31/10/2015

31/10/2015

Lighting Design Research MH2S07

University of South Wales

James Walton

14006847

MH2S07 – Lighting Design Research –

P-1

Contents

Contents............................................................................................................................................ 1

Assessment Task ............................................................................................................................... 2

Introduction ...................................................................................................................................... 3

Body .................................................................................................................................................. 4

Bibliography .................................................................................................................................... 11

Literature .................................................................................................................................... 11

Online Resources ......................................................................................................................... 11

Journals ................................................................................................................................... 11

Websites.................................................................................................................................. 12

Images ..................................................................................................................................... 13

Appendix ......................................................................................................................................... 14

MH2S07 – Lighting Design Research –

P-2

Assessment Task

According to E. E. Faraday

‘It is true to say [that this] heightening of effect should not be seen but should

rather be felt by the audience as a satisfying experience, for if the lighting is

used for lighting’s sake, the audience will become conscious of the artifice and

will probably cease to concentrate on the play. As is well known “the play is

the thing”, so stage lighting must above all be subservient to the play as a

whole; an accessory only and not a means to an end in itself’

Faraday, W. J. Furse & Co Ltd (1953)

To what extent does Faraday’s analysis still hold true in today’s lighting

industry?

MH2S07 – Lighting Design Research –

P-3

Introduction

Since the electrification of the Savoy by Sir Joseph Swan in 1881 debate has been

rife between designers, directors and practitioners alike concerning the usage of

lighting for pragmatic and creative means during performance.

E.E Faraday raises an intriguing point which to this day has sparked debate across all

sectors of the performance and live event industry. Whilst showing no sign of losing

momentum given the amalgamation of video technologies, conception of control

protocols and invention of technologies to the sector of which Faraday would not have

been able to predict such as R. J. Keyes and T. M. Quist’s semiconductor DPSS laser

diodes and the introduction of the USITT DMX512 Protocol.

In turn each of these technologies have contributed to vastly expanding the industry

and more importantly, the assets available today in the modern theatrical lighting

designer’s toolbox. The consensus of the research gathered, although in some cases

severely contested, it has been noted a line of what is and what is not acceptable for

theatrical and dramatic lighting design seems to be emerging based on Faraday’s

comments that holds true to this day.

MH2S07 – Lighting Design Research –

P-4

Body

The heightening of effect should not be seen but should rather be felt by the audience

as a satisfying experience

Faraday states how effective theatrical lighting should be crafted to immerse the audience in an

emotionally stimulating environment in order to provoke an immersive experience. This viewpoint is

shared by television LD B.Bailes, who’s latest installation for ‘GingerLime’ embodies the concept of

subservient lighting, allowing interesting spaces to be shown in their best light, with the objective of

sculpting a ‘satisfying emotional reaction within the person experiencing it’. Bailes makes sure to

indicate a ‘fine line’ between right and wrong when implementing designs fabricated to subliminally

evoke human emotion. Equally ‘when done badly it's just a bunch of technology in a confusing space’.

In conversation with C.Davies a contrasting stance was shown indicating how ‘there should be no

template to light a show’. This was formed when he ‘was the LD for [Black] Sabbath in the 1970s, - the

band would play arenas of 20,000.’ That required visual lighting that ‘looked great from the back.’ By

utilising the rig in an unconventional way compared to other lighting designers, Davies used a host of

‘follow spots to light the band’ and ‘multiple par-cans within the rig to create excitement’. This

unconventional fixture usage has increased in popularity in the present day, examples include

K.Adams ‘Next to Normal’ utilising hard edged backlight to stimulate the audiences interest. Although

it’s worth noting this should be used in moderation as ‘if over-used can prove to be a distraction’.

Whitelight’s Brian Raven supports Fardays standpoint and adds ‘If you come out of a play and your

main memory is the lighting then as a piece of drama it has failed.’ This is highlighted by M.Susan’s

comment, ‘no two events in this industry are the same’, with each performance presenting its own

unique quandaries. It’s indicated this has remained true from Faradays time, where he states in 'Basic

Stage Lighting and Equipment' that each show ‘contains almost limitless variables’.

