Well, what kind of lighting artist am I to you? New Deal Electrical period of staged lighting development.

Who is a illuminator, lighting designer, regulator, "gunner", "tablet", "electronic engineer" and technician?

When did these professions originate? What do they serve? What is the difference? Is it possible to master these specialties on your own? How to analyze experience?

In general, are these specialties creative? To what extent do “random” people harm the profession?

Let's try together to understand all these issues, to sort out the basics of our specialty.

Who are the lighting artists?

Let's analyze the situation using the example of a “neighbor by genre”.

Painter. Agree, it’s not enough to define a painter as “a highly qualified draftsman who applies pigments to a primed plane in a sequence determined by him,” since this definition is suitable for a painter, a designer, and an icon painter, and these specialties are completely different in their tasks. The icon painter works according to certain canons, his work is intended primarily for God. The task of the designer is to satisfy the tastes of the vast majority of consumers. The artist works primarily for himself and for his audience, unless, of course, he has something to say.

As you know, in the beginning was the Word, and our profession was captured by this word. "Artist" defines the whole essence of the existence of our craft, gives a starting point and meaning to further existence. Otherwise, it is better to be called a master or a lighting designer. At least it will be honest and worthy of respect in its own way.

This book will be an attempt to study the profession of a lighting designer precisely from an artistic point of view, since there is a catastrophic shortage of relevant literature, unlike technical literature, in Russia. Apart from D. G. Ismagilava, E. P. Drivaleva and, of course, N. P. Izvekov and V. V. Bazanov, I cannot remember the authors who devoted themselves to creating textbooks on lighting and theatrical technique. I do not know how the format of this book will correspond to the concept of a textbook. In any case, I will try to walk with you along the golden mean, without falling into the extremes of "highly artistic exaltation" and not leaving the artistic part at the mercy of technocracy.

In the visual arts, there are a huge number of soulless paintings made in a filigree painting technique, and countless masterpieces that have been irretrievably lost due to a violation of painting technology. Therefore, we will discard empty talk about the primacy of the egg and the chicken and start learning together.

The scope of the lighting artist

Artistic lighting. The difference between stage lighting and household or interior lighting is that it is installed depending on specific tasks. Setting the light is an artistic process that results in light setting performance, concert, pop or circus number, exhibition installation or light show.

Definition of the profession "lighting artist"

The following is written in my Soviet-era work book:

« A highly qualified illuminator who develops staged lighting schemes for complex performances, concerts and other cultural events, selects staged lighting equipment, determines the location of these facilities and manages them».

In principle, this record can be taken as the basis for defining the specialty "lighting artist".

Indeed, we have some knowledge, experience, developments, a system of artistic values ​​- all that is called a qualification.

Based on the technical and financial capabilities of the performance, concert or other installations being created, he chooses the park of equipment necessary for a particular event, refusing unnecessary hardware and insisting on purchasing the necessary equipment, creating a technical rider for each production.

The lighting designer supervises the technicians (mounters, planners, riggers) during the installation of the light and composes lighting planning sessions, renderings of light scenes and other technical and artistic documentation.

Yes, he manages the lighting equipment complex or manages the operators (regulators, video engineers, gunners).

For a clerical definition, it is quite enough.

If we consider the profession of a lighting designer from a creative side, then he is, firstly, the curator of the entire visual perception of the work: “In the dark you will understand more strongly who is more important in the theater” (an old theatrical saying). Secondly, he is a co-author of a work created by a creative team (theater, musical group, installation company, etc.).

The division of functions and spheres of influence within the team is a very individual and specific thing. Here everyone chooses for himself the amount of functions and responsibility that he can pull. In any case, the artist is obliged to bring his attitude, emotions, tastes, and life experience into the overall work. Another question is how organic, appropriate and tactful such "stuffing" is. To be honest, in my practice this was not always possible. Too different groups and musical groups met me. The leaders of these groups have different charisma. Too much difference in theatrical and concert specifics of creating a work and many other factors affect co-authorship.

Thirdly, often the lighting designer is the exclusive author of the artistic lighting of the work. Recently, a steady trend has been formed of light and multimedia performances with light as the main character.

Education

From a legal point of view, our profession, as it were, does not exist. In essence, it is a working specialty that does not require special training: in fact, for the personnel department of a state institution, it is a synonym for the profession electric light. However, many of my friends have various positions in their work books, from operators of lighting consoles to heads of the lighting department of the theater. Paradoxically, in many state theaters, lighting specialists are required to have a certificate in their specialty. The fact that there is no secondary specialized educational institution in Russia that trains theatrical lighting specialists is of little concern to officials.

In order to get out of the situation and at least somehow conduct an "educational program" for the staff, refresher courses are being created, where an employee of an enterprise with any secondary specialized education can receive a coveted certificate. I also run these courses. The trouble with such training is not only that such courses are not cheap, but also that they have the format of weekly or two-week seminars for cadets with different levels of training, experience and needs. The creation of an educational institution that yesterday's schoolchildren could enter and master the entire range of knowledge and skills from the very beginning in order to get a full-fledged baggage for the future remains an insoluble task today.

The oxymoron is aggravated by the fact that in theater institutes, training takes place in the specialty of an artist-technologist, which includes, in addition to lighting designers, make-up artists, costume designers, scenery designers, head posts, etc.

