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Welcome to the Introduction to Stage Lighting online website. This site is to

be used as an additional source of information for the Introduction to Stage

Lighting course held at Valencia Community College, East Campus taught by

Sonia Pasqual.

The course syllabus and calendar for the current semester is available via

the course homepage or you can download the file from below.

If you choose to download it from your atlas account go to the course

homepage for the Introduction to Stage Lighting section which you are in

now, TPA 2220. You can download it at anytime to view, there will be a hard

copy of the lighting syllabus outside my office door for anyone needing to

view it if they are on campus and can not access atlas.

The information gathered on this site is produced by Sonia Pasqual. All other information has been credited to its source

and is only used as a visual aid for my students. Sonia has been involved in the art of theatre and entertainment since 1992.

Her knowledge and information comes from her experience and growing up in the theatre world. She has worked in

theatres across the Greater Central Florida, North Florida, and New York City. Her work and experience also extends into the

theme parks such as Universal Studios 97-99, and Walt Disney World 04-Present, while at Disney she has played several

roles. The most exciting roles as a Disney cast member for Sonia is pyrotechnics, off course being on the Global Lighting

Design Bench and working as a stage technician (lighting, video, and camera operation) for Magic Kingdom and the former

Pleasure Island in the night clubs and other positions as a temp. production planner including resorts and downtown

Disney boardwalk. Sonia runs her own lighting company, Sfumato Design Group, LLC where she and a talented group of

designers collaborate designs, consultant and or handle the technical and coordinating aspects of the entertainment

industry.

CLASS SUMMER A - 05/10/2010 to 06/21/2010 Mon-Thur 2-4pm class 2-164D

"You can dream, create, design and build the most wonderful place in the

world, but it takes people to make the dream a reality." - Walt Disney

It's all about theLIGHT!

Introduction to Stage Lighting

Instruments, Electricity &Cables/Connectors

Entertainment Industry

Creative Design for Theatre

Lighting History & Intensity Control

Lighting Design

Basic Stagecraft

Additional Information

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WELCOME to Introduction to Stage Lighting with Sonia Pasqual.

In this section you will learn the overall purpose and approach to lighting for

the stage. Let us begin!

Entertainment / Theatrical Lighting:

Entertainment and or Theatrical

lighting is used to E N H A N C E the

scene. The lighting should pull all

the aspects of the stage together. It

is not just enough to illuminate the

actors, set, costumes and props, the

lighting should allow the whole piece

to be embraced and supported. For

example, parts of a set may need to

be subdued, or certain props and

costumes may need to be enhanced,

and the actors must be seen in a

proper relationship to their

background and surroundings.

Therefore, all objects that appear on

the stage needs to be in balance and

the light should focus in on

the picture that needs to convey the

sense and feeling to what the

audience is viewing.

The lighting should NOT, distract or be non-supportive to a scene. Only unless that is the purpose the director wants to

achieve.

KEY NOTE: The lighting should pull all the aspects of the stage together.

(Photo above credited to: America's Next Top Model Photographer, Tyra Banks. Photo below Jeffrey Smith.)

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Basic functions of stage lighting:Stage Lighting Revealed, page 15 of textbook - read the text information on this topic as assigned in the course calendar

section of the syllabus. Material from the text, WebCT, labs and lecture will be presented in the the in class exams.

Additional breakdown and lecture information below:

1) Selective visiblity: The #1 function of light is to see, to illuminate, to make visible to the nake human eye. The audience

should see only what the director wants them to see. Lighting will help to FOCUS the audiences' attention through (the eye)

only to certain areas, performers, props and or a set piece which may be the main focus or the emphasis in that scene. The

key purpose to "selective visibility" is that the audience is only viewing one thing at a time and not everything which may

cause them to miss the importance of that scene. The lighting for a production can act as a camera, as it cuts to ONLY what

the director wants the audience to see at any given moment.

2) Mood: (defining a mood: a mood is triggered by a particular stimulation or event). Therefore, lighting is intended to create

moods and emotions in a scene that will only reinforce that particular moment, which may include the actor, actress, and

special objects as its assisting reinforcements. The mood helps to direct the audiences' emotions so that they may feel

what the director's motivation of the performer to portray and or convey, through words, actions, etc.

