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Relevant bibliographies by topics / Theatrical Lighting Design

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Academic literature on the topic 'Theatrical Lighting Design'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "Theatrical Lighting Design"

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Ellis, Simon. "SHEDDING LIGHT ON LATE ROMAN HOUSING." Late Antique Archaeology 3, no. 2 (2006): 283–302. http://dx.doi.org/10.1163/22134522-90000067.

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Lighting was an important element in the design and use of late antique housing. Daylight was channeled through windows and doorways, but important social activity also took place at dawn and after dark when artificial lighting was required, and commonly used. Modern IT techniques, particularly the use of ray-tracing, allow conclusions to be drawn about the way that lighting was used in houses. Lighting was used to create a theatrical atmosphere during dinners. Blanket lighting of rooms was not available, and lighting was used to create areas of light and shade complementing the d袯r of the room. The distinction between male control of the house at night and female control during the day was also one between night time with artificial lighting, and daylight.

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Zaeva-Burdonskaya, Elena A., and Yuri V. Nazarov. "Stage in the Spotlight and Paradoxes of the Profession Artist, Light, Theatre." Volume 28, Number 2, 2020, no. 02-2020 (April 2020): 17–27. http://dx.doi.org/10.33383/2019-066.

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Nowadays, the lighting designer is becoming one of the leading figures in forming of the concept of theatrical scene design. Lighting technologies with great potential of illumination, colour and graphic capabilities allowed the profession to occupy the leading positions in the space of any object. Today’s orientation of the whole visual culture to staginess alongside with avant-garde inventions of stage designers in the early 20th century have formed the main artistic trends of this art. Nowadays, the modernistic findings of the past are supplemented by innovative multimedia technologies. Visual techniques worked out in stage shows have seriously affected the people’s attitude towards the stage space. They have made theatrical performance very dynamic by using lighting and media effects, sufficiently widened the scope of visual and expressive abilities of an artist. The new paradigm of light as an active tool of form-making allowed modelling the space by means of lighting technologies. Stage light has become a form possessing great emotional power inseparably associated with the dramatic composition of performance. At the same time, the goal of a lighting designer cooperating with theatre designers and costume designers should permanently lead the audience to catharsis and innovative light engineering techniques play a great role in it. Naturally, such innovations in theatre art made it necessary to correct the programmes of training of universal specialists required in this area. Professional education of a theatre lighting designer, apart from knowledge of technology and basics of scenography, requires serious artistic training. The methodological experience obtained in scenography training of future designers in the Environment Design sub-department of S.G. Stroganov MGHPA may provide an example of new design approaches to solving of comprehensive problems of scenography. Design training techniques used in the sub-department include the method of environmental approach, the method of script modelling using a virtual design model and the method of conceptual design.

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Travis, Jon E., and J. Michael Gillette. "Theatrical Design and Production: An Introduction to Scene Design and Construction, Lighting, Sound, Costume, and Makeup." Theatre Journal 40, no. 2 (May 1988): 292. http://dx.doi.org/10.2307/3207681.

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Bisaha, David. "Defending the Standard Contract: Unmeasured Work, Class, and Design Professionalism in United Scenic Artists Local 829." Theatre Survey 61, no. 2 (March 12, 2020): 231–51. http://dx.doi.org/10.1017/s0040557420000071.

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How much is a theatrical design idea worth? Alternatively, how much should a professional theatre designer be paid? For many working today, standard minimum contract scales and “industry standards” help guide fee negotiations. In the United States, United Scenic Artists (USA) Local 829 was among the first bodies to align theatrical design with organized labor activism, and as such, its standard minimum contract for design is an object lesson in the value of artistic labor. These scales were developed nearly a century ago, and were the product of hard negotiation and legal action taken by US-American designers in the interwar period. Lee Simonson and Jo Mielziner are best remembered for their revolutionary use of space, scenery, and lighting, yet their professional advocacy within USA Local 829 provided the basis for today's standard design fees. Further, their defense of fair payment during the Depression and war years preserved scenic design as a form of labor analogous to other backstage crafts and trades.