The teaching staff of higher education also raises questions. The fact is that our profession is very specific and rare. Eminent masters with extensive experience cannot always be presented as teachers due to a variety of reasons: the lack of formal education, the technological lag and conservatism of the "theater" sphere from the "concert" environment, the lack of established methods and, in fact, an integral school of staged lighting, like an artistic one, scenographic or directing Russian schools. If the continuity of the profession exists in domestic universities, then it is presented in a very one-sided and monopolistic way.

The most regrettable thing is that the gap between theater and concert lighting is becoming catastrophic. Theater artists, just starting to master the technological possibilities of modern light, often pass off practices that have been developed over the years in the concert environment as their own revelations. The experience accumulated over decades in the concert and musical environment is practically not transferred to the theater stage. Concert artists often do not have artistic baggage and theatrical methodological base. As a result, where symbiosis could arise, snobbery and mutual rejection arise.

The task of the lighting designer

Creation of artistic and staging lighting for a theatrical, concert, exhibition, architectural or other production (installation).

Hierarchy of professions

The lighting designer is both a subordinate and a leader. The implementation of his ideas will depend on how he builds his relationships with superiors and subordinates.

The owner of a collective work in a theater or a group concert is a stage director, in solo concert practice - a group leader or producer (to be honest, in my rocker practice, producers are a little less common than Bigfoot).

The director is the initiator, ideologist and leader of the creation of the entire work as a whole. He selects the creative team responsible for everything and has the right to veto.

In the visual part of the work, the director formulates artistic and utilitarian tasks for the production designer (scenographer). And the stage designer directly forms the visual part of the work (scenery, costumes, make-up, etc.).

The lighting designer reports directly to the production designer in all creative matters. It is the set designer who determines the measure of freedom and limitation that the lighting designer receives as a creative unit.

In organizational and general technical issues, the lighting designer closely cooperates with the head of the production department (head of post). In different organizations, the functions of the chief posts differ significantly.

The lighting designer is subordinate to:

• Technicians (tablet workers, gallery owners, riggers, etc.) - those who install the equipment and configure it;
• Operators (regulators, video engineers, gunners, etc.) - directly controlling various devices;
• Visualizers - computer specialists who create demonstration computer models of the light of the work and computer light scores;
• Engineers - ensuring the smooth operation of equipment or creating this equipment on special order.

Please note that neither actors nor musicians are organizationally included in the structure of stage lighting, i.e. are neither superiors nor subordinates of the lighting designer.

The lighting designer is also present in organizations engaged in the rental of concert equipment or technical support for entertainment events, but his functions are determined by the specifics of the organization and vary greatly in different organizations.

I don’t know how it is in the rest of the concert field, but in domestic rock, not without my many years of participation, a new position has appeared-lighting designer (video) of the group. In concert practice, the functions of a set designer and a lighting designer are often combined, as happened to me in my work with DDT and Piknik, despite the fact that both Yu. the artist of the group V. Dvornik, who, after my departure from the group, began to work in scenography and, not without success, in stage lighting.

The functions of a director, set designer and lighting designer merged into one for me while working at Aquarium and especially at Alice. At Aquarium I was the group's first artist, and at Alisa a similar tradition developed under my predecessor A. Stolypin. Now, as far as I know, the wife of K. Kinchev is engaged in directing and scenography, the young artist A. Lukashev is in charge of lighting. A similar situation has developed in the Leningrad group, where my student D. Raidugin is the lighting designer.

Pre-electric period of staged lighting development

The history of staged lighting. Pre-theatrical rites.

In fact, stage lighting has been around since the dawn of Homo sapiens and is inextricably linked to religious rites. As soon as the first actors appeared on the stage of mankind: sorcerers, priests, shamans, etc., it became necessary to illuminate them and illuminate the background against which they played their action. Shadows from sunlight, twilight of huts or caves, artificial light from a fire and torches, helped to create a mystical mood of the rites. Until now, in the architecture of the temple of any denomination, one can find elements similar in their functions to the elements of the theater. It suffices to compare the canons of building a temple with a classical box scene.

ancient theater

ancient theater

The first sketches of the appearance of the stage, we are already seeing in the ancient Greek theater: originally a round platform for the actor and the choir - orchestra was surrounded on three sides amphitheater for spectators. The amphitheater could consist of several levels, separated by a wide passage - diazomy. Later, behind the orchestra there was a dressing room for actors - skene, platform for the choir - proscenium. Skene and the amphitheater divided the passage - parod. As the theater developed, this was especially evident in ancient Rome, the orchestra loses its stage significance and becomes a kind of stall for senators or other high-ranking persons of those times. The skene grows in size and height, becoming a full-fledged backdrop for the actors located on the enlarged proskenium.

Ancient theatre. Proscenium.

Actually, from this moment on, it becomes possible to manipulate the lighting. There is evidence that cloth awnings were attached to the portico of the skene, which sometimes made it possible to cover almost the entire theater from bad weather and the sun, painted awnings created daytime colored lighting unusual for those times.

It is obvious that, not wanting to limit the time of action to daylight hours, there is a need for utilitarian artificial lighting of the stage.

It is characteristic that it is from the time of Rome that there is a need for scenography is the art of stage design.

