jean rosental (diseñadora de luces)

8/10/2019 Jean Rosental (Diseadora de Luces)

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Boone, Mary Callahan. Jean Rosenthal's Light: Making Visible the Magician Theatre Topics - Volume 7, Number 1, March 1997, pp. 77-92

The Johns Hopkins University Press Mary Callahan Boone - Jean Rosenthal's Light: Making Visible the Magician -Theatre Topics 7:1 Theatre Topics 7.1 (1997) 77-92 Jean Rosenthal's Light: MakingVisible the Magician Mary Callahan Boone Figures As Jean Rosenthal described thenarrow, formulaic conventions of lighting that dominated the theatrical stage as lateas the 1930s, "Comedies were bright; dramas were uncheerful. Day was yellow;night blue. Effects were naive" (55). Rosenthal's use of light revolutionized the artof theatrical lighting, and her work (along with that of Abe Feder and Peggy ClarkKelly) established the specialized area of lighting design. In addition to specificlighting innovations, Rosenthal's ability to create an atmosphere unique to eachshow put her in demand as a Broadway lighting designer. Prior to her death in 1969,she had begun to explore son et lumi re (sound and light) productions as a way tofurther elevate the role of light. However, the cultural, professional, and artisticconcerns that helped produce Rosenthal's innovations also placed limits on them. Inthis essay I pay particular attention to the way gender expectations and ideas aboutthe role of light in theatre production intersect, and how Rosenthal accommodatedthem. By exploring Rosenthal's specific contributions, I also hope to show howtheatrical lighting can be read in relation to the stage meanings it helps to produce.Rosenthal began her career as a lighting designer at a time when...

Influential Designers: LD Jean RosenthalDec 8, 2005 2:12 PM

The premiere issue of Live Design will include something called "Under TheirInfluence," featuring 10 of the most influential people in the world of live design, as picked by our advisory board, the Live Design staff, and readers. You'll have to wait andsee who made the full list, but here's a sneak peek at one: lighting designer JeanRosenthal.

As you may know, there was no lighting designer before Jean Rosenthal. Well, therewas no lighting design credit, anyway, not until she was listed as a lighting designer forher work on Rosalinda on Broadway in 1942. She was one of the first to espouse thatwhat she was doing onstage was art and not electricity, a fact that was underscored byher exceptional work on such shows as The Sound of Music, West Side Story,and Fiddler on the Roof.She also wrote one of the first books on lighting, The Magic ofLight.

"Her book The Magic of Lighthas been as inspiring as the woman herself," sayslighting designer/educator Cindy LiMauro. "Many give her credit for starting the art oflighting design and formalizing it into a professional practice."
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Here's a great anecdote about Rosenthal from Rosco president Stan Miller:

"In 1958 or 59, Jean Rosenthal was lighting a ballet, probably the New York CityBallet. An electrician, perched precariously on a fully extended A ladder, inserted aframe of Roscolene in a light as instructed. Jean quietly advised him that he had the

wrong color. He climbed down, found a sheet marked with the color that she hadrequested, cut a piece and framed it and made his way back up. Jean, not as quietly thistime, advised him that he had made the same mistake again and he was wastingeveryone's time. Once again, he climbed down and showed her that the sheet wasmarked with the number she had specified. She called Rosco and suggested that I cometo the theatre for a chat. I came immediately and quickly determined that we had made amistake and marked the sheets with the wrong number. Now Jean Rosenthal wasdimunitive, maybe 5' or 5'1", but she was definitely not small. That day she toweredover me as she explained strongly the ramifications of our error. The 9-foot electricianat her side reinforced her position. Shaken, I returned to our plant in Brooklyn and madeeveryone aware of the implications of mis-marking colors. It has never happenedagain."

You can learn the identity of the other nine influential artists in the first issue of Live Design, hitting the streets next week. If you have your own choice for an influentialvisual designer, technician, artist, or director in the world of live design, send your picksto [email protected].

Jean Rosenthal is considered one of the pioneers of theatrical lighting design. Sheemerged as a specialist at a time when a show's lighting was usually handled byeither the scene designer or the master electrician. It was during her thirty three yearcareer that the Lighting Designer joined the Scene and Costume Designer as amember of the production team.

Eugenia (Jean) Rosenthal was born in New York City on March 16, 1912. Shewas the daughter of Drs. Pauline (a psychiatrist) and Maurice (an ear, nose andthroat specialist) Rosenthal and attended Manumit School in Pawling, NY and theFriends Seminary in Manhattan. After briefly studying acting and dance at the Neighborhood Playhouse during the 1929-1930 academic year, she became atechnical assistant to Martha Graham, a member of the school's dance faculty. Thiswas the beginning of a life long association with Martha Graham and her dancecompany. Between 1936 and her death in 1969, she designed the lighting for fiftythree dances in the company's repertory. She returned to the NeighborhoodPlayhouse as a lecturer and production advisor during the 1937-38 and 1940-41seasons.

During her three (1930-1933) years at Yale University she studied theatre historywith George Pierce Baker, scene design with Donald Oenslager, costume designwith Frank Bevin, and lighting design with Stanley McCandless. In the spring of1933 she left Yale for New York City where she joined one of the WPA FederalTheatres. By 1935 she had become a technical assistant in Federal Theatre Project891. John Houseman was the producer, Orson Welles the director, Nat Carson thescene designer, and Abe Feder the lighting designer.

When Houseman took a leave of absence from the Federal Theatre in 1936 to produce Leslie Howard's Hamlet , he brought Rosenthal along as the second assistant
mailto:[email protected]:[email protected]:[email protected]:[email protected]


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stage manager in charge of lighting cues. When the man from the rental house, whowas to install the lighting system became ill, Rosenthal became the electricaltechnical director as well as the second assistant stage manager. This is, perhaps, herearliest "lighting" credit.

In 1937 she joined John Houseman and Orson Welles as the production andlighting manager of the Mercury Theatre. Although only credited as "ProductionManager," it is believed that she designed the lighting for the eight productionsstaged by the company. When the Mercury Theatre Players moved to Hollywood to produce Citizen Kane (1941) for RKO, Rosenthal remained in New York City andopened a theatrical supply house: Theatre Production Service, Inc. (TPS) . ThroughTPS she offered a complete design and supply service.

In 1958 she created Jean Rosenthal Associates, a theatrical consulting firm whichwould become involved in at least thirty architectual projects, including the GuthrieTheatre in Minneapolis, the American Shakespeare Festival in Stratford, CN, the

Juilliard School of Music in New York City, and the Los Angeles Music Center'sDorothy B. Chandler Pavilion.