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Thompson, Ann. "Staging Plays at Shakespeare’s Globe: Then and Now." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 137. http://dx.doi.org/10.14198/raei.2012.25.11.

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The reconstruction of the Globe Theatre on London’s Bankside had historical accuracy as one of its aims, both in terms of the design and construction of the building itself and, more controversially, in terms of issues to do with performance. Scholars hoped the theatre would become a kind of laboratory in which they could test theories about how the plays might have been staged in Shakespeare’s time, and terms like ‘authenticity’ and ‘original practices’ were used. This essay discusses the sometimes patchy and unreliable evidence we have about ‘original practices’ from stage directions, dialogue and accounts of props and costumes; it also explores how the companies using Shakespeare’s Globe have used aspects of the building such as the yard, the space under the stage, the trapdoor and so on. And it provides examples of experiments with lighting and sound effects, and more radical ones with casting (gender, race and age) and original pronunciation. Finally, it argues that the theatre is not just a museum but a space for theatrical innovation, now as well as then.

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Taylor, Val. "The Tutor as Audience: Approaches to Examining Student Performance." New Theatre Quarterly 8, no. 30 (May 1992): 140–45. http://dx.doi.org/10.1017/s0266464x00006588.

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Ever since the creation of the first Departments of Drama in British universities soon after the Second World War, the most problematic aspect of assessing student work has been in the practical area – in the disciplines of acting and directing, and the design and execution of set, costume, lighting, and sound. Can acting genius be measured on the same scale as honest effort showing worthwhile progress? How far should any assessment reward individual effort and accomplishment, and how far the student's contribution to the collaborative effort which is the finished production? Should there even be a ‘finished production’ – and if so, how far should audience response and the chemistry of a particular performance affect a tutor's knowledge of the process involved? Indeed, are there criteria which can make any one or two tutors’ individual impressions more than merely impressionistic? The following paper by Val Taylor, who teaches in the Drama Department at Roehampton Institute, tackles this last area in particular. While it began as an internal discussion document, it seemed to us to raise relevant issues so fully and succinctly as to deserve wider dissemination, not only among colleagues in British universities, but among all those called upon to measure developing theatrical skills.

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Fomin, Dmitry V. "Book Graphics by Nikolay Pavlovich Akimov. To the 120th Birth Anniversary of the Artist." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 2 (June 10, 2021): 149–62. http://dx.doi.org/10.25281/0869-608x-2021-70-2-149-162.

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The article is devoted to the art work of the outstanding Russian artist, stage director, theatre figure Nikolay Pavlovich Akimov. Using bibliological, art history and source study methods, the author analyzes the least known works of the master in the field of book graphics and posters, which have been overlooked by most researchers. The article traces the relationship between the stage director’s graphic experiments and his theatrical work. The author disputes the statement that most of Akimov’s covers of the 1920s belong to the “illustrative type”, which is often found in the bibliological literature, and emphasizes the generalized, symbolic, conditional nature of the portraits of literary characters. The examples show the coincidences and differences between the poster interpretation of the characters’ images and their book interpretation. The article considers not only the early works of the master, but also his design experiences of the late 1950s — early 1960s. The author reveals the most significant features of Akimov’s graphics: strongly pronounced fantasy spirit, the artist’s predilection for the eccentric and grotesque, for unexpected angles and lighting effects, distortion of real proportions for the sake of sharpening the character of the image, the inclusion of letters in the structure of figurative compositions.

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Virkki, Susanna. "Finnish Theatre Photography and the Influence of Technology." Nordic Theatre Studies 26, no. 2 (September 9, 2014): 60. http://dx.doi.org/10.7146/nts.v26i2.24310.