3) Composition: The entire stage is intended to have cohesiveness relative to the scene. The lighting is intended to

emphasize the flow of the story. Therefore, the lighting helps to structure and form the scene and set. The composition of

the light, forms and directs the eye which manipulates the thoughts of the mind and set the picture of that scene. The

composition therefore creates the entire perspective and forms an overall perception by using light.

4) Revelation of form: The lighting is intended to make the performers, scenic elements and the props appear three

dimensional against the other set pieces and the overall background. Revelation of forms uses light to allow the performer,

set and or objects to be ENHANCED or accentuated. The enhancement can be in its natural form or in an abstract

way (depending on the director's vision). To reveal the form of a character is to help accentuate (emphasize or to

intensify) its body (shapes, curves, non-curves) in order to be appealing, grotesque, taller, shorter, wider, the desired

look. The purpose of revelation of form is to SHAPE an object with light.

5) Reinforcement: This function of lighting is to help the theme or purpose of the scene by using light that contribute to the

overall feeling or mood. By reinforcing the theme the lighting is supporting what the scene is trying to convey to the

audience.

(Photo below credited to: America's Next Top Model Photographer, Tyra Banks. Photo below by Rob Jones of Jesus Hopped

the A Train, lighting by Sonia Pasqual)

EXAMPLE: Photo demonstrates - Revelation of Form revealing the form of the model and her clothing, Composition as the

eye is directed to the model, her figure and surrounding environment. The lighting from above the water acting as a back

light adds to the reinforcement of drama and yet floaty airy feel of this photo, which also the colors helps to define.

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Controllable qualities of light:

1) Color: Color is the key to creating the mood or directing the emotion of a scene. The use of hues and saturation in the

stage lighting helps to convey what is going on, about to happen, and or to redirect the emotions of the audience. * (In

textbook the color is part of what creates Form - - the variety and contrasts in both intensity and color when it is used

throughout a scene, found on page 15).

2) Intensity: This is the amount of light or brightness that is transmitted by the light. The intensity can range from a dim glow

to an explosion of light. This is what gives theatrical lighting its dramatic effect and look. For example, think about you are

trying to see a romantic mood on stage. In most theatre's for safety reasons using real candles is a no no. So the set a

romantic seen you will not have the stage lighting at 100%, all bright, as that does not set the mood for romance. Using the

light at 35-40% a lower intensity can more set the mood for a romantic scene. Especially, if you are using colors such as

varying hues of pinks to light reds. * (In textbook the color is part of what creates Form - - the variety and contrasts in both

intensity and color when it is used throughout a scene, found on page 15).

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3) Distribution: The

physical location of

where the instruments

are placed. This also

relates to how many

instruments are being

hung, the type of

instrument used and the

instruments beam size.

The location of the

instrument placement is

important to how the light

will illuminate an object.

So placing the light at an

appropriate angle and

location will effect the

way it cast light on to the

object, helping to shape

the object and create

more drama or less

drama (depends on what is needed).

4) Movement: All of these other properties can be intensified or diminshed with the introduction of movement. Movement

implies that a CHANGE is taking place either sublty or quickly. We now also use moving (automated, intelligent lights) to

create a feeling of excitement in a dance club of concert setting. However, movement allows the eye to be redirected or

move around affecting the physical senses through the eye and allowing the light to set the mood (be it excitement, drama,

comedy, tradegy or horror!).

(Information quoted from Scene Design and Stage Lighting by W. Oren Parker and R. Craig Wolf textbook)

" Stanley McCandless was perhaps the first to define controllable qualities of light used in theater. In

, McCandless discusses color, distribution, intensity and movement as the qualities that can be manipulated by

a lighting designer to achieve the desired visual, emotional and thematic look on stage."

I DO EXPECT YOU TO USE THE ABOVE INFORMATION FOR DEVELOPING YOUR LIGHTING PORTFOLIO!