During her career she designed the lighting for over three hundred productions.Her Broadway credits includeWest Side Story (1957),The Sound of Music (1959),

Barefoot in the Park (1963), John Gielgud's Hamlet (starring Richard Burton, 1964), Hello Dolly! (1964), Fiddler on the Roof (1964),The Odd Couple (1965), andCabaret (1966).

She believed her most artistic work was accomplished in the "institutional"theatre -- the dance, opera and drama repertory of the New York City Ballet (1948-

1957), the Martha Graham Dance Company (1934-1969), the American BalletTheatre (1960-1968), the New York City Opera (1950-1954), the Dallas CivicOpera (1957-1969), and the American Shakespeare Festival (1955-1959). These"institutional theatres" gave her more time for experimentation than was possible onthe commercial Broadway stage. For example, the production schedule for theBroadway bound musical: Baker Street (1965), called for only four days of technicaland dress rehearsals before the first preview performance in Toronto.

A number of the designs she created forty years ago for the New York City Ballet are still in the company's repertory. Her plots have been adapted to changes inequipment and audiences expectation, but because the original concepts, specials,

and cue placement have been retained, the program still carries the credit: "Lighting by Jean Rosenthal."

She died, after a long battle with cancer, at the age of 57 on May 1, 1969, tendays after attending the opening of her last creative work: Martha Graham's Archaic

Hours . The last Broadway show to close carrying a "Lighting by Jean Rosenthal"credit was Fiddler on the Roof which ended its 3,242 performance run on July 2,1972, three years after her death.

Jean Rosenthal described Broadway lighting as an attempt to make the actorappear "jewel-like." She achieved this by surrounding the performer with light,

often creating the impression of "light and shade on a stage that contain[d] noshadows." Instruments were mounted on the balcony rail, box booms, side torms (or
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booms), and overhead pipes. Her major contributions were the addition of deeplycolored washes of back and side light to the designer's vocabulary, and an organizedapproach to lighting dance.

In addition to her numerous lighting projects, she designed the sets for three

Broadway shows:Conquering Hero (1961),The Beast in Me (1963), andOn AnOpen Roof (1963) and wrote several articles on lighting and technical production formagazines likeTheatre Arts , Opera News , Musical America and Impulse .

In the late 1950s, Miss Rosenthal began developing plans for a book on lightingdesign. She would dictate the material when she had time. It would be edited andshaped by writer: Lael Wertenbaker, and illustrated by her assistant, MarionKinsella. During the early 60's Jean was constantly in demand, so little work wasdone on the book. In 1968 she was diagonosed with cancer. During her long stays inthe hospital she was finally able to dictate the essential material that would becomethe basis for her final legacy. The Magic of Light , which has long been out-of-print,

was published in 1972.She received the Henrietta Lord Memorial Award from the Yale School of Drama

in 1932, and the Outer Critics Circle Award, during the 1968-1969 season, for hercontribution to stage design.

The Rosenthal Collection

The Wisconsin Center for Film and Theater Research

A collection of her lighting design documents, including light plots, hook-upcharts, cue sheets, and production notes are on file in the Wisconsin Center for Filmand Theatre Research, which is housed in the Archives of the Wisconsin HistoricalSociety, on the campus of the University of Wisconsin in Madison.

Included, among the many shows, are the lighting designs for the Broadway productions ofThe Sound of Music (1959), A Funny Thing Happened on the Way ToThe Forum (1962), and Hole in the Head (1957); the New York City Center presentations of the New York City Opera (1950-1954), New York City CenterDance Theatre (1949), and City Center Light Opera Company (1954-1957). Showsfrom outside the New York City area include the Los Angles productions ofThe

King And I (1958 and 1965); the Chicago Lyric Opera production of I Puritani(1955) and the American Dance Festival at Connecticut College in New London.

The completeness of the files range from a few brief notes, a rough light plotsketched on graph paper and a scribbled hook-up chart to a nearly complete recordof the development of a lighting design. For example,The Sound Of Music filecontain...

the correspondence between Miss Rosenthal and the producers, a copy of Lindsay and Crouse's working script, Oliver Smith's 1/4 inch scenic sketches, the 1/2 inch scaled floor plans and designer's elevations of the set, fabric swatches from Lucinda Ballard's costume designs,
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Miss Rosenthal's rough sectional studies and preliminary layouts, final light plot, torm elevations, equipment list, hook-up chart, focus charts,

magic sheets, and cue sheets. and thank you cards and telegrams from numerous members of the production's

staff and cast.

Several of the New York productions include not only the original Broadwaydesign, but also the cut-downs used by the national company and the bus-and-trucktour. The lighting layouts for several shows, including Baker Street (1965) and A

Funny Thing Happened on the Way to the Forum (1962) were also reduced whenthey were moved into a different Broadway house.

During the 1950s and 60s, most Broadway shows did a short, two or three stop,"try-out" tour before coming in to New York. The front of house hang was usuallymodified at each out-of-town theatre. Some times, as in Baker Street , the changeswere minor: the box boom units were 6x12 Lekos in Boston and Toronto instead ofthe 8x11s specified for New York. Other times the changes were more substantial.The original light plot forWinesburg, Ohio (1957) called for 48 (all 6x12 Lekos)front-of-house units: 24 on the first balcony rail and 12 on each box boom. InBaltimore, 4 lamps were cut, and the remaining 44 units were divided between thesecond balcony (28) and the two box booms (9 each). In New York, according tonotes in the file, the box booms were cut, and the lamps, now down to 38 (28- 6x12Lekos and 10- 1500w 8" KliegLites) were divided between the balcony rail and the booth pipe.

The smallest show in the collection is the 1959 Neighborhood Playhouse's production of Dear Liar , 20 lamps and 4 sections of foot lights controlled on two--six channel Davis Dimmers. The production then went on the road before openingon Broadway. The road plot was very close to what was done at the Playhouse: 22lamps and 4 sections of footlights controlled on one 14 plate road board. The twoadditional lamps, and dimmers, were for specials. When the show opened at the National Theatre on March 17, 1960 there were 58 lamps, 4 sections of foot lights,and 3 sections of border lights controlled on 48--500watt dimmers mastered throughone 14 plate road board. At the Playhouse and on the road, each of the three actingareas were primarily lit by 4 lamps: 2 on the balcony and 2 on the first pipe. At the National Theatre, each area was lit by 12 lamps: 2 on the rail, 2 on each box boom,and 6 on the first electric. An interesting side light: according to the notes in the file,one of the students assigned to Miss Rosenthal's light crew by the NeighborPlayhouse was Dabney Coleman.

The largest production in the collection isTo Broadway With Love . Thisextravaganza was presented in the Texas Pavillion during the 1964 New YorkWorld's Fair. The deeply curved stage had a 74 feet wide proscenium opening. The406 lamps and the 63 sections of 500 watt PAR strips were controlled on 10 road boards with a total of 140 dimmers.

