STAGE LIGHTINGDrama I

MAIN PURPOSES OF STAGE LIGHTING

To illuminate the actor(s) & the set(s)

To establish MOOD & setting

To draw focus

THE HISTORY OF STAGE LIGHTINGGreek:

Open-air, usually on a hillsideThe afternoon sun was behind the

audience areaThe afternoon sun illuminated the

stageRoman:

Much like the Greek theatres, but audience area was covered with a colored awning which softened the sun’s glare

Greek Theatre at Oropos

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Italy, circa 1500s:Patronage system brought private

performances, pageants, tableaux and indoor theatre.

Serlio – (Italian architect) suggested using candles & torches set behind glass bottles filled with amber and blue colored liquid

Palladio’s theatre used common sources of light: torches, open wicks, pine knots, tallow candles

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Serlio’s designs used light to create depth.

England: circa late 1500s-1600sShakespeare’s Old Globe Theatre was

open-air, so natural light was used (candles & torches also, when necessary).

Blackfriar’s Theatre – winter home of Shakespeare’s theatre company. Indoor theatres like this used candles and torches to light the stage and the audience area.

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The Old Globe TheatreRebuilt according to the original plans and in operation today!

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Blackfriars Theatre

Inigo Jones (English designer & architect)Used reflectors to increase light

sources Oil lamps & candles on front edge of

stage, out of sight of audienceTallow candles and lamps vertically

mounted behind wings on the sides of the stage

Used candles on hoops & chandeliers up on pulleys

Gold decorations in theatre reflected the light

AHHHH!!! POOF! OR, THE DOWNSIDES OF CANDLES

Candles were ExpensiveHard to maintain

Trimming the wicks during the showBlackouts – snuff out the candles quickly“Snuff boys”

Dangerous & unpredictable

David GarrickDrury Theatre, 1765 (London)Footlights – candles masked with metal

screens along the front edge of the stageRichard Sheridan

Drury Theatre, 1784All stage lights now out of sight of

audienceHid lights behind wings and borders

William Murdock Scottish engineerGas lighting from coal – would replace

candles

Fredrick WinsonGermanLyceum Theatre, 1803 (London)1st successful use of gas lighting on

stageAll the equipment – valves and

switches, are controlled in one central location, the “gas table”. This is the forerunner of the modern switchboard.

“in the limelight” means to be famous, or the center of attention. It originates in this era, when the mineral lime was burned to create light for the stage.

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Lyceum Theatre, London

(The original was destroyed by fire in 1830. hmmmm)

SPEAKING OF GAS…..

Brighter than oil lamps & candles

Better control: valves at a central point Smooth increases &

decreases of light Variable speed of

transitions 1st time: auditorium

lights can be darkened

Heat Smell/vapors Fire hazard

Hel-lo, open flame!!

As a result, laws were created

to establish guards, screens, glass chimneys

Advantages Disadvantages

MODERN STAGE LIGHTING BEGINS!Thomas Edison

1879, invents the first practical electric lamp

Bye bye gas!Light is produced by heating a

filamentWithin one year, the Paris Opera is

using the new electrical lighting system.

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Thomas Edison’s Electric Bulb

The filament is the wire inside the center of the glass bulb.

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The Paris Opera House Grand Entry

Hey look, electric lights!

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Paris Opera House - Interior

(Note the chandelier and electric lights.)

LIGHTING DESIGN

THE SCRIPTWhat is the feeling of the play?

What colors do you see? What music do you hear? What emotions do you feel?What are the rhythms and beats of the

script? Ask about the budget.Stay within the budgetWork with the director and other

designers

LIGHT DESIGNIn order to accomplish the 3 goals of lighting, we manipulate a variety of factors.

BRIGHTNESSCOLORCHANGE RATEDIRECTION

BRIGHTNESSControlling the brightness focuses

the audience’s attention. Darkness = secret action; action

that is not meant to draw focus.

Brightness = important action

Different lamps will put out varying amounts of light….

BRIGHTNESSTypes of lamps

FresnelEllipsoidal/LekoPar CanBorder, or Strip, lightFollow SpotScoopLED Lighting

Barn doors, shutters – hinged metal flaps that narrow the light beam

Dimmers – control the amount of power

FRESNELS “A Fresnel spot is a can with a lamp, a reflector,

and a lens. The lamp and reflector move back and forth on a "sled." The reflector is a "bowl" cut from a sphere, and the lens is a "plano convex" lens that has been specially shaped to save weight and reduce heat. Because of the shape of the reflector and lens, the light from a Fresnel is always soft edged. Fresnels will have some knob or crank or lever that moves the sled. Moving it will make the blob of light bigger or smaller.”

http://www.theatre.ubc.ca/design/crslib2/ltg/ltg1.htm

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Fresnel

•Used for general color washes

•Soft-edged beam

•Come in 3 sizes

•Short-range light

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Fresnel Cut-away

PAR CAN “Parabolic reflector cans (most commonly

called PAR cans, or simply cans) are non-focusable instruments. PAR cans consist mainly of a metal cylinder with a sealed-beam parabolic reflector lamp at one end. These lamps are very similar to those used in many automobiles as headlights. The instrument throws an unfocused beam, the shape of which depends on what type of lamp is in the instrument… Theatrical applications of cans typically include washes and effects lighting. Color frames can be used with most cans by using the clips present on the front of the instrument.”