Porticos of the skene are decorated with columns and sculptures; flat painted shields are installed in the openings of the columns - pinaki. At a later time, trihedral prisms began to be used to quickly change the scene of action - telluria (telaria, periacts). Appears curtain, which was initially pulled out of a special slot in front of the proskenium. It is logical that the need for scenography, and then for spectacular lighting, arose with a change in the aesthetic canons of all art as a whole. In ancient Greek art, the description of the place of action is often very conditional and not expressed. In Rome, it is more specific and, as a result, the appearance of scenery and stage effects.

Theater of the Middle Ages

The true development of scenography and its integral part - stage lighting continued several centuries after the collapse of the Roman Empire. Approximately after the 10th century, a new form of worship began to develop in the church of medieval Europe - liturgical drama. Action on gospel stories, played out directly inside the church. The places for the actors to play were located in different parts of the church and were covered up to the necessary moments with curtains. Thus, in fact, not one scene appeared - but several, later called simultaneous. The lack of daylight gave rise, on the one hand, to the need for additional artificial lighting in the form of many candles, oil lamps and torches, on the other hand, made it possible to invent various lighting effects.

Please pay attention to the fact that in the Middle Ages, as in previous cases, the general aesthetic needs for an unusual, mystical description of the scene of purgatory, heaven and hell, gave rise to the need for the development of scenography as a whole. Scenery for individual episodes, props, flight devices, mechanical monsters, etc. were created. There was a need for effective lighting and its control. So with a fickford cord it was possible to light a large number of lamps almost simultaneously. And with special caps to extinguish them or shade them with special curtains. With the help of lifting mechanisms and many candles, create the illusion of a starry sky or heavenly radiance. Designs with candles or lamps were hidden for the time being and appeared when necessary.

Some parts of the scenery made of tow and cotton wool were soaked in alcohol, which made it possible to achieve a flash effect. Pieces of resin gave beautiful sparks. Flashes were made by igniting a mixture of resin and gunpowder. With the help of the simplest devices, illusions of lightning flashes and reflections of fires were created.

With time church theater began to move from the church to the square in front of the church, and then to the square altogether, giving way street theater.

street theater

With the release of the theater on the streets, the church liturgy is replaced by a mystery, an action on religious subjects, using, as a rule, three scenes of action: hell, earth and paradise.

Unlike the church theater, the street theater did not have stationary buildings and was built on the squares for some event. The need for a change of scene

necessitated specially equipped stage platforms. It is logical that there was a need for qualified craftsmen who can quickly install the necessary equipment.

The mysteries did not have a single stage solution, except for one thing - they were all simultaneous. One of the options was a two-story stage equipped with hold, where the scenery was prepared and the actors and lift hatch, with the help of which, new scenery quickly appeared on the stage. Sometimes the stage simply consisted of three floors covered with curtains: the lower floor is hell, the second is earth or purgatory, the upper is heaven. Often the three scenes were not mounted vertically, but horizontally. Often, special two-story wagons were used to change the scenery - pagents. The number of wagons corresponded to the number of places of action. To change the scenery, the wagons simply moved around.

Naturally, the design of the mysteries required magnificent decoration and various effects. Mechanical animals, lifting mechanisms, obviously - pyrotechnics enhanced the mystical sensations of the audience, creating a sense of magic.

Gradually, street theater loses its exclusively religious theme, being replaced by street comedy theater - farce.

The pinnacle of this movement was the Italian comedy born of the Renaissance. del arte, the origins of which can be traced back to the ancient Greek theater of masks and street carnivals.

Formation of the box stage and fundamental principles of staged lighting

It is from the Renaissance that the laying of the main components of modern theatrical and concert art begins. If we carefully follow, we see how the architecture of the ancient, especially the Roman theater begins to form the canons of stage construction: the amphitheater becomes the main place for the viewer, the orchestra - a place for the nobility, the proscenium turns into a stage.

Skene becomes back and additional (rear) backstage.

The action begins to take place on one stage. At the same time, the experience of the theater of the Middle Ages is also taken into account: the hold, lifting hatches, stage mechanisms, scenery and props are preserved. A classic curtain appears, behind which there is a change of scenery, although a large-scale change of scenery will develop somewhat later.

From the 15th-16th centuries, the theater gradually became covered. At first, these were temporary wooden buildings, then stone stationary theaters attached to palaces. Naturally, there is a need for utilitarian artificial lighting for actors and scenery and lighting effects.

In addition to the experience of previous generations, it should be noted that the Renaissance theater also introduced new elements. Stage mechanisms and systems for changing scenery have evolved. The best and most famous painters are being invited to design performances. Scenic appears perspective backdrop,"destroying" the back wall and creating a complete illusion of the depth of the scene.

The creation of illusory space was widely developed in Renaissance painting.

The discovery of the laws of perspective, widely used in the painting of those times, received fertile ground in the specific conditions of the theater.

The invention of perspective scenery is attributed to an Italian artist Bramante, and the further development of theatrical and decorative painting techniques - to the artist and architect Sebastian Serlio. Thanks to him, an inclined tablet(stage floor). The horizon line of the picturesque backdrop is moved by the artist from the border with the tablet much higher, directly to the center of the picturesque backdrop, which greatly increases the illusion of depth. In addition, the artist previously made a model of the scene - layout where I checked my calculations.