The collection also includes the paper work (repertory light plot, rep hook-upchart, re-plug charts, cue sheets and notes ) for 32 of the works in the 1950-1954repertory of the New York City Opera .


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Among the dance designs included in the collection are those for the American Dance Festival , Connecticut College, New London, CN (1949-1950), the New YorkCity Dance Theatre (1949) which used the New York City Ballet 's repertory plot, the1950 performance of the Ballet Russe de Monte Carlo at the Metropolitan Opera,the Ballet International (1944) and Ruth Page and Jose Limon in Paris (1950).

In addition to lighting the traditional theatrical forms -- drama, musicals, opera,and dance -- she also lit Judy Garland at the Palace (1951), Judy Garland at the

Met (1959), the National Orchestra Association's Christmas Show (1948-1950), theThe Lamb's Club Benefit for the Children's Clinic's Postgraduate Center for

Psychotherapy (1961) and the National Congress of American Industry'sConvention (1950) at the Waldorf-Astoria Hotel.

The earliest lighting design represented in the collection is the from the six showrepertory of the New Opera Company which opened its five week run at theBroadway Theatre in November 1942. The latest show represented is Happly Ever

After which opened in March 1966.The files for at least three Broadway shows,West Side Story (1957), John

Gielgud's Hamlet (starring Richard Burton, 1964), and Dark At The Top of the Stairs (1957) are empty. A note in each folder, dated January 30, 1969, says that thedocuments were "Returned to JR." Although the paperwork for the Broadway production of Dark...Stairs has been returned, the light plot, hook-up chart, and cuesheets for the bus and truck company are still in the collection.

There are also files for several Broadway shows which do not carry the "Lighting by Jean Rosenthal" credit. The110 In The Shade (1963: Lighting by John Harvey)

folder contains only the script and cue sheets. TheShe Loves Me (1962: Scenery andlighting by William and Jean Eckart) file contains a revised hook-up chart and cuesheets and numerous production notes. Miss Rosenthal was apparently brought in tore-hang and re-cue the show, but no reason is given as to why.

One of the "Broadway" shows in the collection does not appear in the listing ofMiss Rosenthal's design credits inThe Magic of Light . The show is Hot September(1965), a musical adaption of William Inge's Picnic which closed out of town inBoston.

The collection does present a number of problems. Many of the papers are not

dated, and there is often more than one hook-up chart or cue sheet making it difficultto determine which was the final design, and which was the preliminary sketch. Thecolor media used in most of the early productions was Brigham gel, and whenRosco gel was chosen, it was identified by the old numbers, "No Color Pink" was#60, not #225. By the late 1950's she began using both Cinemoid (where "PaleSalmon" was #553) and Roscolene (where "No Color Pink" was #9-60 instead of#825) Most of the shows were controlled on four to six road (or "piano") boards.The typical "Broadway Play" had 42- 3000 watt dimmers on three boards, and 12-6000 watt plates on the fourth. A "Broadway musical" was controlled on 70- 3000watt dimmers, on five boards, and 12-6000 watt units on the sixth.

The collection, which is contained in 41 document boxes, does not contain all ofMs. Rosenthal's work. The productions included were presented between 1942 and


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1966. The most important works missing from the collection are her designs for the Martha Graham Dance Company and the New York City Ballet .

Jean Rosenthal es considerada uno de los pioneros del diseo de iluminacinteatral. Sali como un especialista en un momento en un espectculo de iluminacinfue generalmente bien manejado por el diseador de escena o el electricista maestro.Fue durante su carrera de treinta y tres aos que el diseador de iluminacin se unia la escena y diseador de vestuario como miembro del equipo de produccin.

Eugenia (Jean) Rosenthal naci en Nueva York el 16 de marzo de 1912. Ella erala hija de los Dres. Pauline (un psiquiatra) y Maurice (odo, nariz y garganta),Rosenthal y asisti a la Escuela en manumitirlos Pawling, Nueva York y los Amigosdel Seminario, en Manhattan. Despus de una breve estudiando actuacin y danzaen el Neighborhood Playhouse durante el ao acadmico 1929-1930, se convirti en

un asistente tcnico de Martha Graham, miembro de la facultad de danza de laescuela. Este fue el comienzo de una vida larga asociacin con Martha Graham y sucompaa de baile. Entre 1936 y su muerte en 1969, ella dise la iluminacin decincuenta tres bailes en el repertorio de la compaa. Regres a la NeighborhoodPlayhouse como profesor y asesor de produccin durante la temporada 1937-38 y1940-41.

Durante sus tres (1930-1933) aos en la Universidad de Yale, estudi historia delteatro con George Pierce Baker, diseo de escena con Donald Oenslager, diseo devestuario con Frank Bevin, y el diseo de iluminacin con Stanley McCandless. Enla primavera de 1933 dej de Yale de Nueva York, donde se uni a uno de la

Federacin de Teatro de WPA. En 1935 se haba convertido en un asistente tcnicoen el Federal Theatre Project 891. John Houseman era el productor, el directorOrson Welles, Nat Carson, el diseador de la escena, y Abe Feder, el diseador deiluminacin.

Cuando Houseman tom una licencia de ausencia del Teatro Federal en 1936 para producir Leslie Howard's Hamlet , Trajo a lo largo de Rosenthal como el segundoasistente de director de escena a cargo de la iluminacin de las seales. Cuando elhombre de la casa de alquiler, que iba a instalar el sistema de iluminacin seenferm, Rosenthal se convirti en el director tcnico elctricas, as como lasegunda asistente de director de escena. Esta es, quiz, antes de su "iluminacin" decrdito.

En 1937 se uni a John Houseman y Orson Welles como la produccin y directorde iluminacin del Teatro Mercury. Aunque slo se acredita como "Gerente deProduccin", se cree que ella dise la iluminacin de las ocho producciones en laempresa. Cuando los jugadores Mercury Theatre se mud a Hollywood para producir Ciudadano Kane (1941) para la RKO, Rosenthal se qued en Nueva Yorky abri una casa de la oferta de teatro: Teatro de Servicio de Produccin, Inc. (TPS).A travs de TPS que ofrece un diseo completo y servicio de suministro.

En 1958 se cre Jean Rosenthal Associates, una firma de consultora teatral queestaran implicados en al menos treinta proyectos arquitectnicos, incluyendo elTeatro Guthrie en Minneapolis, el Festival de Shakespeare en Stratford
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estadounidense, CN, la Juilliard School of Music de Nueva York, y Dorothy LosAngeles Music Center B. Chandler Pavillion.

