![]() As artists we have individual points of view about any story we are telling. This may be the most easily misinterpreted function of light. ![]() The lighting designer must support what the performers are saying and the story they are telling. Again, this is all subjective, as special manipulation is part of the art of design.Ħ-Story - Finally, this component of supporting the story goes to the heart of anything we do in the performing arts. It can change depending on which lights are used in a particular atmosphere. Like selective focus, the lighting designer reveals space. Of course, the real question is: Does the mood evoked support the mood of the moment in the script?ĭoes the mood evoked support the mood of the moment in the script?ĥ-Space - Revealing the space means how much of the theatrical space appears to the audience. The rhythm of the light moving from cue to cue is also a powerful tool in creating mood in the atmosphere. Sharp angles of light can be exciting and intriguing. Color changes will affect the audience subliminally. Mood creation can use all the qualities of light, but the most effective are color, angle and movement. The contrast of light and shadows creates visual interest and actually allows us to see things more clearly, especially the human face.Ĥ-Mood - Creating the mood is when the designer brings to life lighting atmospheres that evoke emotional moods in the audience. Proper backlighting can help separate the actor from the background, helping the audience perceive depth at great distances. Modeling can also create space and depth on stage. Correct angles of lighting should be used to create the appearance of texture to the audience. This is also true for three-dimensional objects and textures used on stage. The contrast of light and shadows creates visual interest and actually allows us to see things more clearly, especially the human face. This is usually due to a lack of angled light creating shadows on objects. I am sure you have seen shows that looked “flat” and uninteresting. It is the lighting designer's job to guide the audience's focus to important moments on stage.ģ-Modeling - This aspect of lighting allows the designer to help emphasize the three-dimensionality of an object or person. Sometimes it is more interesting to have an actor in the shadows, than in the light. But again, what is important to see and what is not? That is very subjective, especially when multiple actors and objects are on stage. It is the lighting designer's job to guide the audience's focus to important moments on stage. Unlike film and television where the audience is shown only what the lens sees, the audience in a live performance is free to look all around the stage, and at the theatre itself. Good visibility is comfortable on the eyes, and is enhanced by all the qualities of light.Ģ-Selective Focus - Selective focus means that objects and people are highlighted or darkened to control the audience's attention (or focus). So visibility is really how “clearly” we can see something. We can throw thousands of foot-candles on the stage and it will be hard to see people clearly if there is no modeling or contrast. Visibility has a lot to do with modeling and intensity contrast. However, just because something reflects light does not make it clearly visible. However, the key word here is “subjectively”.ġ-Visibility - What does that mean? Well, in physical terms an object is visible when light reflects off of it and we perceive that light in our eyes. If the lighting does not accomplish all these functions, then you could subjectively say that the design is not “good”. The Functions of Lighting Design include: visibility, selective focus, create modeling, create the mood, reveal the space, and finally (and most important) support the story. ![]() Although somewhat general in description, and sometimes difficult to measure, these functions are there to serve as the basic requirements for any good lighting design.Īlthough somewhat general in description, and sometimes difficult to measure, these functions are there to serve as the basic requirements for any good lighting design. As you may know, there are six basic “Functions of Lighting Design” that the designer must fulfill. The question is, how do we fairly judge the aesthetics of a production? I believe that the best place to start is with the Functions of Light. However, we all have opinions about what is good or bad. The lighting artist should be free to express their points of view through their art form of light. Art is meant as a creative expression of the artist (or artists, in the case of theatre and the performing arts). ![]() Judging aesthetics in lighting can be as difficult as trying to decide if the latest modern sculpture is “good or bad”. Defining what is good or bad art has always been a controversial subject.
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