In addition, Serlio gives a classification of staged lighting, dividing it into three categories: general lighting, decorative and spectacular. All these achievements of the great theatrical artist are often used by the modern theater.

The theater did not deprive the attention of the great Leonardo da Vinci, who not only painted theaters, but also improved the oil lamp by placing a tin tube over the flame, which increased the draft and, accordingly, the brightness of the lamp.

The appearance of full-fledged painting in the theater necessitates high-quality lighting. Appear berezhki - opaque, shields covering the source of light from the viewer. Often berezhki are supplied reflectors that increase the luminous flux of candles and oil lamps. Chandeliers are made lifting and lowering for the convenience of their maintenance and ignition. The first spotlights-devices for overhead stage lighting. It's obvious that ramp - the location of the fixtures along the front edge of the stage - proscenium, which has existed since ancient times, is undergoing improvement, obviously appears skyline ramp - the location of the lamps along the rear edge of the stage, which serves directly to illuminate the backdrop.

In the Renaissance theater, colored lighting was also developed: flasks-lenses filled with colored liquids were placed in front of the lamp. Similar lamps illuminated the details of the scenery. Theater windows were often covered with colored paper or colored glass.

It is worth noting that the Renaissance court theater, which existed exclusively for the nobility and at the expense of this nobility, was at one time a model of luxury and fantasy.

Baroque theater

By the beginning of the 17th century, a new genre appeared in theatrical art. Sideshows- insert numbers entertaining the audience are transformed into independent works, opera and ballet appear, which require even more enchanting, lush and luxurious decorations. The renaissance theater, with inactive scenery and a small cool tablet, does not satisfy the sharply increased needs, the need arises for the placement of the orchestra. There is a need to change the scenery and hide the mechanisms of the stage and changeable scenery.

Appear front and rear ditches(orchestral pits and places for mechanisms for changing scenery). portal arch- limiting the stage in front, backstage(often picturesque) and padugi - covering the ceiling, a system of spotlights and ramps is being developed.

Theatrical machines are reaching their dawn. Flying characters, enchanting clouds in the sky, whole streets on the stage, floating ships, fantastic animals, transforming scenery, fountains: all this was already in the theater baroque.

baroque theater

By the middle of the 17th century, the scene acquires quite real features. classic box scene, the scene that dominates today, being the most common form of scene.

However, the change of scenery takes place either in a sliding way, or antique telari, which received their new development. The ever-increasing need to quickly change a large number of scenery leads to the creation backstage scene.

It is necessary to name several names associated with a genuine revolution in theatrical technology. These are: German architect Joseph Furtenbach, English theater technologist Inigo Jones, Italian "magician and magician of the stage" Giacomo Torelli, who worked a lot in France and of course an architect, artist and mechanic Giovanni Servandoni.

Simultaneously with the development of the stage, the auditorium is being modified, the amphitheater theater of the Renaissance, designed for a small circle of nobility, could not accommodate a large number of motley spectators, and the idea of ​​​​publicity and accessibility of the theater required new configurations. This is how the tiered or rank theater arose. Who knows, who attended performances, did not intersect with the rest of the public and had the most advantageous, central, low and isolated places separated from the rest - lodges. The public with a modest income was content with the upper tiers of the side boxes.

The tiered system significantly separated the quality of individual locations in terms of stage visibility.

The structure of the auditorium of modern theaters significantly averages visibility from different points, but the trend persists. Therefore, the perspective construction of scenery and staging of light is still calculated from the central point of the auditorium.

classical theater

The 18th century is characterized by the appearance of space above the stage, where the rising scenery of the so-called. "double dressing" sheltered lattice ceiling of the stage - grate, equipped with blocks column shafts, with horizontal pipes suspended on them for attaching scenery - battens. By the 19th century, shtankets began to be equipped with balances - counterweights that made it easier to lift the scenery. In fact, the era completed the formation of the classic box scene.

And only staged lighting before the invention of electricity has not undergone any qualitative changes since the baroque theater.

The changes concerned only the quantitative part, often up to 8000 candles were used at especially magnificent performances. Chandeliers were made lifting and lowering, lowering the chandelier meant the beginning of the intermission, special attendants - lustrers, removed carbon deposits and corrected the wicks. Chandeliers were lit with a candle on a long stick, extinguished with a wet sponge or special caps. In the 18th century, chandeliers began to be raised for service in special rooms under the ceiling. By the 19th century, candles began to be replaced by oil lamps equipped with burners and reflectors.

But candle and lamp lighting did not allow flexible control of light. It is also worth considering the cost of oil and candles, as well as the ubiquitous soot. Only by the beginning of the 19th century in England, and then throughout Europe, gas lighting began to spread.

The control was carried out from the first prototype of the light console - a gas table, gas pipes departed from it. By regulating the gas flow with valves. It was possible to control the lighting, but completely turning off the burners was impractical, since it was impossible to set them on fire again during the performance. It was necessary to leave a minimum light.

With the advent of gas burners, a system of colored light began to develop, light filters were made of colored silk soaked in varnish or oil to increase transparency. Around the same time, the first RGB prototype appeared, color sources were divided into groups of red, blue and green colors, and “pure” color was often used. The change in light occurred by reducing the intensity of groups of one color and increasing the intensity of other groups. However, gas lighting has not been widely used because of the high cost, bulkiness and, of course, the fire hazard.