Durante su carrera dise la iluminacin de ms de trescientas producciones. SuBroadway incluyenWest Side Story (1957),The Sound of Music (1959), Descalzos

en el parque (1963), John Gielgud's Hamlet (protagonizada por Richard Burton,1964), Hello Dolly! (1964), El violinista en el tejado (1964),The Odd Couple(1965), yCabaret (1966).

Ella crea que su obra ms artstica se llev a cabo en el "institucional" de teatro -la danza, la pera y el repertorio de teatro de la New York City Ballet (1948-1957),la Martha Graham Dance Company (1934-1969), la American Ballet Theatre (1960-1968), la New York City Opera (1950-1954), la Dallas Civic Opera (1957-1969), y la American Shakespeare Festival (1955-1959). Estos teatros"institucional" le dio ms tiempo para la experimentacin lo que era posible en losescenarios de Broadway comerciales. Por ejemplo, el programa de produccin para

el musical de Broadway de la envolvente: Baker Street (1965), llam a slo cuatrodas de tcnicas prcticas y ensayos antes de la funcin primer adelanto en Toronto.

Algunos de los diseos que cre hace cuarenta aos para la New York City Ballet todava en el repertorio de la compaa. Sus parcelas se han adaptado a los cambiosen el equipo y el pblico espera, sino porque los conceptos originales, especiales, yla colocacin de referencia se han mantenido, el programa todava lleva el crdito:"La iluminacin de Jean Rosenthal."

Ella muri, despus de una larga batalla con el cncer, a la edad de 57 aos el 1de mayo de 1969, diez das despus de asistir a la inauguracin de su ltimo trabajo

creativo: Martha Graham Horas Arcaico . El ltimo espectculo de Broadway paracerrar llevar a una "iluminacin de Jean Rosenthal," el crdito era El violinista en eltejado 3242 que puso fin a su rendimiento ejecutar el 2 de julio de 1972, tres aosdespus de su muerte.

Jean Rosenthal describe iluminacin de Broadway como un intento de hacer queel actor aparecer "joya". Lo consigui, al rodear el artista con la luz, creando amenudo la impresin de "luz y sombra en un escenario que contienen [d] sinsombras." Los instrumentos fueron montados en la barandilla del balcn, los augesde caja, Torms lado (o barreras), y las tuberas generales. Sus mayorescontribuciones fueron la adicin de lava profundamente color y la luz de la espalda

de un lado al vocabulario del diseador, y un enfoque organizado para la danza deiluminacin.

Adems de sus numerosos proyectos de iluminacin, ella dise los decorados para tres espectculos de Broadway:Conquering Hero (1961),The Beast in Me (1963), y En un techo abierto (1963) y escribi varios artculos de iluminacin ytcnicas de produccin para revistas como Artes de Teatro , Opera News , American

Musical y Impulse .

A finales de 1950, Miss Rosenthal, comenz a desarrollar planes para un librosobre el diseo de la iluminacin. Se dictara el material cuando haba tiempo. Sera

editado y forma por el escritor: Lael Wertenbaker, e ilustrado por su asistente,Marion Kinsella. Durante los primeros aos 60, Jean constantemente en la demanda,
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el trabajo tan poco se ha hecho en el libro. En 1968 fue diagonosed con cncer.Durante su larga estancia en el hospital fue finalmente capaz de dictar el materialesencial que se convertira en la base de su legado final. La Magia de la Luz , Que hasido durante mucho tiempo fuera de la impresin, se public en 1972.

Recibi el Seor Henrietta Memorial Award de la Yale School of Drama en 1932,y el premio Outer Critics Circle, durante la temporada 1968-1969, por sucontribucin a la etapa de diseo.

La coleccin de Rosenthal

El Centro de Wisconsin para el cine y el teatro de Investigacin

Una coleccin de sus documentos de diseo de iluminacin, incluyendo parcelasde luz, hook-up grficos, hojas de referencia, y las notas de produccin se

encuentran archivados en la De Wisconsin Centro de Cine y Teatro deInvestigacin, Que se encuentra en los Archivos de la Sociedad Histrica deWisconsin, en el campus de la Universidad de Wisconsin en Madison.

Incluido, entre los muchos espectculos, son los diseos de iluminacin para las producciones de BroadwayThe Sound of Music (1959), A funny thing happened onthe way to the Forum (1962), y Agujero en la cabeza (1957); la ciudad de NuevaYork Centro de presentaciones de la pera de Nueva York (1950-1954), New YorkCity Center Dance Theatre (1949), y Centro de la ciudad de luz Opera Company(1954-1957). Muestra de fuera de la ciudad de Nueva York son las producciones deLos Angles de El rey y yo (1958 y 1965), la produccin de la pera Lrica de

Chicago de I Puritani (1955) y la American Dance Festival en Connecticut Collegeen New London.

La integridad de los archivos varan de unas breves notas, una trama spera luzdibujado en papel cuadriculado y garabate hook-up grfico a un registro casicompleto de la elaboracin de un diseo de iluminacin. Por ejemplo,The Sound Of

Music archivo contiene ...

la correspondencia entre la seorita Rosenthal y los productores, de una copia de Lindsay Crouse y el guin de trabajo, el 1 / Oliver Smith 4 de pulgada bocetos escnicos, el 1 / 2 pulgada de los planos a escala y las elevaciones del diseador del juego, muestras de tejido de los diseos de vestuario Lucinda Ballard, Estudios en bruto Miss Rosenthal seccionales y diseos preliminares, parcela luz final, elevaciones Torm, lista de equipamiento, Hook-Up grfico,

grficos de enfoque, las hojas de la magia, y las hojas de referencia. y blocs de notas y telegramas de numerosos miembros del personal de la

produccin y reparto.

Varias de las producciones de Nueva York no slo incluyen el diseo original deBroadway, sino tambin el corte bajas utilizados por la empresa nacional y elautobs-y-gira del camin. Los diseos de iluminacin para espectculos varios,incluidos los Baker Street (1965) y Algo extrao sucedi en el camino hacia el Foro (1962) tambin se redujeron cuando se mud a una casa de Broadway diferentes.
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Durante la dcada de 1950 y 60, la mayora de los espectculos de Broadway hizoun corto, dos o tres paradas, "try-out" visita antes de venir a Nueva York. El frentede la casa cuelgan por lo general en cada vez fuera de la ciudad de teatro. Algunasveces, como en Baker Street , Los cambios fueron menores: las unidades boom boxfueron 6x12 Lekos en Boston y Toronto, en lugar de la 8x11s especificado para

Nueva York. Otras veces, los cambios fueron ms sustanciales. La trama original dela luzWinesburgo, Ohio, (1957) pidi 48 (todos los Lekos 6x12) frente de unidadesde vivienda: 24 en la barandilla del balcn primero y 12 el auge de cada caja. EnBaltimore, 4 lmparas fueron cortadas, y los restantes 44 unidades se dividieronentre el balcn del segundo (28) y los dos auges cuadro (9 cada uno). En NuevaYork, de acuerdo con las notas en el archivo, el cuadro de plumas fueron cortadas, ylas luces, ahora ha bajado a 38 (28 - 6x12 Lekos y 10 - 1500w 8 "KliegLites) sedividieron entre la barandilla del balcn y el tubo de cabina.