(Photo below credited to: America's Next Top Model Photographer, Tyra Banks)

EXAMPLE: Photo demonstrates - Selective Visibility, Composition, Color as the eye is directed to the model, the surrounding

environment is enhanced by lighting how it hits the fog, yet adds to reinforcing the mysterious sexiness of the model.

A Method for Lighting

the Stage

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Lighting Positions:Stage Lighting Revealed, page 21-22 & 25-29 - read the text information on this topic as assigned in the course calendar

section of the syllabus. Material from the course text book, in class labs, this website and lectures in class will be presented

on the exams. Just because information is on this site and we may be covering material from it in class does not mean the

student can leave class early and view it on there own. There may be extended in class discussions, presentations

showing examples and more.

Lighting Positions consist of 5 main positions of lighting an object on stage. There is definitely more lighting positions. As

an introduction to lighting, these 5 position covers enough for informational purposes. (To learn about positions or lighting

design, the lighting design class is offered every Fall at VCC).

1) Front Light- The key and fill light is the primary lighting source in a scene. It represents the motivating light source for a

specific area or scene on the stage. Front lighting involves a method of light referred to as McCandless Theory of lighting,

this theory was developed by Mr. McCandless in order to properly light an object/actor by the means of light mimicing natural

daylight. McCandless theory involves the light source projected from a front position at a 45 degree angle, one light should

be warm (to mimic the sun's light, while the other light should be cool to mimic the sky). This depection of lighting the

performer using natural light and McCandless theory eliminates any possible shadows from the faces, which will cause

proper lighting and not distract the audience so that they may focus on the dialogue and action of the character(s).

FYI FILM LIGHTING: In film lighting this form of front light is referred to as key and fill lighting. Fill light is used to help

REDUCE and SOFTEN the shadows. The fill lights usually are set at about 50% of the intensity of the key light. Different

colors can also be used in the fill lights to help contribute to the mood of the scene.

2) Side Light - Side lighting is used to accent the side of the face, arms, mid-torso, legs down to the shin of the body.

The movements of the performer is highlighted from a direct side light source. Full side lighting is composed of shin light

(bottom), mid torso (middle) and neck to head lighting (top). The lights are mainly used to reveal form of the body, and is

used to enhance the performer, especially dancers.

3) High Side Light - this light is from an over head and at an angle of 30-60 degree angle approximately. This form of lighting

is to accentuate the top side of the head, neck, shoulders, arms and mid torso. High side light is used as an additional form

to objects/actors. It is also used in dance lighting to help shape the form of the body from another perspective angle.

4) Back Light - is used to help the performer or object to be separated from the background and not blend in. Back light also

shapes the performer and or object so it is individualized and reveals its natural form. Back lighting creates a depth which

makes the performer become more three dimensional. This will also help pull the performer out from the scenery or

backdrop.

5) Down Light - is used to sculpt the top of the head, shoulders and adds light to the form if it is extended or wide. Down

light is great for washing an area on stage by the means of covering that area with light coming straight down from the top.

Down light is mainly used to wash or flood an area on stage with light in a soft or harsh manner.

Proscenium Stage: The Picture Frame

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The proscenium arch evolved from the "proskenium"

in Ancient Greek theatres, 17th-18th century. This was

the space in front of the skene or backdrop where the

actors performed. Stage floors were RAKED upward

slightly from the front to back, in order to contribute to

the perspective illusion, and also made the actors

more visible to the audience who were at the front

row seats which was on the flat floor level. This then

changed to reflect the audiences seat to be raked

instead and the addition of balcony seating was

created to give the audience a fuller view of the stage

and its performance.

Proscenium Stage: The proscenium stage may also

be referred to as a "picture frame stage" the reason

why is because the audience can only view the action

on stage from one side. The advantage of this one

side perspective is that it gives everyone in the audience a good view because the actors need only focus on one direction.

