STAGE LIGHTING DESIGN

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STAGE LIGHTING DESIGN

• PRINCIPLE AND PROCESS

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Functions of Stage Light

• Visibility If you cant see em, you cant
  hear em
• Selective Focus Allowing the audience to see
  only what they are supposed to see.
• Modeling Revealing the three-dimensional form
• Mood
• Composition through the use of the four
  qualities of light (Intensity, Color, Movement,
  and Distribution).
• Mood is the most difficult and misused function
  of stage light in that it can overpower the other
  functions (there should be a balance).
• Contains the designers visual concept and
  interpretation.

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Traditional (MacCandless) Method

• Goal/Objective general and even illumination of
  the principle acting areas of the stage.
• Division of acting areas into lighting areas.

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Traditional (MacCandless) Method

• Five light sources per lighting area.
• Overlapping of beams to compensate for instrument
  characteristics.
• Blending of complimentary colors to achieve white
  light (early process before quartz light).

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Traditional (MacCandless) Method

• Four steps towards completion of design
• 1. General Illumination of the Acting Area
• 2. Use of Color Washes for fill and mood
• 3. Use of Specials to focus on specific moments
  as dictated by the script and rehearsal.
• 4. Illumination of off-stage or secondary acting
  areas to compliment the action of the play.

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Traditional (MacCandless) Method

• A few more tips
• Lighting areas are generally 8-10 feet in
  diameter.
• Odd number of areas are used downstage to prevent
  dark areas.

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Traditional (MacCandless) Method

• Ideal angles are 45 degrees above the horizon
  line and 45 degrees either side of center.

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Class Exercise
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Motivational (Natural) Approach

• Developing the Lighting Plan(s)
• use Lighting Sources (practical and implied) in
  the stage setting to establish the quality of the
  light for the Lighting Plan (intensity, color,
  movement, distribution).
• Placement of Lighting Sources in relation to
  how the actor is using the stage setting is
  important in developing the Lighting Plan.
• Lighting Sources should in-turn appear to
  influence the movement of the actors.
• Remember In life behavior is influenced by
  lighttherefore you plan, to appear natural,
  should reflect human behavior.

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Motivational (Natural) Approach

• Continuing to Develop the Lighting Design
• Layering Lighting Plans to accommodate shifts in
  mood and composition, or time or place.
• Overlapping Lighting Plans from different scenes,
  looks, locales, etc.
• Use of KEY, FILL, BACK, RIM and TOP lights to
  accomplish the Lighting Plan

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The Principle Differences

• The difference between the two approaches is that
  the Motivational (Natural) Approach begins with
  natural sources and expands to fill the acting
  space. The Method Approach begins with a general
  illumination and expands to meet the specific
  needs of the action of the play.
• The Natural Approach offers a more effective
  composition as its based on practical and
  implied sources.
• Both approaches can work on the film location as
  well.

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HOMEWORK