Abstract
When dealing with such topics as lighting setup, particularly in a puppet production, and its impact on the actor, namely the puppeteer, the main goal is to emphasize the importance of a stage element that is often ignored by the director and the lighting technicians as well as by other members of the production crew including the actor, the scenographer or the coreographer. My interest in this issue is not of recent date and the present article is the result of both collecting information on lighting techniques and concepts (lighting points, positions, dimensions, technical equipment, aso) and interviewing lighting technicians in this art , as one may call it, on their correlation to every phase in the evolution of a production. I do not claim to have supplied clear solutions to the above matter, but I have opened a path for debate for those that are interested in such aspects, mostly for those that can actually address this issue in an appropriate manner when working on the lighting setup of a puppet production or other stage production.
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