The audience views the scene on stage from what resembles to be an opening of a picture frame. As the audience directly

faces the stage which is raised up several feet above the front row of the audience level, they can view what is happening on

stage. This one sided viewable section is known as the fourth wall in theatrical terms and especially in the term for the

performers, the fourth wall is the opening of the proscenium. The actor when in character should never break their focus or

break the fourth wall. Meaning a character on stage should never wave, smile etc... at an audience member during a scene

or performance. This will break the illusion of what is being conveyed on stage. (photo above credited to:

http://glitterburn.livejournal.com/11874.html, is more an influence of the Roman theatre adaptation from the Greek theatres

of the 18th century)

(Information below: credited to Origin/Proscenium section of Wikipedia)

It derives from the Greek , meaning "in front of the scene". The scene was a building with doors

that served as the backdrop in Ancient Greek theater. The was a raised stage in front of

Hellenistic era and in Roman theater; it served simply to make the actors higher to aid visibility, and to

separate them from the chorus. Ancient theaters thus lacked the modern proscenium arch. It was also

absent from Renaissance theaters.

The proscenium arch developed in seventeenth century theaters, alongside the development of illusionist

scenery. This design has been the most common for theater spaces in the 18th, 19th, and 20th centuries in

Western theater.

(BELOW Photos: credited to the following:)

*First photo of a proscenium stage: The interior of the Auditorium Building in Chicago built in 1887. The

arch around the stage is a proscenium. http://en.wikipedia.org/wiki/Proscenium

*Second photo of a proscenium: The Twin City Opera House www.operahouseinc.com/images/PROSCENIUM.jpg

*Third photo of a RAKED stage on a proscenium: http://portfolio.drwhitney.net/images/wtoc-scenery/falstaff-

f1.jpg

proskenion

proskenion

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Pictures of a Raked Stage below:

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Theatre in the Round: ArenaTheatre in the Round and or an arena

style theatre simply means that the

audience surrounds the entire stage. The

stage itself is in the middle of the venue

and the performance and performers are

on the stage. The entrance and exits of

the performers may be through the isles

of the house in which the audience is

seated, unless the stage is built in a

fashion where it is raised from a lower

ground level and raises up to the

audience level. However, most traditional

spaces that are theatre-in-the-round is

static and does not move up or down.

This space does force all entrance and

exists onto the stage through the

audience, unless they are raised up or

flown down onto the stage by the means

of a pulley system or some high tech

gear.

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(Photo of the ancient theatre in the round credited to: http://farm2.static.flickr.com/1395/1115426773_89fd5684c6.jpg, photo

below of theatre in the round credited to: Aoyama Round Theatre in Tokyo, Japan, www.aoyama.org)

Thrust Stage: Used for centuries from Greek to Roman Theatres!

The first thrust stage

was used back in the

17th century. The

ancient Greek theatre

was set in the

outdoors, using the

natural light of the day

and night to set the

scene. Ancient Greek

theatre and Roman

theatres used thrust

style stages as it

allowed the audience

to be seated mainly

around the stage on all

but one side of the

stage. The ancient

form of theatre mainly

used the characters,

dialogue and props to

convey the message of

the scene on stage. It

was not until the

development of the

proscenium stage was more so scenic and set elements became more widely used.

On a thrust stage the audience can view from three sides. A proscenium stage can be transformed, with a project platform

extended outwards towards the audience to create a thrust staging. Fashion shows use runways or a thrust stage style for

the models to walk down the runaway so that the clothing may be viewed in a more initimate and overall setting. There are

limits to what can be done on a thrust stage, as you can not use certain elements that will block the view of the audience,

this is very similar to theatre in the round. Certain set elements can not be used if it will obstruct the viewing of an important

thing to the audience.

"Unlike the ‘picture frame’ proscenium theatres a stage which thrusts into the audience allows a quick transformation of

mood, scale, setting and environment that in Shakespeare is led by language rather than stagecraft. It also encourages

audiences to bring their imagination to the space and to concentrate more on the language." quoted from the Royal

Shakespeare Company, Transforming our Theatres http://www.rsc.org.uk/transformation/vision/thrust_stage.asp

(photo of thrust stage above credited to: http://www.rsc.org.uk/transformation/popup-images/pg7_swan_audit.jpg, photo of

thrust stage below credited to:

http://internetshakespeare.uvic.ca/Library/Criticism/shakespearein/images/StratfordStage.jpg)