It should be noted that not only the complexity of managing candle, oil or gas light hindered the development of staged lighting. The low light output of the sources did not allow the wide use of directional light, thereby making it impossible to move the light source away from the illuminated object.

classical theater

Therefore, a real revolution in staged lighting did not occur with the beginning of the use of electricity, but a little later with the advent of directional spotlights and, of course, dimmers.

Electric stage lighting development period

The final formation of the classical theater in the middle of the XIX-beginning of the XX century

By the middle of the 19th century, the main features of the classical, stage-box stage, born in the Italian theater of the 17th century, received their completed forms. The classical stage became dominant in the theater world. Of course, other types of scene continued to exist in parallel with global trends. The variety of different types of scenes has survived to this day, but the laws of scenography and stage lighting are formed specifically for the box stage and only then are they adapted to other, non-standard venues. We will turn to a detailed study of the architecture of the box-scene in the next chapters of the tutorial.

The advent of electricity. Arc lamps.

It should be noted that the discovery of electricity in itself did not make an instant revolution in stage lighting, moreover, the world's first voltaic arc, created in St. Petersburg by the Russian physicist V.V. Petrov, back in 1802, as often happens in Russia, was forgotten for several decades. Only 10 years later, the same experiment was carried out by the English scientist H. Davy.

Several decades passed, the theater continued to use candles and gas lanterns. Only in 1849, at the Paris Grand Opera, at the premiere of Meyerbeer's opera The Prophet, did the first electric arc spotlight appear. It was equipped with a parabolic reflector and simulated fire and sunrise. Interestingly, a few years later, the first "driving" spotlight was used in the same theater.

Initially, bulky batteries were used as a power source. With the advent of the dynamo, arc lighting began to spread in theaters. Despite the fact that the arc sources strongly flickered and sparkled, the effects of lightning, sun, rainbows created using electricity were significantly different in brightness and color from candle, oil and gas sources. As for the directional lighting of the actors, electrical devices had no competitors in this area.

A full-fledged transition of theaters to electric lighting became possible only with the advent of incandescent lamps.

incandescent lamp

As with any fundamental invention, there are several authors, and disputes do not subside about the name of the discoverer of the incandescent lamp. Obviously, the idea came to the mind independently of several authors. Belgian Faubard in 1838. heated a carbon plate in a vacuum, the Englishman de Moleyn from 1841. used a platinum thread, his compatriot Goebel in 1847. used the hairs of charred reeds. Our compatriot Alexander Ladygin in 1874 received a patent for a lamp with a carbon rod in a vacuum. Finally, in 1879, Thomas Edison received a patent for the invention of carbon filament incandescent lamps, and a year later began mass production of relatively inexpensive lamps. With the creation of the Edison and Swan United Electric Light Company (together with Joseph Swan), the era of electric lighting began.

Aesthetic prerequisites for the need for electric lighting in the theater

It is important to note that any technical, even revolutionary, innovation goes through several stages in theater and concert life. This is what happened with electricity. The theater, as a paradoxical junction of two extremes: innovation and conservatism, for a long time either did not notice electricity, or used it as an effect. World practice first spread to the lighting of streets, parks and various entertainment venues, and only then, gradually began the penetration of electricity into the theater, exclusively as an attraction.
In Russia, as always, they went their own way. Until the 1990s, electricity was used only sporadically. This happened against the backdrop of a virtual lack of electricity in everyday life and public life, the use of Yablochkov, Ladygin, Edison lamps in the theater was akin to an elitist miracle. And only in the last decade of the outgoing century there is a "fashion" for the use of electricity. Until the end of the 19th century, electricity in the Russian theater remained a fashionable, expensive attraction.

Technological concept of electric lighting in the theater

By the beginning of the 20th century, electricity in everyday life and public life was becoming more and more commonplace. The theater is gradually "getting used" to incandescent lamps, their versatility, low cost, ease of use allows you to create a common lighting solution, using both the spectacular possibilities of lamps and their utilitarian properties. The appearance of switches, and then rheostats, begins the stage of formation of modern principles for lighting the theater space.

Properties of electric light (in relation to the theater)

Brightness and color temperature

Small-sized, numerous light sources illuminate the actors and scenery with bright beams, the emission spectrum is closer to sunlight, compared to candles.

Remote location of the lamp relative to the object of illumination

Even an ordinary lamp can be located much further from the object of illumination.

directional light. The emergence of full-fledged spotlights

Using a reflector, lenses and other devices, it becomes possible to direct a narrow, directional beam at an actor or scenery without illuminating neighboring areas.

colored light

The appearance of cheap colored glass, and then celluloid, made it possible to widely use light filters. The possibilities of light on the stage have grown by several orders of magnitude.

adjustable light

Now you can easily and quickly, from a remote point and most importantly from one place, turn on and off the light. The appearance of rheostats made it possible to smoothly change the incandescence of the lamp.

Advanced Light Placement Options

There is no need to have direct access to the fixtures. Theoretically, the spotlight could be placed in any optimal location. The classical "hanging" of lighting equipment began to take shape. To the traditional proscenium and horizon ramps, lighting boxes, spotlights, galleries and side trusses were added.

It can be said that in the first half of the 20th century, the location of the set of stage lighting and the principles of building light received modern completed features, and to this day there have been no significant changes in the aesthetics of stage lighting.

