Perhaps the greatest area of influence that the lighting design has over the moment is the ability to affect the mood or the emotional reality of the scene. By using the elements of light, the lighting design can display how the play feels in a way that is much harder for scenery and costumes can. In this way, the lighting design must be much more related to what the actors are doing, rather than the physical environment.
One of the pioneers of modern lighting design theory and practice was a Swiss designer and theorist named Adophe Appia. In a time when lighting was purely practical, providing little more to the play than visibility, Appia believed that lighting, along with music, had a particular and unique power to reinforce the emotion of the moment. Appia worked near the end of the 19th century, and his forward vision was quite extraordinary. Much of what he suggested in theory was not possible with 19th century technology, but has become commonplace here 100 years laterSome of Appia's drawings and influence are outlined at this site if you would like to learn a little more about his work.
Scenery, costumes, makeup and other design areas can be changed to suit the moment in the play, but not to the quick extent that lighting can. Imagine a scene in which there is a party going on. Lots of people are milling about laughing and having a good time. But then something happens to a particular character in this crowded room that makes him or her feel totally isolated and alone.If you've ever done something embarrassing in a crowd of people, and felt like the world has suddenly stopped to focus directly on you and you only, you know how this feels emotionally. In this moment, the lighting design could decide to quickly change the look, so that the rest of the people in the room seem to lose emphasis, while the character who is going through this sudden shift in emotion is suddenly isolated by a tight special. This major lighting change might not be 'realistic', but in the moment of the play, the stark lighting change quickly helps to tell the story. The choices made by the lighting design truly reflects the emotional reality of the moment.
Scenery, costumes, makeup and other design areas can be changed to suit the moment in the play, but not to the quick extent that lighting can. Imagine a scene in which there is a party going on. Lots of people are milling about laughing and having a good time. But then something happens to a particular character in this crowded room that makes him or her feel totally isolated and alone.If you've ever done something embarrassing in a crowd of people, and felt like the world has suddenly stopped to focus directly on you and you only, you know how this feels emotionally. In this moment, the lighting design could decide to quickly change the look, so that the rest of the people in the room seem to lose emphasis, while the character who is going through this sudden shift in emotion is suddenly isolated by a tight special. This major lighting change might not be 'realistic', but in the moment of the play, the stark lighting change quickly helps to tell the story. The choices made by the lighting design truly reflects the emotional reality of the moment.
Photos, from upper left:
August, Osage County, Warehouse Theatre; Lighting Paul Collins
Move Over, Mrs. Markham, Barn Theatre; Lighting: Paul Collins
Bread and Circuses, College of Charleston; Lighting: Ally Musmeci (photo: Nancy Santos)
Achilles, Scourge of Man, Iowa New Play Festival; Lighting: Maylan Thomas
For the Love of the Nightingale, College of Charleston; Lighting Alexia Sosa
Fiddler on the Roof, Barn Theatre; Lighting Paul Collins
August, Osage County, Warehouse Theatre; Lighting Paul Collins
Move Over, Mrs. Markham, Barn Theatre; Lighting: Paul Collins
Bread and Circuses, College of Charleston; Lighting: Ally Musmeci (photo: Nancy Santos)
Achilles, Scourge of Man, Iowa New Play Festival; Lighting: Maylan Thomas
For the Love of the Nightingale, College of Charleston; Lighting Alexia Sosa
Fiddler on the Roof, Barn Theatre; Lighting Paul Collins
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