http://www.theatre.ubc.ca/design/crslib2/ltg/ltg1.htm

Par Cans•Unfocused beam

•Like a headlight

Add color frames to the front

•Washes & effects•Easiest to work with

ELLIPSOIDALS/LEKOS “Ellipsoidal reflector spotlights (often called ERSs,

or Lekos,…) are among the most complex non-automated lights found in a theatrical lighting setup. Ellipsoidals consist of an incandescent lamp, an elliptical reflector, and one or two plano-convex lenses. There are many types of ellipsoidal instruments, but they all share the common trait of producing a sharp beam that can be focused and shaped. Most employ four shutters that allow the spill of light to be controlled. Ellipsoidals typically have provisions for color frames and gobo projection. Typical uses of ellipsoidals are: acting area lighting, specials, back or side lighting, and pattern projection ….”

http://www.theatre.ubc.ca/design/crslib2/ltg/ltg1.htm

Ellipsoidals/ Lekos•Sharp beam•Longer range•Can be focused & shaped – hard or soft edge•Use with GOBOS•Use for: acting area lighting, specials, side- lighting, back- lighting•Most versatile & popular stage light

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Ellipsoidal Cut-away

GOBOS•Patterns cut out of metal plates•Fit into the pattern holder slot of the Leko (aka ellipsoidal)•Project onto the stage floor, set, cyc, etc.

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Border/Strip Lights•General washes of color •Mount behind wings/borders•Can’t be focused•Permanent alternating colored glass lenses (often)

Follow Spots•Specials•Long-range light•Manually operated from the catwalk or the back of the house•Gives the actor mobility

Scoops•General wash of light•Cannot be focused•Can be fitted with colored gels•Great for lighting a large space with only a few lights

LED LIGHTING Light Emitting Diode Used extensively in concert lighting Par cans and strip lighting can utilize LED

sources, but it can be used to replace any conventional lighting fixture except ellipsoidals

LED is used a lot with “moving head” lighting systems

Often used to light the cyc, & for side and back lighting

Combines red, blue, and green light to create different light colors

Advantage: low heat output Disadvantages: can’t create a hard-edged beam;

costly

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LED Lighting

YouTube - Nine Inch Nails - The Making Of

LIGHTING SAFETY

http://www.saskschools.ca/curr_content/theatre_arts_20/mod3stagelighting/activities/03401safety.htm

COLOR Establishes setting/time & mood Creates texture Cool colors: blue, green Warm colors: red/amber, yellow McCandless Method

Stanley McCandless - architect, later a theatre lighting designer

One light from the top left, one on the top right, both at 45° angles, at least 90° apart

combine a cool gel on one light & a warm gel on the other to create a neutral light

Lights the actor, and also “sculpts” their features The most basic and common way to light the

stage

BASIC COLOR TIPS Test the color by holding it in front of a light

source against the fabric or skin. “Use less saturated colors for actor's faces. Each skin tone is unique and may respond

differently to a particular color. What looks terrific on one person will not necessarily serve every other performer in the piece. Be prepared to make adjustments.

More saturated tones can be used to sidelight and backlight actors.

Save the strongest colors for lighting the scenery.”

http://www.limelightproductions.com/educational/color_and_light.html

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Gels•Colored films that are placed in holders in the front of the lamp •Used to be made of gelatin; hence the name “gels”.•Swatch books of colors available from each company

DIRECTION/ANGLESFront lighting – often made using a follow spot;

flattens features/setTop lighting – light, especially directly above, will

exaggerate shadows & can age the actorBack lighting – highlights shoulders and hair;

stand out from the background; special effectSide lighting - can create a shadow on one side

of the face/set; shows direction of light; special effect

Up lighting – from footlights or cans; spooky, ghoulish effect

McCandless Method: combine top lighting & side lighting advantages with color to make a flattering, neutral light on the actor/set.

LIGHTING - ANGLES

Front LightingMcCandless Method

http%3a%2f%2fwww.roctronics.com%2fslbsics.html

TRY SOME OF THESE ANGLES YOURSELF WITH A SET OF FLASHLIGHTS!

Backlighting Up Lighting

AND NOW, A BRIEF BREAK FOR A PROFESSIONAL SHOW….

Lighting Design Powerpoint –

CSULB TH 148 Graduate Lighting Design, Dr. Jacques

View Slides 316 – 330

Entire Show can be downloaded & viewed at https://webmail.svusd.org/owa/redir.aspx?C=bc38129197974f68a5d3cad48e606f37&URL=http%3a%2f%2fwww.csulb.edu%2f%7edjacques%2fpage_powerpoint_presentations.htm

BASIC DESIGN STEPS READ THE SCRIPT!!! – Note setting(s), mood,

beats, char. Obtain a floorplan of the set – Set Designer Determine the main acting areas - Director Draw a large circle on the floorplan for each

acting area For each large circle area, determine how you

will fill that space with light. Instruments Gels for color

Determine any other special acting areas that are impt. to the director – Director

For each special area, determine how you will light that space, &/or the actor(s) in it

SO, WHAT INSTRUMENT DO I USE??? General washes:

FresnelsPar cansScoops

Special lights: SpotlightsEllipsoidals/LekosFootlightsBorder lightsPar cans