In the following chapters, learning about the box scene, lighting principles, etc. we will actually get acquainted with the foundation laid in the first half of the 20th century.

Artistic concept of electric lighting in the theater

I would like to note that the development of staged lighting in particular and theatrical art in general does not take place in isolation from global artistic practices.

Various genres of theatrical art, from the very beginning of the theater to the present day, have different requirements for the stage in general, and for light in particular.

In different eras, the requirements for light varied widely: from maximum realism to maximum fantasy. Various genres of performing arts also made their demands.

The advent of electricity made it possible to consider light as a universal, but very flexible tool, easily adapting to different requirements.

By the beginning of the 20th century, the very concept of art had finally emerged as a separate area of ​​human activity. Gradually, over the centuries, poets, musicians, painters, directors and choreographers began to realize themselves not as utilitarian artisans, but as creators. It was the turn of the twentieth century, when art became fully aware of itself, that gave a powerful, previously unknown impetus to the development of the latest trends in art. Artists, directors and composers finally came to the theater, blurring, or rather expanding its artistic boundaries, creating fundamentally new criteria for the perception and construction of visual space. A huge number of modern techniques, ideas and concepts were born at this time.

First experiences with light and sound Scriabin’s instruments, light and sound paintings by the composer Čiurlionis, Wilfrid’s “music of light”, theatrical light experiments and lighting techniques for scenery by A. Zaltsman, A. Appia, A. E. Blumenthal-Tamarin, E. F. Bauer, the projection device - electrotachoscope Ottomar Anschütz - these are just a handful of examples.

Worthy of special mention Moscow Art Theater, headed by the chief director K. S. Stanislavsky and director V. I. Nemirovich-Danchenko. The quantity, and most importantly, the quality of new techniques and approaches to staging a performance, in fact, formed the modern world theatrical classical school.

The revolutionary upheavals of the first half of the twentieth century in public life were reflected in art. Different theaters in different styles set different goals. Electric light made it possible to solve various artistic tasks for such various theatrical charismatic figures as: Vs. Meirhold, A. Tairov, M. Reinhard and, of course, B. Brecht.

From theater artists the beginning of the 20th century, I will give only selective names: G. Craig, K. Malevich, L. Bakst, A. Golovin, N. Sapunov, F.-T. Marinetti, E. Prampolini, I. Bilibin. The theme of the development of scenography is beyond the scope of this textbook, being a special layer of theatrical culture.

It is extremely important that technological progress first created new devices. Then these devices were integrated into the entertainment and general household sphere. And only after a long process of artistic comprehension of the opportunities provided, a whole layer of artists was formed who managed to organically apply the technique in the artistic field.

Middle of the twentieth century. The emergence of the profession of lighting designer.

In the 20th century, a fundamentally new approach to solving the space of the stage arose - the creation of the actual scenography in the modern sense of the word. The variety of genres and various theatrical schools required the emergence of artists who knew how to work with space, using in their works not the plane of the canvas or the backdrop (although it was they who cultivated the illusion of the depth of space), but a truly three-dimensional space filled with three-dimensional scenery and electric light. The new stage designers required knowledge of engineering technologies in the fields of mechanics, chemistry, optics and electricity. The amount of knowledge required has increased exponentially every year. Naturally, an artist, even a narrowly theatrical one, could not thoroughly study all the technologies. Engineers and technicians, in turn, could not fully understand the artist, since the criteria for communication were different.

As a result, specialists, artists-technologists, who are at the interface between art and technology, have appeared. Lighting specialists began to be called lighting artists. The de facto lighting designer is a "translator" between iron and art.

As far as I know, a similar trend exists to this day in all genres of performing arts, where there is a stage director and set designer. The exception is cases when the set designer or director has the profession of a technologist or the functions of a director, or the lighting designer takes over the set designer.

The emergence of a new profession required the creation of a staged lighting school. In the middle of the 20th century, more precisely in the 40s, the first Soviet textbook on lighting by Nikolai Izvekov, Light on the Stage, appeared. In the 60s, Vadim Bazanov's "encyclopedia" of theatrical technique "Stage Technique and Technology" was published. These books, along with the publications of my teacher B. Sinyachevsky, the founder of the artistic light services of the Leningrad BDT and BKZ, have not lost their relevance and are still the reference books of many artists. Unfortunately, there are catastrophically few books on the world. Only 40 years later, already in our time, Russia saw a new textbook on theatrical lighting by D. G. Ismagilov, E. P. Drewaleva "Theatrical Lighting" and my notes. M. Keller's book "This Fantastic Light" is very popular.

The temptation to read it from cover to cover is very great, but I want to keep different angles of view on the staged light, so for now I will refrain from reading it. In any case, I strongly recommend that readers read both textbooks to find a happy medium for themselves.

I cannot fail to mention the "school" of stage lighting, which has survived to this day in the St. Petersburg Theater of Youth Creativity and its teachers E. Chernova and V. Bulygin.

Cinema and theater

With the advent of the first "magic lantern", it became possible to use dynamic and static projection.