Figure 1.0 Bailes ‘GingerLime’

MH2S07 – Lighting Design Research –

P-5

Raven adds how in modern day performance ‘a well-lit play can improve the story and add a lot to it.’

Equally when lighting a band, ‘sometimes the audience has come to see and hear the group and not

be distracted by multiple flashing lights’ alternatively ‘other acts need the drama of an exciting light

show.’

If lighting is used for lighting’s sake, the audience will probably cease to concentrate

on the play.

Faraday makes his standpoint clear, alongside the majority of theatrical and television designers, who

oftentimes employed the ‘McCandless technique’ as detailed in ‘A Method of Lighting the Stage’

(published 1932) as the accepted procedure to light a space. This was due to the ‘sympathetic’, ‘realist’

appearance it provided with an intention of ‘complimenting’ opposed to overpowering the subject,

this notion can be perceived within current day designs such as Shakespeare’s ‘Othello’ lit by C.Bagnall.

Despite this, current technical author F.Reid argues the pragmatics of the method, ‘if light is sufficient

for the front row, it will not be from the back’.

In addition, certain designers, experimental theatrical practitioners and directors from Faradays era

were opposed to the idea. Artaud’s Theatre of Cruelty was the physical embodiment of surrealism and

‘bombarded the audience with light’ holding an intent of taking them on a visual journey. Similarly

Brecht’s ‘Mother Courage’ and JaquesLecoq’s ‘The moving Body’ require stark lighting with

unconventional ‘top-lighting’ combined with a ‘smattering of shadow’ emphasizing expression and

grotesque nature of performance to shock and alienate the audience.

Figure 2.0 ‘McCandless Technique’

‘Jewell technique’

MH2S07 – Lighting Design Research –

P-6

Modern techniques such as H.Bay’s "jewel" lighting combat this, employing multiple angles, (a

reference to how jewellery is lit in a display case). Equally LD Michael Broderick’s ‘One Man One Light’,

a duet between a single automated fixture and actor in a new interactive theatrical form. Although

the standard of programing practice is high, it’s snubbed by theatrical purists as a ‘marketing gimmick’

and ‘fad’ regardless of audience response.

Although each of the aforementioned practitioners had sizable following none of their works broke

into mainstream television as they were regarded, ‘unsavoury’ and ‘unfit for the wider British

audience’. It is suggested Faraday is writing with theatrical and television elites in mind.

Scientific breakthroughs lead to conformation of theories and in depth understanding. This allowed

lighting designers of the late 20th century sculpt designs based on the human response and strive for

maximum audience emersion. Journals such as NPL’s ‘Principles of Photometry’ allow modern

designers to inform their designs regarding ‘The Human Photometric Response’ further recognising

the needs of the audience. These revelations included perceivable lux levels and human 555nm peak

response. Despite this many support LD J.Farncombe’s traditionalist viewpoint conveyed through ‘The

Stage’ magazine 2010 arguing how ‘theatre is an escape from reality and should not be informed by

science’, echoed by F.Reid in the Stage lighting handbook stating how ‘stage lighting is not an exact

science’ consequently opinion is still divided.

Since Faradays time there has been a significant shift and exponential increase in demand for aesthetic

lighting within the television sector. Triggered by the introduction of Marconi’s ‘revolutionary range

of cameras’, integrating dichroic prisms (more recently Bayer filters) and prompting the BBC to roll

out BBC 2’s five month integration from July 1967.

Figure 2.1 ‘Theatre of Cruelty’

Figure 2.2 ‘Commedia Dell’Arté - The Buffoon’

MH2S07 – Lighting Design Research –

P-7

In comparison to the monochromatic 4:3 cameras used in 1953, technological advancement has led

to 1080i 16:9 colour becoming the new UK standard. S.Bailey describes how ‘higher image quality and

[an] increase of viewers has resulted in directors demanding more from lighting and video

technologies’. Previous camera technologies required high levels of light with uniform constant CRI

(such as that supplied from the PATTERN 237 wash) due to low optic sensitivity. This is now not the

case and has opened the floodgates for creative design. In comparison to standardised ‘Prime-Time’

television such as the ‘Good old days’ (1953) the entire sector has undertaken an overhaul.