Los ms pequeos muestran en la coleccin es la produccin de la Playhouse1959 Barrio de Dear Liar , 20 lmparas y 4 secciones de luces controlado con los pies en dos a seis canales de Davis Dimmer. La produccin entonces se pusieron encamino antes de la apertura en Broadway. La trama carretera estaba muy cerca de loque se hizo en el teatro: 22 lmparas y 4 secciones de candilejas controlada en un 14 placas bordo de ruta. Los dos lmparas adicionales, y los reguladores, fueron losespeciales. Cuando el espectculo se estren en el Teatro Nacional de 17 de marzode 1960 haba 58 lmparas, 4 secciones de las luces de pie, y 3 secciones de lasluces de control en la frontera 48 - reguladores 500watt dominar a travs de una placa de 14 a bordo de ruta. En el teatro y en el camino, cada una de las tres reas deactuacin eran principalmente iluminado por 4 lmparas: 2 en el balcn y 2 en la primera tubera. En el Teatro Nacional, cada rea iluminada por 12 lmparas: 2 en la barandilla, 2 en cada cuadro de auge, y 6 en la primera elctrica. Una luz de ladointeresante: de acuerdo con las notas en el archivo, uno de los estudiantes asignadosa la tripulacin de luz de la seorita de Rosenthal por el teatro vecino fue DabneyColeman.

La mayor produccin de la coleccin es A Broadway con Amor . Este espectculofue presentado en el Pabelln de Texas durante la Feria de 1964 Mundial de NuevaYork. La etapa profundamente curvado haba apertura proscenio de 74 pies deancho. Las 406 lmparas y las 63 secciones de 500 tiras PAR vatios fueroncontrolados en 10 placas de carretera con un total de 140 dimmers.

La coleccin tambin incluye los trabajos de papel (luz solar repertorio, ganchode re-up grfico, re-conectar grficos, hojas de referencia y notas) para 32 de lasobras en el repertorio del 1950-1954 de la New York City Opera .

Entre la danza de los diseos incluidos en la coleccin son los de la American Dance Festival , Connecticut College, New London, NC (1949-1950), la New YorkCity Dance Theatre (1949) que utilizaron el New York City Ballet 's parcelarepertorio, el 1950 el rendimiento de la Ballet Ruso de Monte Carlo en elMetropolitan Opera, el Internacional de Ballet (1944) y Ruth Page y Jos Limn, en

Pars (1950).

Adems de la iluminacin de las formas tradicionales de teatro - teatro, musicales,pera y danza - que tambin encendi Judy Garland en el Palacio de (1951), JudyGarland en el Met (1959), la De Navidad Orquesta Nacional de la Asociacin de


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Show (1948-1950), la El Club de los cannigos de beneficios para Clnica de los Nios de Postgrado del Centro de Psicoterapia (1961) y laCongreso Nacional de laConvencin Americana de la Industria (1950) en el Waldorf-Astoria Hotel.

El primer diseo de la iluminacin representados en la coleccin es la de mostrar

los seis repertorio de la New Opera Company que abri sus cinco semanas en elTeatro Broadway en noviembre de 1942. El ltimo espectculo, es Happly Ever After que se abri en marzo de 1966.

Los archivos de al menos tres espectculos de Broadway,West Side Story (1957),John Gielgud's Hamlet (protagonizada por Richard Burton, 1964), yOscuro en elalto de la escalera (1957) estn vacos. Una nota en cada carpeta, de fecha 30 deenero 1969, dice que los documentos eran "volvi a JR." Aunque los trmites para la produccin de Broadway de los Escaleras oscuras ... ha sido devuelto, la trama deluz, hook-up grfico y hojas de referencia para el autobs y camin de la empresatodava se encuentran en la coleccin.

Tambin hay archivos de varios espectculos de Broadway que no llevan la"iluminacin de Jean Rosenthal" de crdito. El110 in the Shade (1963: Iluminacin por John Harvey) carpeta slo contiene el guin y las hojas de referencia. ElShe Loves Me (1962: Paisaje y la iluminacin de Guillermo y Jean Eckart) contiene ungancho revisado hasta grfico y hojas de referencia y de numerosas notas de produccin. Miss Rosenthal fue aparentemente llevado a volver a colgar y volver amostrar la seal, pero no se da razn de por qu.

Uno de los "Broadway" muestra de la coleccin no aparece en la lista de crditosde diseo en Miss Rosenthal La Magia de la Luz . El espectculo es Hot septiembre

(1965), una adaptacin musical de William Inge de Picnic que se cerr fuera de laciudad de Boston.

La coleccin se presenta una serie de problemas. Muchos de los documentos notienen fecha, y con frecuencia hay ms de un hook-up grfico o una hoja dereferencia por lo que es difcil determinar cul fue el diseo final, y que fue el primer esbozo. Los medios de comunicacin de color utilizados en la mayora de las primeras producciones se Brigham gel, y cuando gel Rosco fue elegido, fueidentificado por los nmeros antiguos, "No Color Pink" fue # 60, # 225, no. Porfines de 1950 comenz a utilizar tanto Cinemoid (donde "Pale salmn" fue la # 553)y Roscolene (donde "n de color rosa", fue # 9-60 en lugar de # 825) La mayor parte

de la muestra fueron controlados en cinco y cincuenta y seis por carretera ( o"piano") juntas. El tpico "Broadway" Play "haba 42 hasta 3000 vatios reguladoresen tres placas, y placas 12-6000 vatios en el cuarto. A "musical de Broadway", fuecontrolado en 70-3000 dimmers vatios, en cinco consejos, 12-6000 y unidades devatios en el sexto.

La coleccin, que est contenida en 41 cajas de documentos, no contiene toda laobra de la Sra. Rosenthal. Las producciones incluyen, fueron presentados entre 1942y 1966. Las obras ms importante que falta en la coleccin son sus diseos para la

Martha Graham Dance Company y el New York City Ballet .

by Carol Fippin
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Jean Rosenthal was a pioneer in theater lighting design. Light is quite tactile to me. It has

shape and dimension. Inspired by the paintings of Rembrandt and Monet, Rosenthal mastered

the technical and poetic aspects of stage lighting. She used lights form, color, and movement to

express the intention of a performance. Carefully integrating light into the overall texture of a

piece, Rosenthal believed that the most successful and brilliant work a lighting designer can dois usually the least noticeable.