Two eternal rivals and antagonists of theater and cinema since the advent of the Lumiere brothers have constantly influenced and complemented each other. I am almost sure that in the pre-cinematical period, the camera obscura was used not only by painters, but also by theatergoers. The appearance of projection devices, and then film projectors, immediately found its application in the theater. Titles, projection backs, close-ups, the entire arsenal of cinema was used in the theater long before the advent of video projectors. It suffices to give an example of an epidiascope, which allows you to "live" display a close-up of the actor's face on the screen. The true flourishing of projection technologies and the artistic comprehension of these technologies is associated with the mid-twentieth century and the Prague theater "Laterna Magica", under the direction of I. Svoboda. Almost all the artistic and technical techniques used in modern video projection have been repeatedly tested in this theater. Obviously, with I. Svoboda, the countdown of the emergence of the actual light theater as an independent art form begins.

Light in the 20th century as an independent art form

The technical boom and aesthetic eclecticism of modern and post-modern of the 20th century gave rise to new genres of fine art:

Light music. Color music.

Ideas that occasionally manifested themselves in the “color hearing” of some composers, in particular Rimsky-Korsakov, were developed by two brilliant composers of the early late 19th and early 20th centuries.

Composer and painter M. Cherlionis created musical works and paintings of the same name.

A.Skryabin expressed the thesis about the correspondence of notes and color tone, thanks to him, the genre of color music appeared. This genre received a powerful development in the 60s-70s thanks to I. Vanechkin and B. Galeev and their Kazan Design Bureau "Prometheus". Further development of the idea belongs to B. Sinyachevskiy (Leningrad), Yu. Pravdyuk (Kharkov) and S. Zorin (Moscow).

Artistic techniques and engineering developments created by these authors are still used today.

The "precursors" of computer graphics were many operators of combined filming, in particular, another teacher of mine, B. Travkin (Mosfilm).

In addition to light music, a genre of light installations, video art and architectural light performances appears.

concert light

From the moment the musicians “leave” the orchestra pit onto the stage, especially since the development of jazz and various pop genres, there is a need for their coverage. Musicians are gradually losing touch with the theatrical world. Lighting techniques remain purely theatrical or utilitarian. With the advent of rock and roll, there is a need for concert shows. The theatrical foundations remain, but musical specificity is added. In fact, since the appearance of a rock show, the profession of "lighting artist" becomes relatively independent and acquires its own characteristics.

It is important to note that the basis of the profession remains theatrical. Further development of musical trends: rave, rap, alternative - does not bring new impulses for the development of the profession, but leads to the simplification of many functions of a lighting artist.

Trends in the development of theater and concert technology from the beginning of the twentieth century to the present day

Searches and discoveries of theater artists at the beginning of the 20th century determined the development of world theater for many years to come. Modern technologies only develop directions laid down decades ago. The ideas of stage designers who worked at the beginning of the 20th century are far from being exhausted and provide a huge space for experimentation by today's stage artists.

In my, perhaps controversial, opinion, all modern methods of artistic lighting were finally formed by the first half of the 20th century.

The fundamental innovations were the appearance of lens projectors and a multi-channel mechanical light control system.

Since that time, intensive development has been going on, exclusively in the technical direction. The artistic component developed only extensively. Despite the seemingly titanic breakthrough in lighting technology, for the entire second half of the twentieth century, no fundamentally new lighting technologies have appeared that have significantly changed the artistic process.

I can cite only one indisputable factor that influenced the change in the aesthetics of light. The appearance of powerful, small-sized aviation headlights in the 60s made it possible to create a whole system of backlight (backlight) lighting, which led to the birth of the PAR64 device. This technique was reinforced by the invention of glycerin, and then "oil" "light smoke", which replaced the caustic rosin "pavilion smoke" or "heavy smoke" creeping along the ground.

The rest of the variety of technology serves either classical tasks, or is used as an effect, or is still waiting in the wings.

As mentioned above, the general development of technology gives impetus to the development of the artistic component. There is also a reverse process. The increasing complexity of artistic tasks stimulates the development of specific theatrical and concert technologies.

The development of lighting theatrical technologies conditionally proceeded in four directions:

a) Brightness enhancement(light output) of light sources. Increasing economy light sources. Downsizing light source. Improvement of optical systems light sources.

Stages of development: voltaic arc, incandescent lamp, low voltage lamp, halogen lamp, xenon lamp, metal halide lamp, LED.

b) Expanding Diversity lighting devices. Growth universality multifunctional groups of devices and an increase in the number highly specialized, monofunctional lighting fixtures.

Stages of development of multifunctional devices: spotlight with lens hood, lensless spotlight with cutoff and counter reflector, PISI lens spotlight, color changer, moving head.

Stages of development of monofunctional devices: separation of fixtures into spotlights and floodlights.

Spotlight development stages: floodlights were divided into PAR64 type floodlights, profiles, projectors, tracking lights.

Stages of development of "flooding" devices: The “fill” was divided into multi-chamber lamps of the ramp and horizon, “chopping” devices, and architectural colorchangers.

in) Improvement of lighting control systems.

Flexible control began with the appearance of a simple switch, then rheostats appeared, allowing you to change the voltage and, accordingly, the incandescence of the lamp. Rheostats were replaced by autotransformers with variable output voltage. The emergence of autotransformers with a common core and multiple sheath-brushes made it possible to create an adjustable multi-channel control system. Mechanical lighting regulators appeared, the division of regulators into power and conditional-console parts began. The appearance of tube thyratrons, and then thyristors, made it possible to finally separate the console and the power section. The appearance of the “control voltage” by the thyristor made it possible first to create a remote control with “manual programming”, then a remote control with electronic memory, and finally, computer-controlled consoles.