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This article is mainly based on interviews with three Finnish photographers’, Kari Hakli, Jalo Porkkala, and Petri Nuutinen’s as well as on the theatre photographs they have taken. The criterion for selecting these three photographers has been that their work spans a number of decades; therefore, the development of Finnish theatre photography can be studied from this perspective. The theatre photograph is a photo of the stage image, which is often based on the dramaturgy of the play script. The subjects and points of view of the photographer are not generally agreed on in advance with the director or the actors, but they are based on the photographer’s own estimations and views. He/she interprets and transmits the performance to the audience with his images, and works in between the theatre and the spectator, but he is not the artistic producer when photograph- ing, the performance is, i.e. he/she has not chosen lights, costumes or set design. Technology has had a significant influence on the theatrical image and pho- tographic equipment. With the development of materials and equipment, the making of theatre photographs has shifted from a static process into a more dynamic one. Finnish theatre photography has reacted quickly to aesthetic trends in both theatre and photography. In the past it was possible to photograph only static or slow-moving objects in a set situation or in a pose. Today, the photographer can move among the actors, photograph fast-moving objects with a handheld camera using the stage lighting without the need for additional lights. The images look more as if they have been taken by an insider, someone who belongs to the team, rather than by an intruder. Theatre photographs are nowadays needed in the same way they have always been needed, as documents of the performance.

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Erken, Emily Alane. "Narrative Ballet as Multimedial Art: John Neumeier's The Seagull." 19th-Century Music 36, no. 2 (2012): 159–71. http://dx.doi.org/10.1525/ncm.2012.36.2.159.

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Abstract This article approaches narrative ballet as a theatrical art created through the intersection of dance, music, and literature. Following the nineteenth century's tendency to separate ‘the Arts,’ scholars, journalists, and often the dancers themselves portray ballet as an art of choreography and virtuoso bodies, while relegating the music, story, and visual designs to supportive if not negligible roles. My article counteracts this trend by approaching ballet as a multimedial art, in which meaning is made at the points where the specific arts intersect. Audience members perceive the ballet as a composite work, in which all three elements are equally present and important. Using this model, musicologists and literary critics can and should engage contemporary narrative ballets as complex and relevant art of our time. John Neumeier's The Seagull (2002) demands this type of analysis, because it is clear that as the author of the choreography, costumes, lighting, and set design, Neumeier considers all media involved—visual, aural, and literary—as equally generative elements of a ballet. His role is more of a multimedia artist than a choreographer. He is also responsible for the adaptation from Chekhov's eponymous play and for application of musical selections borrowed from Tchaikovsky, Scriabin, Shostakovich, and Evelyn Glennie. Indeed, his choice to present a Chekhov play known for its subtle weaving of verbal dialogue to convey character, mood, and themes seems to force the audience member and critic to reconsider her traditional understanding of what ballet can and cannot do. As an example of a multimodal approach to ballet, this article presents five literary and musical devices expanded to describe the varied interplay of the visual, aural, and literary components in The Seagull. Bakhtin's idea of heteroglossia appears on the ballet stage in the assignment of distinct dance styles to each of the four protagonists, a technique that develops each character by imbuing them with the historical and social connotations of their movement style. Neumeier manipulates the irrefutable connection between music and dance through audiovisual irony in two scenes, where the dance conveys one message, but the music belies it, revealing the underlying ironic truth of the characters' situations. All three modalities are employed to shift time into and out of a reflective space, where the sincerest characters are shown to explore their emotional and artistic dilemmas. Like Chekhov, Neumeier employs echo characters—secondary figures who mirror the conflicts of the main protagonists, allow the author(s) to further develop the play's themes. In this ballet, Masha “echoes” Nina's unrequited love, her movements, music, color palette, and her choices by negation. Through overt application of seagull imagery, Neumeier draws dance and music history—namely, Swan Lake and the pathos of the dying swan—into his ballet, The Seagull.

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Okeke, Tochukwu J. "CONNECTING BRIDGES THROUGH THEATRICAL DESIGN: AN EXAMINATION OF “ASIRI NLA” IN PERFORMANCE." International Review of Humanities Studies 4, no. 1 (January 30, 2019). http://dx.doi.org/10.7454/irhs.v4i1.104.