Born Eugenie Rosenthal in New York City, on March 16, 1912, she was the only daughter and

second of three children of Pauline (Scharfman) and Morris Rosenthal. Her parents, who

emigrated from Romania in the 1880s, were both children of Jewish tailors. An unconventional

family for the time, both parents worked as medical doctors, her father as an ear, nose, and

throat specialist, her mother, as a psychiatrist.

Following her mothers progressive educational beliefs, Jean and her brothers attended theEthical Culture School in the Bronx and later enrolled in the experimental Manumit School in

Pawling, New York. With good humor, Rosenthal described the unorthodox yet holistic

education she received at Manumit: We... learned how to enter a chicken coop without scaring

the chickens. Very valuable thing to know when you work in th e theatre. For high school,

Rosenthal studied at the Friends Seminary in Manhattan, a more formal educational

environment, where she had a difficult time fitting in. At age sixteen, Rosenthal barely graduated

from the school.

With her grades too low for her to be accepted at a prestigious college, Rosenthal enrolled inthe Neighborhood Playhouse School of the Theatre in Manhattan. She was soon captivated by

the experimental dance work of one faculty member, Martha Graham. Between 1928 and 1930,

Rosenthal immersed herself in Grahams work, doing all aspects of production and technical

assistance. In order to get more rigorous technical training, Rosenthal enrolled in the Yale

University School of Drama from 1931 to 1934. There, she studied closely with the well-known

stage lighting instructor Stanley McCandless. In 1932, Rosenthal received the Henrietta Lord

Memorial Award for her work at Yale.

Rosenthals first professional job was in 1935 as production supervisor for a WPA theaterproject in New York City. In this setting, she worked with John Houseman and Orson Welles

and, in 1937, became a production assistant for Welless Mercury Theatre. During Welless

production of Julius Caesar in 1937, Rosenthal made a name for herself as an inventive lighting

designer, bringing her a succession of jobs on Broadway. To supplement this production work,

Rosenthal founded her own company in 1940, the Theatre Production Service, which ran a

mail-order catalog for theatrical equipment.

Rosenthal did the stage lighting for a number of well-known Broadway plays and musicals, such

as West Side Story (1957), Becket (1960), Hello, Dolly! (1964), Hamlet (1964), Fiddler on theRoof (1964), The Odd Couple (1965), and Cabaret (1966). She is most famous for her


13/25

unconventional lighting of dance and opera performances, including long-term collaborations

with Gian Carlo Menotti, the New York City Ballet and its predecessor the Ballet Society, Martha

Graham, and the New York City Opera. Rosenthal also worked as an illumination, theater, and

restoration consultant, assisting on such projects as the Pan-American terminal at the John F.

Kennedy Airport in New York, the Los Angeles Music Center, the American ShakespeareFestival Theater in Connecticut, as well as theaters in Canada and Australia.

A small, dark-haired woman with large blue eyes, Rosenthal confronted the sexism of her male-

dominated profession by being very courteous, commonly referring to her crew of electricians

as darling and honey. She spent her free time in the compa ny of close friends, disliking the

more formal social life of cocktail parties. A lifelong New Yorker, Rosenthal shared her

apartment, as well as her home on Marthas Vineyard, with artist Marion Kinsella.

Throughout her career, Rosenthal favored dance performances, particularly the abstract worksof Martha Graham. In contrast to Broadway musicals and plays, which required a relatively

standardized lighting design, Grahams dances allowed for imaginative and experimental

illumination. Rosenthal used dramatic side lighting, giving dancers a sculptural quality. She

made Grahams performances a professional priority: To do one or two new works for Martha a

year was a part of my life and a renewal of my own interior spirit. In the last weeks of her life,

suffering from cancer and confined to a wheelchair, Rosenthal designed the lighting for her final

Graham piece. Until her death in New York City, on May l, 1969, Rosenthal lived a lifetime in

light.

by Carol Fippin

Jean Rosenthal was a pioneer in theater lighting design. Light is quite tactile to me. It has

shape and dimension. Inspired by the paintings of Rembrandt and Monet, Rosenthal mastered

the technical and poetic aspects of stage light ing. She used lights form, color, and movement to

express the intention of a performance. Carefully integrating light into the overall texture of a

piece, Rosenthal believed that the most successful and brilliant work a lighting designer can do

is usuall y the least noticeable.

Born Eugenie Rosenthal in New York City, on March 16, 1912, she was the only daughter and

second of three children of Pauline (Scharfman) and Morris Rosenthal. Her parents, who

emigrated from Romania in the 1880s, were both children of Jewish tailors. An unconventional

family for the time, both parents worked as medical doctors, her father as an ear, nose, and

throat specialist, her mother, as a psychiatrist.

Following her mothers progressive educational beliefs, Jean and her bro thers attended the

Ethical Culture School in the Bronx and later enrolled in the experimental Manumit School in

Pawling, New York. With good humor, Rosenthal described the unorthodox yet holistic
http://jwa.org/encyclopedia/author/fippin-carolhttp://jwa.org/encyclopedia/author/fippin-carolhttp://jwa.org/encyclopedia/author/fippin-carolhttp://jwa.org/encyclopedia/author/fippin-carol


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education she received at Manumit: We... learned how to ent er a chicken coop without scaring

the chickens. Very valuable thing to know when you work in the theatre. For high school,

Rosenthal studied at the Friends Seminary in Manhattan, a more formal educational

environment, where she had a difficult time fitting in. At age sixteen, Rosenthal barely graduated

from the school.

With her grades too low for her to be accepted at a prestigious college, Rosenthal enrolled in

the Neighborhood Playhouse School of the Theatre in Manhattan. She was soon captivated by

the experimental dance work of one faculty member, Martha Graham. Between 1928 and 1930,

Rosenthal immersed herself in Grahams work, doing all aspects of production and technical

assistance. In order to get more rigorous technical training, Rosenthal enrolled in the Yale

University School of Drama from 1931 to 1934. There, she studied closely with the well-known

stage lighting instructor Stanley McCandless. In 1932, Rosenthal received the Henrietta Lord

Memorial Award for her work at Yale.

Rosenthals first p rofessional job was in 1935 as production supervisor for a WPA theater

project in New York City. In this setting, she worked with John Houseman and Orson Welles

and, in 1937, became a production assistant for Welless Mercury Theatre. During Welless

production of Julius Caesar in 1937, Rosenthal made a name for herself as an inventive lighting

designer, bringing her a succession of jobs on Broadway. To supplement this production work,

Rosenthal founded her own company in 1940, the Theatre Production Service, which ran a

mail-order catalog for theatrical equipment.

