIS and SPECIALS
McCandless recommended additional fixtures (if needed);
(a) to provide 'acting area specials' (entrances, furniture, etc).
(b) to provide motivation (sunlight, moonlight, firelight).
(c) to provide projection or effects.
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FIN
FIN
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