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The theatre provides an avenue for the expression of very salient and topical issues about a people through the presentation of performances. These performances, which are often in form of plays, are always created by playwrights and that is why playwrights are said to be the watch dogs of the society because their works x-ray past and present situations while proffering solutions for the future. However, the theatre is a composite art which involves the collaboration of many creative artists: Playwright, Director, Stage Manager, Actor(s), Designer(s), amongst others. The designer(s) are the creative artists that interpret the play in visual terms. Their creativity gives a better understanding to the play in performance as the dramatic piece is given further expressions through the actors‟ costumes, properties, lighting and scenery. This essay will interrogated the use of costume and set design in bridging ethnic divides using a Workshop performance of “Asiri Nla” as performed by students of the Department of Theatre and Film Studies, Nnamdi Azikiwe University, Awka at the Arts Theatre. The study found that through an effective set design and appropriate use of costumes that the production was able to unite different peoples under one roof without acrimony thus, it recommended at the effectiveness of design in theatrical productions is a sure way of enhancing national integration.

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Dissertations / Theses on the topic "Theatrical Lighting Design"

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Dudley, Kevin Shane. "Exploring humanity through theatrical design." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3075.

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This document will chronicle the design work of Kevin Dudley at the University of Iowa from August 2013 through the spring of 2016. The images included in this document are representative of the design work for realized productions, large and small scale, and selected explorations in course work. The work represented here includes: drafting, paint elevations, and sketches (both hand and digital). This document will stand as a record my design process and final product used to explore our humanity through theatrical design.

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Lee, Yi-Hui. "A theatrical lighting design for Duke Ellington's sophisticated ladies." College Park, Md. : University of Maryland, 2003. http://hdl.handle.net/1903/98.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2003.
Thesis research directed by: Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Poston, Joshua Evan. "A Lighting Design Process for a Production of Romeo and Juliet." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492520454587452.

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Esposito, Angelina Sara. "A pictoral journey of theatrical costume and light design 2013-2016." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3079.

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Brewster, Karen, and Melissa Shafer. "Fundamentals of Theatrical Design: A Guide to the Basics of Scenic, Costume, and Lighting Design." Digital Commons @ East Tennessee State University, 2011. http://amzn.com/1581158491.

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Script analysis for designers -- The objectives of theatrical design -- Researching the design -- Collaboration -- Design elements -- Design principles and visual composition -- Scenic design -- Costume design -- Lighting design -- Building a career in theater design. With clear and concise examples and hands-on exercises, Fundamentals of Theatrical Design illustrates the way in which the three major areas of theatrical design--scenery, costumes, and lighting--are intrinsically linked. Veteran theater designers Karen Brewster and Melissa Shafer have consulted with a broad range of seasoned theater industry professionals--playwrights, actors, directors, producers, stage managers--to provide an exhaustive guide full of sound advice and insightful approaches to design. Form beginning designers just starting out to experienced directors looking to gain exposure and advance their careers, anyone with an interest in theatrical design is sure to appreciate this book's unique approach.
https://dc.etsu.edu/etsu_books/1005/thumbnail.jpg

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Richier, Christine. "Josef Svoboda, poète de l'immatériel : une étude de la place de la lumière et autres moyens immatériels de la scénographie – projection, réflexion, cinétique – dans l’oeuvre de Josef Svoboda." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2116.