ITV’s [formerly Granada’s] latest publicly released figures indicate a much higher budget available than

previous years which is especially notable across ‘Prime-Time’ television. This has led to large

investment in performance technology which has caused uproar between theatrical purists presenting

the view that certain shows are becoming ‘broadcasted tradeshows’ with a dramatic increase of

‘Eyecandy-fixtures’. This feeling is shared by B Bales who postulates how over the past decade ‘it’s

possible that the TV world has started to ignore the rules, glossy shows such as X-factor go through

phases of going overboard with technology that [he] personally finds distracting.’ In response, SycoTV

dismisses these claims, marketing the show as ‘incomparable in its success versus rival talent shows’.

Figure 2.3 ‘Dichroic Prism’

Figure 2.4 ‘Bayer Filter’

Figure 2.5 ‘Good Old Days’

Figure 2.6 ‘The X Factor’

MH2S07 – Lighting Design Research –

P-8

In contrast to Faraday’s time the use of social media and marketing techniques currently employed by

manufacturers has dramatically increased, subjecting specifiers and designers to the latest ‘must have

products’ in both a direct and subliminal way.

In addition, technical advancements in environmental science have been made since the ‘Great smog’

of 1952. Consequently lighting designers have been heavily exposed to opinion and external pressures

to conform to acceptable ecological standards. This feeling is equally conveyed by J.Valchar who when

questioned over influence placed on the industry mentions how ‘It is worth noting that when LED

[fixtures] initially flooded the market and became 'the thing to have, LDs went overboard.’

During Faradays time genres such as farce, romance and entertainment were prominent within most

mainstream theatres. These performances required naturalistic lighting states achieved through a

uniform wash and protagonists highlighted with ‘limelight’, follow-spots often fitted with frost to

soften the beam.

To this day the concept of ambient frontlight and follow-spot usage remain as a staple of televised

variety shows and musicals, although further more refined with the introduction of HMI and Xenon

lamps. It is incredibly apparent when reading catalogues of Faradays time fixtures were produced with

Figure 2.9 ‘Twitter’

Figure 2.7 ‘Artyon’

Figure 2.8 ‘Instagram’

Figure 2.10 ‘Facebook’

Figure 2.11 ‘Refurbished Follow Spot’

Figure 2.12 ‘Thoroughly Modern Millie’

MH2S07 – Lighting Design Research –

P-9

a ‘war-mentality’, striving to be ‘functional’, ‘reliable’ and ‘robust’. Providing functional roles with no

thought of aesthetics, highlighting Faradays ‘the play is the thing’ mentality.

An accessory only and not a means to an end in itself

As faraday states, theatrical ‘lighting is not a means to an end’. An opinion shared by B.Raven who is

a strong believer ‘light should also be integral to the piece’. The concept that ‘lighting has to help tell

the story’, ‘explain the time of day’, ‘add realism to the setting and reflect changes in mood & tone’.

This is embodied almost every modern traditional performance. This standpoint that light must have

a reason is embodied through the work of R.Fisher on ‘An Inspector Calls’. To add a further dimension

to the play and manipulate the audience.

‘Paule Constable who spends a huge amount of time in the rehearsal room is an integral part of the

creative team (her work on shows like War Horse and Curious Incident are perfect examples of this).’

Figure 4.0 Fisher’s ‘An Inspector Calls’

MH2S07 – Lighting Design Research –

P-10

Contextually Faraday wrote the 'Basic Stage Lighting and Equipment' for both a student and amateur

demographic. Additionally his subjective literary style and use of vocabulary such as ‘probably’ is

vastly different in comparison to formal published guides and journals of the era which were further

direct. This hints at a slight sense of insecurity in what he was saying, suggesting he was aware of

opposing viewpoints, but accepted potential to be proven wrong.