G) Creation of effects and fundamentally new lighting devices.

The advent of powerful film and slide projectors made it possible to create projection scenery. The advent of video projectors, video cameras, and computers has greatly simplified the creation of dynamic content. The power and mobility of video projectors made it possible to use them as a special spotlight, directing the light flux not only on the screen, but also on any necessary object. The creation of pseudo holographic films makes it possible to "suspend" the image in the air.

The appearance in the mid-30s of the twentieth century of panels and garlands of "running" lamps preceded the creation of LED screens 70 years later. With the advent of LEDs, the brightness of the screen image increased significantly, the LED could compete with solar lighting. In addition, the LED panels could be arranged in any way, which made it possible to “get away” from the traditional “big TV” screen on the stage.

“We see the painful attempts to use LEDs as a light source for traditional spotlights in our time. After correcting the color temperature and the appearance of cheap blue LEDs, the situation can dramatically improve. Perhaps it is the LED that will give impetus to a new approach to building light.”

The above lines were written several years ago. To date, the problem has been completely resolved. Good light temperature, high luminous efficiency and convenient operation, put LED technology in the category of leading technologies.

The middle of the twentieth century produced a revolutionary light source - the laser. Unfortunately, in theater and concert practice, the use of a laser has been reduced to an attraction. A similar fate haunts flash lamps. The stroboscope that uses it has become a "disco" curse of the theater and concert venue.

Ultraviolet lamps and luminescent paints made a splash in the scenography of the 60s and 70s. Nowadays, in theatrical productions, they are used more restrained and organically.

“The emergence of intelligent dynamic devices of the “scanner” type, and then devices of the “moving head” type, contrary to expectations, has not yet brought significant, expected results to the general aesthetics of artistic light. Perhaps this is precisely the Russian specificity. The fact is that the “moving head”, originally created as a universal theatrical device with remote control, is not used enough in the theater. There are at least four reasons:

1. Low preparedness of directors, theater designers and theater personnel.
2. 2. Spoiled by the concert environment, the reputation of the “moving head” device (a merchant's habit is to buy “moving heads” and use them as scanners, unfairly refusing the latter).
3. 3. The presence of a mechanical dimmer and a halogen incandescent lamp, which is rarely found in movieheads.
4. 4. Expensive.

Nevertheless, the aesthetic component of dynamic intelligent light is already beginning to be polished in concert practice, the turn behind the theater.”

And these lines were written 6 years ago, in the previous edition of the textbook. During this time, a qualitative shift in consciousness finally took place in the theatrical environment, and conservative theater artists finally began to use this range of devices in their practice.

In conclusion, I want to more clearly summarize what was said above:

The final formation of classical theater.

By the middle of the 19th century, the main features of the classical scene had received their completed forms. Only the architecture of the stage was formed. Staged lighting was waiting for revolutionary changes.

The advent of electricity. Arc lamps. Incandescent lamp.

With the advent of incandescent lamps, switches, and then rheostats, the stage of formation of modern principles of staged lighting begins.

Properties of electric light(applied to theater) .

1. Brightness and color temperature.
2. The remote location of the lamp relative to the object of illumination.
3. directional light. The emergence of full-fledged spotlights.
4. Colored light.
5. Adjustable light.
6. Expanded options for placing light sources. The beginning of the formation of the classic "hanging" of lighting equipment.

By the first half of the 20th century, the location of the set of staged lighting and the principles of building light received modern completed features.

The advent of electricity made it possible to consider light as a universal, but very flexible tool, easily adaptable to different requirements.

Technological progress first created new devices.

Then these devices were integrated into the entertainment and general household sphere. And only after a long process of artistic comprehension of the opportunities provided, a whole layer of artists was formed who managed to organically apply the technique in the artistic field.

Middle of the twentieth century. The emergence of the profession of lighting designer

The primary utility of the profession. The lighting designer is an intermediary between the director, set designer and equipment.

Light in the 20th century as an independent art form

Emergence of a lighting designer as an independent creative unit.

Mutual integration of cinema and theater

Concert Light.

The beginning of some separation of concert and theatrical light. At the present stage, the situation, unfortunately, is only getting worse.

Stage lighting of our days. Brief assessment of the current situation.

By the end of the 20th century, the concept of staged lighting. It is necessary to consider modern staged lighting from both technological and artistic positions. Many components exist inseparably from each other and are so intertwined that sometimes you don't know where the technique ends and art begins.

Searches and discoveries of theater artists at the beginning of the 20th century determined the development of world theater for many years to come. Modern technologies only develop directions laid down decades ago.

The general development of technology gives impetus to the development of the artistic component. There is also a reverse process. The increasing complexity of artistic tasks stimulates the development of specific theatrical and concert technologies.

The direction of technology development in the twentieth century goes in the following areas:

Technological directions

1. Strengthening the brightness (light output) of light sources. Increasing the efficiency of light sources. Reducing the size of the light source. Improvement of optical systems of light sources.
2. Expansion of the variety of lighting devices. Growth in the versatility of multifunctional groups of devices and an increase in the number of highly specialized, monofunctional lighting devices.
3. Improvement of lighting control systems.
4. