In this article we have tried to give you a general overview of how to light a show from start to finish.

AIMS IN LIGHTING A SHOW

The primary function of lighting is to make the stage picture visible, but the way in which the stage is lit will have a major impact on the way the audience perceives the stage picture and therefore the show. After the basic aim of visibility is achieved the lighting designer's aim is to reinforce the overall dramatic impact of the production. The four general functions of stage lighting are: Visibility, Motivation, Composition and Mood.

Visibility:
The function of providing visibility needs little further discussion except to point out that it also implies keeping light off parts of the stage that should not be seen.

Motivation:
Part of the Lighting Designer's job is to make the light look natural for the setting e.g. in a realistic night interior scene the light should appear to come from chandeliers or lamps or practicals in the set. This Motivation must be maintained even if the setting is non-realistic. In such productions the light must be appropriate to the play's context.

Composition:
This function of lighting is also a part of Scenic Design. Composition is the Lighting Designer's attempt to enhance the possibilities the Scenic Designer has provided and that the Director has provided in blocking. In other words lighting the actors and set in proportion and where and when necessary.

Mood:
Though a separate function the enhancement of mood is also a part of the other three. Composition, motivation and the amount of light and kind of visibility all affect the mood of a production.

In performing the four functions of stage lighting the Designer works with four basic controllable properties of light: Intensity, Distribution, Colour and Movement.

Intensity:
Simply refers to the brightness of light.

Distribution:
This includes not only the way the light is distributed around the stage but also the direction from which the light reaches the stage.

Colour:
Colour is easy to change by simply putting a piece of coloured plastic in the beam light, but effective use of colour is one of the most challenging aspects of stage lighting.

Movement:
This means either a physical movement of a beam of light or a change in any of the other three.

There is any number of methods of lighting the stage but all are based on the general principles of illumination -

*There must be enough light to perceive colour, texture and some amount of detail.
* The light must be as directional as is necessary to perceive form (shape).
* Objects of prime interest must be clearly distinct from, and somewhat brighter than the background against which they are seen.

Lighting Designers usually treat the lighting for Actors separately from the lighting for the Set. The Actor is the centre of interest. Even in tragic or highly dramatic scenes the actor should be distinct from the background, and all aspects of his form should be clearly visible. To ensure good lighting for the actor, most lighting is designed as a group of acting areas. The luminaires lighting the acting area are distributed to achieve the desired visibility, to adequately reveal the actor's form and to make sure the actor appears separate and distinct from the scenic background.

Each area can be lit from a combination of:

Overheads:
Called Toplight or Keylight. From above and in front, angled to about 45 degrees.

Fill:
From the front, eyes and teeth lights. Makes objects look flat.

Sidelight:
Used to sculpt the body. Major use in dance or musicals. High sidelight from the use of lighting bars or ladders or booms. Low sidelight often on the floor and called "Shinbusters".

Backlight:
From above and behind. Gives dimension to objects. Can be angled in from the side to provide Motivation or for coloured shadow effects on the stage floor.

Lighting the Actor

Normally aim for two or more luminaires for each area, from the front. Visibility is the primary aim.

Lighting the Show (a simple approach)

Decide where the acting areas are and cover these. Choose angles carefully making sure adjacent areas will blend together properly with no dead spots.

Decide on the "Motivating Light" i.e. light from a source - sun, moon, room lights, candle etc. Add extra lights to produce the appropriate effect.

Think about any other needed Effects or Specials e.g. strong backlight, sidelight, specially lit areas spots, light through trees etc.