Rosenthal did the stage lighting for a number of well-known Broadway plays and musicals, such

as West Side Story (1957), Becket (1960), Hello, Dolly! (1964), Hamlet (1964), Fiddler on the

Roof (1964), The Odd Couple (1965), and Cabaret (1966). She is most famous for her

unconventional lighting of dance and opera performances, including long-term collaborations

with Gian Carlo Menotti, the New York City Ballet and its predecessor the Ballet Society, Martha

Graham, and the New York City Opera. Rosenthal also worked as an illumination, theater, and

restoration consultant, assisting on such projects as the Pan-American terminal at the John F.

Kennedy Airport in New York, the Los Angeles Music Center, the American Shakespeare

Festival Theater in Connecticut, as well as theaters in Canada and Australia.

A small, dark-haired woman with large blue eyes, Rosenthal confronted the sexism of her male-

dominated profession by being very courteous, commonly referring to her crew of electricians

as darling and honey. She spent her free time in the company of close friends, disliking the

more formal social life of cocktail parties. A lifelong New Yorker, Rosenthal shared her

apartment, as well as her home on Mar thas Vineyard, with artist Marion Kinsella.

Throughout her career, Rosenthal favored dance performances, particularly the abstract works

of Martha Graham. In contrast to Broadway musicals and plays, which required a relativelystandardized lighting desig n, Grahams dances allowed for imaginative and experimental


15/25

illumination. Rosenthal used dramatic side lighting, giving dancers a sculptural quality. She

made Grahams performances a professional priority: To do one or two new works for Martha a

year was a part of my life and a renewal of my own interior spirit. In the last weeks of her life,

suffering from cancer and confined to a wheelchair, Rosenthal designed the lighting for her final

Graham piece. Until her death in New York City, on May l, 1969, Ros enthal lived a lifetime inlight.

A Photo Essay on Lightfrom

The M agic of L ight by

Jean Rosenthal and Lael WertenbakerPhotography by Steven A. Sint

Edited by Marion KinsellaLighting equipment courtsey of Kliegl Brothers

The following photo essay was shot on a miniature stage (scale: two inches to onefoot) using small versions of the fresnel and ellipsoidal spotlights. The figures aresculptor's scale-model manikins. The essay is preceded by a mini light plot.

The essay was designed to show in simple terms how light coming from thestandard theatre lighting positions will look when focused to light an actor in agiven area on the stage. The mini light plot is a ground plan showing where the light pipes and instruments are hanging in relation to the stage. The plot also has on it anelevation of one of the tormentor pipes (or "booms," as they are sometimes called)for side lighting, and the ground plan of the tormentor positions used in the photoessay.

Each of the photo essays will refer back to the mini light plot for position of theinstrument used. Through the use of this reference, the logic of why instruments are positioned as they are to achieve the desired angle and effect will become evident.

[I have added a number of bracketed comments based on either my personalexperience or the study of Miss Rosenthal's work archived with the Wisconsin

Historical Society located at the University of Wisconsin in Madison. I have foundthe "Photo Essay on Light" to be an excellent teaching tool. The following link willopen the mini light plot in it's own browser window. -LW ]
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Figure 1

No.2 pipe diagonal x-lights. Fresnellamps no. 1 and no. 4 on a 45-degreeangle cross-focus to center stage. Bothlamps are on half focus. [No. 2 Pipe 1- 4]

[ Di agonal x-li ght will produceadequate, although shadow filled,illumination. The addition of alittle front light from the Cove orRail position will improve theaudience's ability to read theactor's face. See Figure 22 Twoeight inch fresnels at each end ofthe Pipe should light the full widthof the bay. Additional fresnels

placed in the second, third and fourth bay can create a full stagecross wash. -LW]

Figure 2

No. 1 pipe ends. Ellipsoidal lamps no.1 and no. 5 are focused diagonally tocenter stage, and both are shutteredupstage and downstage to stay insidethe first bay. The onstage, or bottom,edge of each light has been squaredoff on the shutters to keep the floor

pattern tidy. [No. 1 Pipe 1 - 5][Ellipsoidals make it possible to

accurately control the beam oflight. Ellipsoidal Pipe Ends areoften used to light an actor who isonly a couple of feet from the set.Two 6x12 ellipsoidals at each endof the Pipe should cross light the

full width of the bay. -LW]

Figure 3

Backlight. Ellipsoidal backlight fromthe no. 4 pipe center position, on sharpfocus. [No. 4 Pipe Center]

[ Backlight high lights the headand shoulders and can be used to

separate the actor from hisbackground. From the front,backlight, like downlight createsmatching patterns of parallelbeams. Four 6x12 ellipsoidalscould backlight the entire width ofthe bay. -LW]
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Figure 4

Fresnel backlight from the same no. 4 pipe center position, on half focus.[No. 4 Pipe Center]

[Notice the soft edge of the floor pattern. -LW]

Figure 5

Combination showing no. 2 pipefresnel x-light (lamps no. 2 and no. 3)and no. 4 pipe fresnel backlight, allfocused to downstage center, all onhalf focus.[No. 2 Pipe 2 - 3, No. 4Pipe Center]

[Again, cross and backlight will produce adequate, but shadow filled, illumination. The addition oa little front light from the Cove orRail position will improve theaudience's ability to read theactor's face. The Second Pi pe

fresnels, lamps 2 and 3, are on a sharp 60-degree angle cross-focusto center stage. See Figure 22

Figure 6

Downlights. No. 1 pipe ellipsoidallamps no. 2 and no. 4. The focus isstraight down and sharp. Thedownlight can be very dramatic but isnot very good for faces. Viewed fromthe front, downlights create matching patterns of parallel beams. [No. 1 Pipe2 - 4]

[The three downlights on theF ir st Pipe can be worked togetherto create an evenly spaced wash,or controlled individually todevelop a grid of specials. Twelvelamps, three per bay in four bays,can create a full stage grid. This

pattern is seen in most of herdance plots. -LW]


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Figure 7

In order to show the comparison ofcontrol of the light beam in anellipsoidal with the ambiant haze lightof a fresnel, we have placed twofigures on the stage. One figure is inthe center of the light and the other is just outside the ring of light. Althoughthe photograph exaggerates thesituation a little, it tells the storyclearly. InFigure 7 we have anellipsoidal downlight on sharp focus,and we cannot see the second figure atall. [No. 1 Pipe 3]

Figure 8

In Figure 8 we have replaced theellipsoidal with a fresnel, and thesecond figure has become visible inthe ambiant haze of light, even thoughthe fresnel is also on sharp focus. Bothlamps are from the no. 1 pipe no. 3 position.[No. 1 Pipe 3]

