Lighting of the Stage

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Important aspects of lighting. 

             1.  Special effects:  the director & lighting technician must develop a plan.

 

             2.  The normal lighting envelope:  The acting area should be washed in an even, bright lighting landscape as the actors move about the stage, the light is constant without bright or dim spots (unless that is the intent of the presentation of the story).  When there are bright or hot spots in the lights distracting and un-intended items are high-lighted such as hair deficits (thin), facial features that are more intense due to make-up or just shadows.  Both directos and lighting technicians must work to eliminate such distractions.

 

             There are always solutions that are available in the lighting plan to eliminate those problems and yet produce the necessary effects of light and dim on stage.  One source of help in the lighting area is RCLT member Jim Bignell who will be happy to consult with the staff of any play for technical consultation.

Read more: Theatrical Special Effects & Lighting Techniques | eHow.com http://www.ehow.com/way_5407554_theatrical-special-effects-lighting-techniques.html#ixzz1eAK7CUb8

 

THEATRE LIGHTING - TECHNIQUES

 Most theatre lighting methods are 'loosely' based on the McCandless method; first light the actor for visibility, then light the scenery, and backgrounds for atmosphere and interest. McCandless also put forward a simple method of AREA lighting for the proscenium stage. This method divides the stage into a number of smaller areas and then provides each area with 2 front lights mounted some distance apart. Fixtures must be accurately placed to give appropriate lighting angles and direction of light to the actor. Areas must also be controlled in size, to avoid unnecessary 'spill' light on adjacent areas or scenery. A front light at 70 degrees (horizontal) to an actor may be well suited to a dramatic production, while a lower angle of 50 degrees might be better suited for a comedy. If the actors are all wearing hats, then a front light of no more than 45 degrees may be necessary, in order to provide more light to their faces.

 

The typical musical contains elements of drama, singing, dance and music. A small musical may only have a cast of 4 performers and 2 musicians. A large musical may have a cast of 50-100, actors and dancers and 50 musicians. The musical 'moves' quickly and usually has a great many different scenes and locations

 

 Most 'classic' musicals strive for realism. That is, many of the scenes are lavishly designed as realistic and believable interiors or exteriors. In this respect, the lighting is expected to provide a specific mood, atmosphere and indication of time of day. Often this information is also provided by the lyrics and by the script.

In addition to the element of realism expected by the audience, musicals also contain elements of fantasy and surprise. It not uncommon during a song, to completely isolate performers with follow spots, and then suddenly 'restore to reality' at the end of the song. Other numbers may be full production numbers, with full chorus and dancers requiring colorful and rapid lighting changes throughout.

Typically, musicals make extensive use of followspots. This is necessary if the performer is to be isolated during musical numbers, and featured during 'book' scenes. Two (2) to five (5) followspots are typically used, from the ceiling of the auditorium. Followspots are also sometimes used from behind the proscenium arch (bridge spot) to provide a steeper & more isolated lighting angle to the stage.

 Lighting techniques for the musical are varied. Visibility is usually provided for by the followspots. 'Area lighting' is often provided for the 'book scenes', color; washes, sidelight and back light are usually provided for the production and dance numbers. The backdrops and cyclorama are illuminated for interest and mood. Musicals often have a high level of 'glitz' (or effect) lighting. Strobes, neon, beacons, tracking bulbs, mirror balls, etc. are all commonplace

 

Lighting is one of the most powerful special effects at work in modern theater.   It is not only necessary for the audience to see the actors, but shapes how they feel about the entire play. Through the use of specific techniques such as angles, colors and intensity, it is possible to influence an audience's emotional response, therefore increasing the power of performance. Known as the McCandless method, a few basic principles guide even the most elaborate productions.

Read more: Theatrical Special Effects & Lighting Techniques | eHow.com http://www.ehow.com/way_5407554_theatrical-special-effects-lighting-techniques.html#ixzz1eAK7CUb8

 

Dividing the Stage

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Though there are many different types of performance spaces, the majority of traditional theaters are prosceniums, where the audience sits in front of a raised stage. Prosceniums theaters are large and can be difficult to light. For this reason, it is important to divide the stage into not only stage right, left, up and down, but into smaller circles. The placement of these imaginary circles are based on the movement of the actors during the performance. Lighting crews will work on one circle at a time, so it is possible to control all areas of the stage individually, but with equal detail.

Lighting the Actors

It should come as no surprise that one of the most essential parts of the lighting process is to make sure that the audience can see the performers. For this reason, most lighting crews focus on this aspect first, before moving on to more complex techniques. Illuminating the actor is usually done with intense white lights, such as PAR spots, which are focused on a specific area. The performer is usually lit from all sides, with the majority of attention going to side and top lighting. Although costuming, like a hat, may complicate the angle, the purpose of this process is to make sure it is easy to see the most important aspect of just about any performance---the actors

The Importance of Scenery

Another aspect of theater that lighting reveals is scenery and props. Once the actors are lit, most designers shift their attention to the rear and sides of the main performance space, to the scenery, such as walls and trees. Such lighting is less intense, but usually still done in traditional or neutral colors. Fresnels and PAR spots allow light to be cast at an extreme angle. Sometimes scenery, especially a sky or other background detail, is accomplished through focusing colored lights on a huge display screen that stretches across the stage

Details, Details, Details

The kind of lighting special effects and real technique we often associate with theatre are not applied until the actors and the performance space are fully illuminated. Colors, shaped beam focuses and effects are the details that make or break a performance by influencing how the audience responds to it. While a horizontal angle might be best for a drama, a sharper angle might be better for a comedy. Similarly, darker or cool colors such as blues lend themselves toward serious subjects because they elicit negative emotional responses. Sometimes further techniques are needed, such as flash lighting or the use of a follow spot. For example, lightning strikes are often created using rapid flashes and spotlights are essential when the actor moves outside the traditional performance space, such as into the wings or audience. This process of detail lighting is unique to every designer and performance.