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Le scénographe tchèque Josef Svoboda (1920 – 2002), auteur de près de sept cents scénographies sur les scènes du monde entier, est souvent présenté comme un maître de la lumière et de l’utilisation de technologies avancées à la scène. Mais quel est le contexte qui lui a permis de cumuler tant de réalisations et faire entrer en scène tant de procédés innovants, tout en vivant derrière le rideau de fer ? Quelle place tiennent la technique, l’image et la lumière dans sa pensée de l’espace dramatique ? Et quelle est la nature exacte de cette maîtrise de la lumière qu’on lui attribue ?Pour répondre à ces questions, cette étude s’articule autour d’entretiens inédits menés avec Josef Svoboda en 1993. Elle invite à le suivre en coulisses, pour découvrir la façon dont la lumière se pense et se construit au théâtre et à l’opéra. L’étude emprunte aux écrits sur le théâtre des contributeurs du Cercle Linguistique de Prague (1928 – 1939), dont la pensée, méconnue en France, a forgé celle de Svoboda et éclaire d’un jour nouveau les interactions entre les différents composants de la représentation. Il est ici question de lumière, mais aussi de réflexion, de projection, de cinétique scénique ou de traitement du signal en temps réel, autant de moyens immatériels, impalpables dans leur manifestation scénique, que Svoboda a développés et qui sont devenus les ingrédients majeurs de la scénographie du XXIe siècle
The Czech scenographer Josef Svoboda (1920 - 2002), author of approximately 700 scenographies performed around the world, is often presented as a master of light and advanced technologies for the stage. The thesis questions the contextual conditions which enabled him to cumulate so many achievements and introduce numerous innovative processes for the stage, while living behind the Iron Curtain? What place does technique, image and light have in his thinking of dramatic space? And what is the precise nature of the mastery of the lighting that we endow him ?To answer these questions, this study is based on unpublished interviews with Josef Svoboda which took place in 1993. The study invites us to examine off stage content to discover how light is reflected and built in theatre and opera. The thesis builds on the writings of the Linguistic Circle of Prague (1928 - 1939), whose thoughts, unknown in France, forged that of Svoboda and shed new light on the interactions between the different components of performance. This addresses the question of light, but also of reflection, projection, kinetics and signal processing in real time.The accumulation of these immaterial means that Svoboda developed, impalpable by their scenic manifestation for actors and spectators, have become the major ingredients of scenography of the 21st century

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Hessler, John M. "Alternate images the use of television lighting as visual reference for theatrical lighting design /." 2002. http://catalog.hathitrust.org/api/volumes/oclc/50121882.html.

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Thesis (M.F.A.)--University of Wisconsin--Madison, 2002.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaf 47).

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Lee, Pei-Hsuan, and 李佩璇. "Theatrical Lighting Color Interaction within’ the Stage Composition－The Lighting Design of Orange Seller and the Elixir of Love." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/9cn95u.

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碩士
國立臺北藝術大學
劇場設計學系碩士班
104
This performance report aims to explore the theatrical lighting color interaction within’ the stage composition. Given that the development of theatrical lighting equipment is rapid, the light emitting diode (LED) is skillful using in the theatrical lighting. And the lighting designers often use the moving light in the performance. The color of theatrical lighting is getting more and more inexhaustible. Take two lighting design works for example - and . The former was a performance combine with chinese comedy and play which focusing on the experiment of color on stage. In the whole project, color is the main theme. I use the color to create the different atmosphere of the scene. The latter was a opera which focusing on the color connection of stage and lighting. Try to balance the stage composition.

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Books on the topic "Theatrical Lighting Design"

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Theatrical design and production: An introduction to scene design and construction, lighting, sound, costume, and makeup. Palo Alto, Calif: Mayfield Pub. Co., 1987.

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Theatrical design and production: An introduction to scene design and construction, lighting, sound, costume, and makeup. 7th ed. Dubuque, Iowa: McGraw-Hill Companies, 2012.

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Gillette, J. Michael. Theatrical design and production: An introduction to scene design and construction, lighting, sound, costume, and makeup. 3rd ed. Mountain View, Calif: Mayfield Pub. Co., 1997.

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Gillette, J. Michael. Theatrical design and production: An introduction to scene design and construction, lighting, sound, costume, and makeup. 6th ed. Boston: McGraw-Hill Higher Education, 2008.

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Theatrical design and production: An introduction to scene design and construction, lighting, sound, costume, and makeup. 4th ed. New York: McGraw-Hill, 2000.

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Theatrical design and production: An introduction to scene design and construction, lighting, sound, costume, and makeup. 6th ed. Boston: McGraw-Hill Higher Education, 2008.

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Gillette, J. Michael. Theatrical design and production: An introduction to scene design and construction, lighting, sound, costume, and makeup. 4th ed. Mountain View, Calif: Mayfield Pub., 1999.

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Gillette, J. Michael. Theatrical design and production: An introduction to scene design and construction, lighting, sound, costume, and makeup. 5th ed. Boston, Mass: McGraw-Hill, 2005.

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Gillette, J. Michael. Theatrical design and production: An introduction to scene design and construction, lighting, sound, costume, and makeup. 6th ed. Boston: McGraw-Hill Higher Education, 2008.

