Theatre Design & Technology - Winter 2024 - 31

is something worthwhile in the spontaneous
interaction among actors and
audience which creoles a unique experience
of the drama at each performance.
Although the lines, the business and the
scenic investiture are in large measure
alike in each performance, it is the subtle
differences as the performers interact
with one another and with the audience,
which creates the excitement of live
theatre.
If each performance is in fact to be a
unique creation, not only must the actors
be free to interact among themselves and
with the audience, but there must be the
possibility of a reciprocal action among
all elements of production. One way in
which performances may vary is through
the intelligent modification of the appearance
of actors and scenery by changes
within the lighting design.
Deviation of one night's performance
from another should not be encouraged
for its own sake, but must be allowed
for if the maximum affective potential of
live performances is to be realized. The
contemplated variation will always be an
attempt to increase perception of the drama
and, therefore, must be carried out to
complement the actor as chief communicator.
By giving the scenery and properties
the flexibility previously reserved for
the actor, lighting can make all visual aspects
interact in the performance of the
drama. Certainly this is preferable to the
actor's presentation before an unyielding
scenic background.
It will be helpful to consider the relationship
between what we mean by a
" lighting design " and operation of the
control system. A lighting design may be
thought of either as a selection of instruments,
cue sheets and dimmer settings
or as a moment by moment specification
of what is to be shown to the audience.
When the design is considered to be a
master plan for presenting the drama
in a consciously designed visual form,
the control system must be sufficiently
flexible to permit changes which arise
from circumstances particular
to
this
performance. To comprehend the entire
visual communication and to maintain
this communication at its highest possible
level under performance conditions
require of an operator great intelligence
and sensitivity. Not only must he know
the visual statement to be made at each
moment and the distribution of light established
in rehearsal to effect it, but he
must know his equipment so intimately
that the same impact can be obtained
using different dimmer settings and different
instruments. Such an operator
is rare, indeed. In our desire to simplify
the essence of the lighting design for less
qualified operators, too often we freeze
the design in the form of easily recorded
and reproduced dimmer settings and
forget that different audiences present
A speaker walks through a lighting control schematic in an undated image from USITT's 40th anniversary slide
show. | USITT.
Production Requirements
The approach to lighting design has been
too little considered in the design of control
systems. Permanently connected resistance
boards on which each horizontal
row of dimmers controlled a separate
color, while each vertical row controlled
associated instruments were admirably
suited to the color wash method of lighting
for which they were designed. Most
American educational theatre lighting designers
use a more or less elliptical area
of the stage as the basic lighting unit with
relatively few instruments focused on this
area from the front, sides and top of the
stage. A sufficient number of master dimmers
should be provided to permit master
control of all the instruments lighting
each area. Thus systems used where the
area method is practiced should be fitted
with many masters, each controlling
only a few instruments. (These masters
may themselves be preset at different
levels for each lighting change.) Theatres
where lighting is achieved predominantly
by zones stretching across the stage (as
for ballet) or by color washes may require
fewer master controls, each capable of
controlling a greater number of individual
instruments. Arena and multi-form
theatres may have other peculiar requirements
which affect the number and function
of controls.
It should theoretically be possible to
construct a machine capable of any nonpremeditated
lighting change if only the
right control is used, but such a machine
would be unbelievably complex and unwieldy.
The control system designer must
determine the degree of flexibility to be
required of his system.
Herein lies one important difference
between a lighting control system for
ISSUE 1, 2024 | THEATRE DESIGN & TECHNOLOGY | 31
different communications situations.
If we believed the lighting design to
be merely a series of correctly positioned
instruments actuated according to predetermined
dimmer settings, the control
system could be a simple device for
reproducing distributions of light. More
often than not, in the theatre, we mistake
instrument layouts and dimmer settings
for the lighting design. Designers
of control systems need to be reminded,
however, that the visual master plan concept
is the ideal in theatrical lighting and
that control systems should be designed
accordingly.

Theatre Design & Technology - Winter 2024

Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2024

Contents
Theatre Design & Technology - Winter 2024 - Cover1
Theatre Design & Technology - Winter 2024 - Cover2
Theatre Design & Technology - Winter 2024 - Contents
Theatre Design & Technology - Winter 2024 - 2
Theatre Design & Technology - Winter 2024 - 3
Theatre Design & Technology - Winter 2024 - 4
Theatre Design & Technology - Winter 2024 - 5
Theatre Design & Technology - Winter 2024 - 6
Theatre Design & Technology - Winter 2024 - 7
Theatre Design & Technology - Winter 2024 - 8
Theatre Design & Technology - Winter 2024 - 9
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Theatre Design & Technology - Winter 2024 - 40
Theatre Design & Technology - Winter 2024 - Cover3
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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