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The Black Box Theatre: Experimental Theatre

The black box theatre is a space that is flexible in seating and allows the director and design team to create the space as

they would like too. The black box space is a room usually shaped in a box style, the walls are painted or draped in black

and seating is definitely not permanent. In this space the floors and walls can be painted to reflex what is the desired need

of the play. The dimensions of the black box can vary tremendously, I have seen large spaces to a small initimate space,

either way the space allows for an initimate setting where the audience is close and almost feels like they are a part of the

show. In the black box theatre the above theatrical stages can be easily reproduced, as the black box can be thought off as a

blank canvas. In the black box/ flexible space, the director depending on the effect that he or she wants to have on the

audience can create a stage that is theatre in the round, thrust, or proscenium. Building a set, using drapery, platforms and

etc will help to create the space desired.

The black box theatre I have seen referred to 'experimental theatre' there are other types of flexible spaces, that I will discuss

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more below. The flexible

spaces allows mainly to as a

source of working with varying

types of budgets. I have seen

some wonderful, if not the best

performances in a flexible

space. As the main essence

of the performance dealt with

great, passionate, talented

performers and a minimal of

set and lighting used.

(Information below: credited

to Black Box Theater section of

Wikipedia)

"Black box theaters became

popular and widespread

particularly in the 1960s and

1970s. The black box

theater is a relatively recent

innovation consisting of a

large square room with black walls and a flat floor. The seating is typically composed of loose chairs on platforms,

which can be easily moved or removed to allow the entire space to be adapted to the artistic elements of a

production. Such spaces are easily built and maintained, and are usually home to plays or other performances with

very basic technical arrangements, such as limited sets, simple lighting effects, and an intimate focus on the

story, writing, and performances rather than technical elements. The older black boxes were built more like

television studios, with a low pipe grid overhead. Newer black boxes typically feature catwalks or tension grids,

the latter combining the flexibility of the pipe grid with the accessibility of a catwalk."

(Photo of the black box above is credited to: http://www.jccc.edu/home/download/11935/black_box_pic.jpg)

Flexible Spaces: Creating a stage for an event!

Flexible spaces are appropriate when it comes to a special event. Most flexible spaces do not have what is needed for

creating a stage and therefore a lot of pre-production work has to go into getting things organized. For example, in order to

do an event you must have the elements that are needed for the success of that production. Your client/director/production

designer and managers will let you know what's their vision. Then with your accumulated expertise you begin the process of

doing research on the space dimensions, what is available, what works, how they work and most important what is needed.

The rental companies get great business as you will need to rent lighting, audio, video, staging, drapery, power supply,

flooring, decoration, set pieces, and what ever may be needed for the event. Flexible spaces are some of the following:

Ballrooms, Open fields, Convention Halls, Malls, and practically any space that you can set up gear and staging.

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Lighting Portfolio Project - PresentationsThe lighting portfolio is a project done to help the student understand the

basics of stage lighting's qualities and functions of light. This is important

as a function not only to stage lighting but lighting in general. We use to

'see' everyday, opening one's awareness to how it functions and its

qualities are vital.

BRIEF INTRO TO THE LIGHTING PORTFOLIO PROJECT:

The assignment is natural, artificial, LED/projection and special effects

lighting. Three photos of each will be required, in color, no photo should be

smaller than 4"x6" or larger than 5"x7". A brief (short paragraph - 4-5

sentences the least), clear and understandable description of the qualities

and functions of light that is shown in your is presented in your photo.

NOTE: keep in mind that you are picking these photos, do not pick a picture that is so difficult you can describe at least

3 out of 4 qualities or 4 out of 5 functions of light. The purpose of this project is to become aware of the applications of

lighting, whether it be natural, artificial, l.e.d's, projection/special effects. Use the above photos, listen to the class

lectures so you have a better idea of what the project entails.

Below you will find the document to facilitate the lighting portfolio project. Click on the download file to retrieve the document

and or ask for a hard copy in class. However you should have no problem downloading the file. The file gives all the

elements that is needed for development, grading and presentation in class.

File download is being updated and will be uploaded soon.

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