Figure 9

Frontlight. An ellipsoidal from thecenter of the ceiling cove, or second balcony position, focused todownstage center. Upstage theshuttering is off the backdrop;downstage it is to the edge of thestage, and the sides are squared off fora cleaner floor pattern. By itself, thisfrontlight gives a very flat quality tothe figure, even when x-focused, but itis good for seeing eyes in faces. [CoveCenter]

[Because very few Broadwayhouses had Cove positions in the50s and 60s, Frontlight lampswere usually mounted on theBalcony Rail . This meant that notonly was the actor's face brightlylit, but so was the scenery behindhim. -LW]


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Figure 10

Box lights. An ellipsoidal from the box-right position. In the shuttering ithas been cut off the right proscenium,the upstage drop, and the edge of thestage downstage, which would includestaying off the proscenium on stageleft. [Box Right]

[Three 6x12 ellipsoidals should give a full stage wash. -LW]

Figure 11

An ellipsoidal from the box left position combined with a no. 2 pipefresnel (lamp no. 2) focused todownstage center. [Box Left, No. 2Pipe 2]

[The fresnel side light from theSecond Pi pe adds depth, but some

fill from either stage right or the front is still needed. -LW]

Figure 12

Torm x-light. No. 1 torm left, lampno. 3. An ellipsoidal focused straightacross, covering the stage for thefigure from stage right to stage left, orfull x-stage coverage. [No. 1 TormLeft 3]

This is the basic side light position for dance. In a musical ordrama, this instrument couldrepresent a rising (or setting) sun.

Fill light could come from the stage right torm. -LW]

Figure 13

Torm x-light. From both no. 1 tormleft, lamp no. 3, and no. 1 torm right,lamp no. 3. Both are focused for headhigh at center and give full x-stagecoverage. [No. 1 Torm Left & Right3]

[This has become the standardmounting position for lightingdance. Compare the mid-tormcross light with the high side light

from the F ir st Pipe pipe ends. See Figure 2. -LW]


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Figure 14

Low x-light, or "shinbuster." No. 1torm left, ellipsoidal lamp no. 4,focused straight across the stage andshuttered both upstage and downstageoff the opposite, masking legs. It isalso shuttered off the floor with the bottom of the light, making the beaminvisible until someone moves into it.[No. 1 Torm Left 4]

[Like the mid-torm cross light,the shinbuster is one of the main

stays of a dance lightingdesigner's vocabulary -LW]

Figure 15

Uplight. Ellipsoidals from no. 1 tormsleft and right, lamps no. 4. They arefocused to head high at center stage.There is no shuttering upstage, and thelight has not been shuttered off thefloor. The only cuts are off thedownstage masking legs (wings)opposite each lamp. [No. 1 Torm Left& Right 4]

Figure 16

A combination of uplight from no. 1torm left no. 4 ellipsoidal and a hightorm x-light from no. 1 torm right no.1 ellipsoidal. The high torm lamp isshuttered off both the upstage anddownstage masking legs. The stageright, or onstage, edge of the light has been shuttered to square off the pattern as we see it on the floor. [No 1Torm Left 4, No. 1 Torm Right 1]

[The dancers are moving intothe stage right light, so the stageleft shin buster is providing filllight. As an alternative, the high

side light could come from anellipsoidal hung on the right endof the F ir st Pipe . -LW]


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Figure 17

High torm diagonals. Ellipsoidals inthe first and second bay stage left, no.1 torm left no. 1 ellipsoidal and no. 2torm left no. 1 ellipsoidal . Focus is tocenter and covers the figure from leftto center stage. [No. 1 Torm Left 1, No. 2 Torm Left 1]

[A second ellipsoidal, focusedto the center line could be addedto light the dancers from center to

stage right. A similar effect couldbe produced with Pipe Ends .

Notice that each bay has its own set of Torms . Most dance programs were done with fourbays requiring a minimum of eightbooms. -LW]

Figure 18

To the high torm diagonal ellipsoidalswe add a midtorm fresnel x-light inthe first bay, no. 1 torm left no. 2fresnel. The addition of the fresnel inthe first bay gives more distance andseparation to the two figures. Thefresnel is focused straight across for

full x-stage coverage in the first bay.[No. 1 Torm Left 1 - 2, No. 2 TormLeft 1]

Figure 19

To the high torm diagonals (No. 1torm left, no. 1 ellipsoidal and no. 2fresnel. No. 2 torm left, no. 1ellipsoidal) we add the box boom leftellipsoidal. (See Figures 10, 11, 17 and 18.) [Box Left, No. 1 Torm Left 1

- 2, No. 2 Torm Left 1][The addition of the diagonal

front light from the Box B oom will fill in some of the shadows.. -LW]
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Figure 20

Combination: Ellipsoidal x-light. No.1 torm left no. 3 ellipsoidal, no. 1 tormright no. 3 ellipsoidal. Fresnel x-light. No. 2 pipe no. 1 and no. 4 fresnels. Allfocused to center stage. (See Figures 1 and 13.) [No. 1 Torm Left & Right 3, No. 2 Pipe 1 - 4]

[Some front light from the Cove or Balcony Rail would help theaudience see the actor's face. -

LW]

Figure 21

Combination of the center ceiling

cove ellipsoidal with the no. 2 pipe no.1 fresnel. The frontlight by itself isflat, but by adding the no. 2 pipe endx-light we begin to achieve a littlemodeling on the figures. [CoveCenter, No. 2 Pipe 1]

Figure 22

Now by adding the no. 2 pipe fresnelsfrom both ends of the pipe (lamps no.

1 and 4) and taking a lower-intensityreading on the frontlight, we still havegood "face" light from the front but better modeling. (See Figures 1 and9.) [Cove Center, No. 2 Pipe 1 - 4]

[The combination of frontlight from the ceiling Cove and crosslight from the ends of the SecondPipe makes a good, all purpose

general wash. The addition ofBacklight would improve

separation. Compare the light onthe faces in this figure with the

face light in Figure 21 -LW]
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Figure 23

Combination. No. 1 torm left,ellipsoidal no. 4 as an uplight, hittingthe back of the figure on stage left; no.1 pipe ellipsoidal no. 3 as a downlighton the figure center stage. [No. 1Torm Left 4, No. 1 Pipe 3]

[A dramatic image for a briefmoment in a show. Compare withthe down lit figures in Figure 6 . -

LW]

Return to the Jean Rosenthal Page

Images and text copyrighted 1972 by the estate of Jean Rosenthal and LaelWertenbaker

Bracketed comments copyrighted 1998 by Larry Wild, Northern State University, Aberdeen, SD
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