Britain during the 1950's was in many ways different from today. The most obvious of which was the

physical fabric of the country. In 1950 the Second World War’s legacy was everywhere to be seen,

especially London. Most grandfathers had served in WW1, most fathers in the second and most men

called for National Service surrounding the threat of cold war. The prospect of a job external to this

was incredibly enticing. In regards to theatre lighting of the era, being 'contemporary, revolutionary

or going against the grain of the established lighting style’ often lead to unemployment from ‘money

conscientious production teams’, 'beaten into submission' of normality through fears of losing

audience.

Faraday, similar to many others at the time entered theatre, working his way up alongside designers

from a young age. As expected he was introduced to the idea of ‘subservient’ and ‘sympathetic’

lighting whilst impressionable which grew with his style. Through literature Faraday explains how to

achieve useful effects enabling students and amateur lighting technicians accrue a certain level of

knowledge which would make them appealing to potential employers, who simply ‘required stages to

be lit’. This emphasizes how aware Faraday was of his audience, accepting revolutionaries of the time

with the intention of creating ‘new and experimental visuals’ would not have purchased the book in

the first place.

Despite the strict era of which ‘Basic Stage Lighting and Equipment’ was published, it is considered the

concepts Faraday outlined ring true to this day with unanimous agreement from designers, product

manufacturers and audiences alike, despite introduction of new technologies, techniques and

discovery across the past 62 years.

Figure 4.1 [Constables ‘Curious incident Figure 4.2 [Constables ‘Warhorse’] . of the Dog in the Night-time’]

MH2S07 – Lighting Design Research –

P-11

Bibliography

Literature Beyner, J.R. (PE, FIES, IALD, LC) , (2006) P151, - Lighting Design Basics - (2nd Edition)

Wiley.

Farncombe, J (2010) P39, The stage Magazine – How Times Have Changed- ,The Stage

Magazine.

F.Reid ( . P6-7 ‘Stage Lighting Handbook’, (6th edition)

.

Griffiths, A. (2014) 21st Century Lighting Design, Bloomsbury Publishing PLC, ISBN-10

1472503139.

Kane, R. Heinz, S. (2001) P122–124.Revolution in lamps: a chronicle of 50 years of

progress, (2nd edition). The Fairmont Press, Inc.

Pilbrow, Richard, Chiang, Dawn, Read, John B., Bryan, Robert, Gaskell, Lucy (2008), P105, -Stage lighting design: the art, the craft, the life- Nick Hern, ISBN 1854599968

Simpson, R. S. (2003) P154 Figure 5.22 [LED’s] Lighting Control – Technology and

Applications – Focal Press

Simpson, R. S. (2003) P520 Figure 17.3 [Television] lines 6 ->13 - Lighting Control –

Technology and Applications. – Focal Press

Susan, M. (2011) P142 Fundamentals of Lighting, Bloomsbury, Winchip,

EAN: 9781609010867,

Online Resources

Journals

Anderson, B.

(http://www.theatrecrafts.com/archive/albumviewer.php?id=37&page=1&type=a)

The Strand Archive. 15/10/15. 16:35.

Kupferman, J. Salzberg J, E. (2015) Stage Lighting for Students. Available:

(http://www.stagelightingprimer.com) Last accessed 04/11/2015.

Plasa. (2001). DMX ANSII Standards. Available:

(http://tsp.plasa.org/tsp/working_groups/CP/docs/DMX512A_Summ.pdf.) Last

accessed 18/10/2015.

MH2S07 – Lighting Design Research –

P-12

Websites

Admin. (2015). Home. (www.simoncowellonline.com/the-x-factor/4583757966).

Last accessed 30 Oct 2015. 21:08

Bailey, S. (2005). Colour Television on BBC Television. Available: (http://birth-of-

tv.org/birth/assetView.do?asset=1413260435_1135853608). Last accessed

13/10/2015. 16:23.

