Lighting in Theatrical Performance as a Dynamic Medium

Abstract

Designing for the theatre is a tasking endeavour, particularly at an amateur level with a restriction of resources, time, and past experience. The question of where to draw inspiration, what research can be done, and the interplay between theories of stage lighting becomes a central issue for an aspiring lighting designer in an unfamiliar or, in some cases, an entirely new setting. With the majority of impactful lighting theory originating from the advent of electrical lighting at the turn of the twentieth century, most of its concepts derive from the staged realism from Belasco and, in direct opposition, Appia’s notions of theatre transcending reality with lighting providing depth and description of space. With opposing concepts and an intangible media, creating mood, tone, and mise en scène through light requires significant forethought, as well as the ability to perceive a stage language lacking corporeality. With all of these present challenges, I attempt, through theory and practical examples, to describe the process of lighting a theatrical performance as well as what constitutes lighting in the theatre. I will attempt to examine the use of colour, texture, motion, and contrast as a vehicle for stage dialogue, as well as question the importance of lighting in performance and its place in the hierarchy of mise en scène, as defined by Appia in his research of Wagnerian opera and Eurhythmics.