A contemporary Broadway show may use several dozen of these fixtures, resulting in a staggering amount of additional design information to track and document.Ī standard means of managing the growing number of additional design decisions has not emerged, yet this information will need to be preserved in the Lighting Archive in whatever form a particular designer has chosen for a production. The last 20 years have seen a tremendous increase in the number of lighting systems utilizing fixtures which offer programmable remote control of color, direction, size, and myriad other properties. This discussion will address only the documentation used for static, or "conventional", lighting fixtures. Some of these documents may exist in the archive only in digital form. The current trend, especially for larger productions, is that parts of this documentation are "born digital" and are accessed only through computers during the course of the production. In the past, the final form of this documentation was paper-based.
#Print hang tapes with lightwright 5 software#
It concludes with a brief description of the commercial software that designers currently use to generate and manage the design documents.Ī lighting design has concrete physical elements and abstract conceptual elements, all of which are documented in some manner. This description provides an overview of the basic documents comprising a stage lighting design. We also have a play that has been in Rep at the Berliner Ensemble for 20 years The Resistable Rise of Arturo Ui by Brecht.īig thanks to Hendrick Thomas, Fabio Antoci, Mike Jezirowski, Uli Eh and John Froelich. The Lighting Archive is very pleased to present the paperwork for several operas from the Semperoper in Dresden, the Deutsches National Theatre Kapelle Weimar and Max Keller's lighting for Tristan and Isolde at The Met in NY. The Metropolitan Opera in NYC is the largest example in the US but in Europe this kind of production is standard for both Opera and Theatre. Whatever lighting is imagined for each piece must fit into the standard plot and be able to be focused in 2-3 hours by however number of electricians the institution can afford.
The Lighting Archive is now presenting lighting paperwork from the world of "ROLLING REPERTORY" (a different show on stage every night of the week and a preparatory rehearsal onstage of something different during the day). The lighting design must fit into available equipment and time. This style of commercial theatre with its large budget, lengthy production periods and nothing changing during the run enables the lighting designer to try new equipment, focus and cue it elaborately and then leave it be for the run.Īmerican REGIONAL Theatres and Opera companies, like Broadway, do one show at a time but they own most of their lighting inventory and their production schedules are short and fixed in advance. The lights and their focus are maintained by the electrics crew for the duration of the run of the show, which in some cases is many years. Lighting equipment can be hung in locations customized for the specific needs of the scenery a diagonally hung cyc lighting position for a diagonally hung backdrop. Everything is either rented or purchased for the show. Because a dance company is always on tour, time is unusually tight: a light plot can never really be larger than something that can be hung and focused in a day next day, old cues reviewed in the morning the new ballet cued in the afternoon during spacing and a run Opening that night.īROADWAY and other COMMERCIAL forms load into essentially empty theatres seating, a front curtain, a system for hanging and brick walls. DANCE designers must work in the light plots that accomplish the lighting for the other works in the repertory of the company and other works on the same program.
In fact, the aesthetic choices available to lighting designers are severely impacted (or enriched) by the milieu in which they work. Lighting designers do not work in a vacuum. Explanation of Genres Catagories and Description of The DocumentsĪN EXPLANATION OF GENRES CATAGORIES and why they matter.
0 kommentar(er)