Blake, S. (2014). Ghost Stories at the Arts Theatre. Available:

http://pimediaonline.co.uk/reviews/ghost-stories-at-the-arts-theatre/. Last accessed

14/10/2015.

Broderick, M. (2015) About. http://michaelbroderick.co.za/?page_id=14. Last

Accessed. 22/10/2015. 08:28.

Davis, B. (2009). The Good Old Days. (Image) Available:

(http://www.tv.com/shows/the-good-old-days/). Last accessed 13/10/2015. 10:32

Haney, A.L. (2015) The History of Theatre Lighting

(http://www.ehow.co.uk/about_5421882_history-theatre-lighting.html) Last

accessed 22/10/2015. 12:25.

Jolley, B. (2015). An Inspector Calls set for triumphant return to Cambridge. Available:

(http://www.cambstimes.co.uk/what-s-

on/theatre/an_inspector_calls_set_for_triumphant_return_to_cambridge_1_42461

71). Last accessed 19/10/2015. 12:15.

Lesoco University Editor. (2015) Live Arts Trends Research

(https://xerte.lesoco.ac.uk/play.php?template_id=211) Last accessed 22/10/2015.

12:40.

LSi (2015) PLASA Show 2015: Robe Presents a Full Spectrum

http://www.lsionline.co.uk/news/story/PLASA-Show-2015-Robe-presents-a-full-

spectrum/NVLJ3D. Last Accessed 21/10/2015. 11:14

Noujeim, E (https://www.quora.com/What-is-Ruby-laser) Conception of the Ruby

Laser 12/10/2015 16:38.

The Editors of Encyclopaedia Britannica (2015) Theatre Architecture

(http://www.britannica.com/art/theatre-design) Last accessed 20/10/2015. 10:30.

The Optical Society. (2003). Timeline of OSA History. (http://www.osa.org/en-

us/history/exhibits /laser_history_timeline) Last accessed 14/10/2015. 14.41

Truman, R. (2012) (http://savoytheatre.org.uk/history-of-the-savoy-theatre/) Last

accessed 18/10/2015. 14:11.

MH2S07 – Lighting Design Research –

P-13

Images

Admin. (2013). What is the McCandless Method? Available:

http://theatretechclub.com/2015/06/04/what-is-the-mccandless-method/. Last

accessed 27 Sept 2015.

Admin. (2014). HSL Has the X Factor Live . Available:

http://www.hslgroup.com/2014/hsl-has-the-x-factor-live/. Last accessed 20 Oct

2015.

Andrews, C. (2015) Curious Incident (https://www.thestage.co.uk/tag/the-curious-

incident-of-the-dog-in-the-night-time/). Last accessed 19/10/2015. 13:29

Davis, B. (2009). The Good Old Days. (Image) Available:

http://www.tv.com/shows/the-good-old-days/. Last accessed 13/10/2015.

"Dichroic-prism" by en:User:Cburnett - Own work with Inkscape based on

en:Image:Dichroic-prism.png. Licensed under CC BY-SA 3.0 via Commons -

https://commons.wikimedia.org/wiki/File:Dichroic-prism.svg#/media/File:Dichroic-

prism.svg

Jolley, B. (2015). An Inspector Calls set for triumphant return to Cambridge.

Available: (http://www.cambstimes.co.uk/what-s-

on/theatre/an_inspector_calls_set_for_triumphant_return_to_cambridge_1_42461

71). Last accessed 19/10/2015.

Kupferman, J. Salzberg J, E. (2015) Jewell Technique. Available:

(http://www.stagelightingprimer.com/index.html?slfs-right-frame.html&2) Last

accessed 04/11/2015.

Site Admin. (2014). Music Theatre - Thoroughly Modern Millie.Available:

http://www.waapa.ecu.edu.au/courses-and-admissions/our-

courses/disciplines/music-theatre. Last accessed 26 Oct 2015.

Stinger, T. (2014) War Horse (http://www.musicalberlin.net/musicals/war-horse/).

