Stage lighting through the ages -Theatre to Classical Dance (original) (raw)
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This thesis explores the dynamic possibilities of composing with light in the theatre as an autonomous medium. Through an archaeology of concept, it identifies the non-dynamic elements inherent to traditional theatre lighting such as the need for illumination, the linearity, the emphasis on spacial thinking over temporal thinking and the focus on visual images over in-depth experience. These elements shaped lighting practice as a predefined technical tool activating other mediums - culminating in a non-dynamic and rigid practice- instead of considering it as a performative and active element in itself. A comparison with Light Art, complemented with insight from psychology, unveils that time and movement are missing to the feeling of vitality triggered by a dynamic light. The thesis thus speculates on how to conceptually and technically reintroduce these fundamental elements of dynamism into stage lighting design, promoting a polyphonic and polyrhythmic temporal model over a linear a...
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In this article, I discuss the influence of stage lighting on the processes of scenic design and the functioning of performance space. There has been a huge advance in lighting technology with regard to their accessibility, usability, luminosity and costs during the past decades. Light can no longer be thought of as a necessity that can just be added to the performance. It has become one of its basic visual elements, directing and focusing the spectators gaze. The rhythm of changing lighting cues create a visual dramaturgy, which has turned visual design from solid constructrions to a score of temporal events. Today you seldom see a performance without any use of projections or digital videos. I begin with a quick historical survey on the adaptation of electric light in order to exemplify the artistic significance of technological innovations. I move on to a more philosophical conversation about the metaphorical connotations of light as a basic component of the visual mise-en-scène....
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Stage lighting is a unique mixture of art and science which aims to achieve a selective, atmospheric, dimensional illumination; appropriate to the style of a particular theater production. It must do this in terms of four controllable variables—intensity, color, distribution and direction. Practical knowledge of all the framework of theatrical lighting environment is significant as it coordinates and executes the required aesthetics. This research looks at the physical components of the lighting design in Nigeria; with other elements of non-physical or physical environment including the personnel, schedule (Cue), scenic components and theatrical space. The methodology focuses on two primary data, which are: Midnight Hotel: The Musical written by Femi Osofisan and directed by Okeke Stanley) Fela: Arrest the Music (written by Paul Ugbepe and directed by Kenneth Uphopho) and it comprises a range from Literary materials, introspective phenomenological observations to deep interviews. This research looks at the challenges and prospects in modern stage lighting in Nigerian theatre. This research draws upon most primary resources from Kenneth Uphopho's 'Fela: Arrest the Music' and Okeke Stanley's 'Midnight hotel: The Musical'. The main contribution of this thesis is to widen the base of knowledge that lighting designers and students can use as a common reference.