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Theatrical design and production: An introduction to scene design and construction, lighting, sound, costume, and makeup. 2nd ed. Mountain View, Calif: Mayfield Pub. Co., 1992.

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Book chapters on the topic "Theatrical Lighting Design"

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Dunham, Richard. "Variations on Essential Theatrical Design." In Stage Lighting, 306–24. Second edition. | New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315454696-13.

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Dunham, Richard. "Traditional Areas of Theatrical Design (Drama, Dance, Opera, and Musical Theatre)." In Stage Lighting, 347–66. Second edition. | New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315454696-15.

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"Lighting Design." In The Art of Theatrical Design, 271–88. Routledge, 2014. http://dx.doi.org/10.4324/9781315777702-38.

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"Variations on Essential Theatrical Design." In Stage Lighting, 278–96. Routledge, 2015. http://dx.doi.org/10.4324/9781315662718-18.

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"An Extra Chapter of Introductory Steps in Developing a Lighting Design." In Teaching Introduction to Theatrical Design, 307–28. New York : Routledge, 2017.: Routledge, 2016. http://dx.doi.org/10.4324/9781315639499-26.

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Holgate, Sharon Ann. "Behind the scenes�optics and mechanics in stage lighting and theatrical visual effects." In Outside the Research Lab Volume 1: Physics in the Arts, Architecture, and Design. IOP Publishing, 2017. http://dx.doi.org/10.1088/978-1-6817-4469-8ch3.

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Siwe, Thomas. "Music-Theater." In Artful Noise, 118–35. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0009.

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In the late 1960s, a renewed focus on the theatrical aspects of musical performance merged with the political and social concerns of the times to create a new genre, music-theater. For percussionists, theatricality is inherent in the action used to play their instruments. Recognizing this, composers created works that incorporated various aspects of theater, designating these new compositions as mixed- or multimedia, intermedia, or music-theater. Examples of this genre are discussed in this chapter beginning with the works of the American maverick composer Harry Partch, who not only created the music, but also built the instruments used in his productions. The genre is defined further through a description of the works of composers Benjamin Johnston, Mauricio Kagel, Karlheinz Stockhausen, Jean-Pierre Drouet, and Michael Udow. Each percussion composition described is unique, incorporating theatrical components such as lighting, stage actions, improvisation, electronics, film, set design, and other elements.

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Golden, Catherine J. "Caricature." In Serials to Graphic Novels. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062297.003.0003.

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In its theatricality, caricature-style book illustration approximates the tableau style popular in the nineteenth century. This chapter examines book illustrations by George Cruikshank, Phiz, Richard Doyle, John Leech, and Robert Cruikshank that, like tableaux, capture a dramatic moment in works by Dickens, Ainsworth, and Thackeray. With lighting, props, clever casting, and detail-laden backdrops, the caricaturists staged scenes ranging from the sensational to the sentimental, from the deeply psychological to the broadly comic. “Caricature: A Theatrical Development” adds two Victorian author-illustrators to this list of recognized caricaturists. Better known as an author than an illustrator, William Makepeace Thackeray designed theatrical pictorial capital letters, vignettes, tailpieces, and full-page engravings for his best-known Vanity Fair (1848) and cast his heroine Becky Sharp in various stage roles. To dramatize Alice’s transformations, Lewis Carroll recalled popular caricature techniques in his illustrations for the first version of Alice in Wonderland (1865) entitled Alice’s Adventures Underground(1864) at a time when realistic illustration held sway. This chapter also examines artistic limitations and scandals (e.g. Robert Seymour’s suicide, Cruikshank’s claim of authoring Dickens’s works) that led to a dismissal or devaluation of the caricaturists and a privileging of the Academy trained artists who entered the field of illustration in the 1850s.

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Conference papers on the topic "Theatrical Lighting Design"

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Dandridge, Susan. "Fixture Design for Motion Picture and Theatrical Lighting." In 30th Annual Technical Symposium, edited by Sandor Holly and Carl M. Lampert. SPIE, 1987. http://dx.doi.org/10.1117/12.936716.

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