Last accessed 19/10/2015. 14:02

MH2S07 – Lighting Design Research –

P-14

Appendix

Bailes, B. (2015) Faraday and Modern Performance. 10 October 2015, 14:10. ITV Studios

London

‘Faraday wrote presumably about theatre, where I believe it absolutely applies. Take modern

productions such as The Curious Incident [of the Dog in the Night Time]. It's the best use of

theatre technology I've ever seen and uses a combination of LED screens, projection and

lighting to effectively re-create the story and captivate the audience.’

‘I was aware of the technology, but didn't really consider what was being used until after the

show. If you look at immersive installations, when done right the lighting (and sound etc)

creates a stimulating environment and an emotional reaction within the person experiencing

it. When done badly it's just a bunch of technology in a confusing space.’

It's possible that the TV world has started to ignore the rules, glossy shows such as X-factor go

through phases of going overboard with technology that I personally find distracting. I don't

see it very often, and presume it's less of a problem today.

In my opinion to the detriment of the performance. Indeed, Faraday's words are still as relevant

to this day as they were in 1953. Ignore them at your peril!

Davies, C. (2015) Legacy Lighting Design for Live Events. 13 October 2015, 14:10. –

Skype.

‘Our rigs increased in size predominantly for large audiences to be visually excited, yet not

detract from the performance. The issue we faced was that the band could be clearly heard but

looked like ants to people at the back. By using multiple ParCan rigs we could create all sorts

of interesting patterns to get them visually stimulated if they didn’t have a good view of the

band. That most definitely applied to ‘[Black] Sabbath’ in the arena tours anyway.

Of course we didn’t have moving lights then, but we never wanted to detract from the artists.

The music lead the lights to make the experience better for the audience, not the other way

round. Personally these days I think some companies take the lighting too far, which almost

becomes annoying.’

Davies, C. (2015) The Development of Performance Lighting. 18 October 2015, 10:25.

University of South Wales – Trefforest Campus.

‘It was a strange world back then. No social media. We stayed in our own little world. If you

got a gig with a band you tried to do the best with what the budget would pay for. And we

only had Pars to create something different. As for the 50's there were no lighting, just what

was in the theatre. When you come to my lecture next year all is explained. All the best Clive.’

‘Every show is different. Lights are always there to add to the show or play not to distract. A

well-lit play can really improve the story and add a lot to it. When lighting a band, sometimes

the audience has come to see and hear the group and not be distracted by lots of flashing

lights, while other acts need the action and drama of an exciting light show. For example when

I was the LD for Black Sabbath in the 1970s we had no video screens and the band would tour

MH2S07 – Lighting Design Research –

P-15

the US playing arenas of around 20,000. So I had to create a very visual lighting show that

looked great from the back. So I would use follow spots to light the band and the lighting rig

to create excitement‘.

Raven, B. (2015) The introduction of LED Luminaires [Recorded Conversation]. 9 October

2015, 21:00

‘I quite like that quote and it is absolutely true. If you come out of a play and your main

memory is the lighting then as a piece of drama it has failed. The best lighting is when you

barely notice it. It is slightly different to good ‘sound’ when the ultimate compliment is when

you can’t remember anything about the sound on an event.

With lighting it is different as it has to be more visible by definition but it should also be integral

to the piece. It is no surprise that some of the best lighting I have ever seen has been by

designers like Paule Constable who spend a huge amount of time in the rehearsal room and

are an integral part of the creative team (her work on shows like War Horse and Curious

Incident are perfect examples). The lighting has to complement the play, help tell the story,

explain the time of day, transition in time, add realism to the setting and reflect changes in

mood & tone.

Another example would be Rick Fisher’s lighting and Ian MacNeil’s staging for the current

production of An Inspector Calls….without Rick’s lighting the play wouldn’t have anywhere

near the impact but without the play…the lighting is pointless.’

Valchar, J. (2015) The introduction of LED Luminaires [Recorded Conversation]. 6 October

2015, 15:30. PLASA 2015.

‘When LEDs initially flooded the market and became 'the thing to have' LDs went overboard.

In our latest range we have refined this with the DL range.’