Theatrical lighting is one of the most important aspects of the theater industry. Without light, the stage would simply not be able to be seen. From using the sun in ancient Greece to lights that are automatic, tremendous strides have been made in the stage lighting industry. There are many people who have been at the forefront of innovation, and their steps forward can still be seen today. These modern lights and light accessories can be used to put different psychological effects onto the audience. To understand the true nature of theatrical lighting, knowing the history of it is vital. What we call stage lighting today was much different back at the beginning of theater. Starting from the ancient Greeks all the way to as recent as
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Loie Fuller is recognized as a dance innovator who pushed the boundaries of performance, specifically in lighting and costume design (Jones, 18). Her lighting developments are still in use today. Loie Fuller developed new lighting gels to add color to her performances (Zornitzer, 96). She also invented machines that would allow the color to change at certain intervals throughout the show (Zornitzer, 96). These machines were like a big wheel with a variety of colors at different segments. She would have a light beneath her, as well as lights surrounding her on all sides like a circle. Each light would be operated by a person which would change the color using the wheel like machine. Loie Fuller revolutionized the way color was used in lights by changing colors mid show, multiple times, rather than just use one color for the duration of the show. Soon after Fuller, Stanley McCandless published his Glossary of Stage Lighting. His method of lighting was designed to “provide uniform illumination across a proscenium stage in such a way as to render actors ' features naturally and without distortion or distracting shadows” (Essig). In his method, many lights were aimed at the stage as to …show more content…
More than one type of light is used to illuminate a single show. Each of these variations have their benefits and downfalls, so using a mixture of all of them is usually the best option. The first type of widely used lights is a PAR Can. These lights give a general wash of light to the stage, roughly focused on specific areas of the stage. Many times these are made up of LEDs, or Light Emitting Diodes; this enables the light to be a variety of colors, with the need of any gels. This also means the light can change colors instantaneously. Another kind of stage lighting is a Fresnel. A Fresnel gives a general wash to the stage, just like a PAR can does. An advantage of a Fresnel over a PAR can is that they can be focused slightly by using barn doors, which allows more specific areas of stage to be lit up. There is a disadvantage though, and that is color. To add color to a Fresnel, a gel must be added in front of the lamp. A third popular lighting choice is an ERS, or an Ellipsoidal Reflector Spotlight. These are what most people picture when they think of stage lights. ERSs are very versatile lights. They can be hard or soft focused onto the subject on the stage, color can be added with a gel, and a GOBO can be used to designs. A SeaChanger is typically added onto an ERS rather than a gel being
Loie Fuller is recognized as a dance innovator who pushed the boundaries of performance, specifically in lighting and costume design (Jones, 18). Her lighting developments are still in use today. Loie Fuller developed new lighting gels to add color to her performances (Zornitzer, 96). She also invented machines that would allow the color to change at certain intervals throughout the show (Zornitzer, 96). These machines were like a big wheel with a variety of colors at different segments. She would have a light beneath her, as well as lights surrounding her on all sides like a circle. Each light would be operated by a person which would change the color using the wheel like machine. Loie Fuller revolutionized the way color was used in lights by changing colors mid show, multiple times, rather than just use one color for the duration of the show. Soon after Fuller, Stanley McCandless published his Glossary of Stage Lighting. His method of lighting was designed to “provide uniform illumination across a proscenium stage in such a way as to render actors ' features naturally and without distortion or distracting shadows” (Essig). In his method, many lights were aimed at the stage as to …show more content…
More than one type of light is used to illuminate a single show. Each of these variations have their benefits and downfalls, so using a mixture of all of them is usually the best option. The first type of widely used lights is a PAR Can. These lights give a general wash of light to the stage, roughly focused on specific areas of the stage. Many times these are made up of LEDs, or Light Emitting Diodes; this enables the light to be a variety of colors, with the need of any gels. This also means the light can change colors instantaneously. Another kind of stage lighting is a Fresnel. A Fresnel gives a general wash to the stage, just like a PAR can does. An advantage of a Fresnel over a PAR can is that they can be focused slightly by using barn doors, which allows more specific areas of stage to be lit up. There is a disadvantage though, and that is color. To add color to a Fresnel, a gel must be added in front of the lamp. A third popular lighting choice is an ERS, or an Ellipsoidal Reflector Spotlight. These are what most people picture when they think of stage lights. ERSs are very versatile lights. They can be hard or soft focused onto the subject on the stage, color can be added with a gel, and a GOBO can be used to designs. A SeaChanger is typically added onto an ERS rather than a gel being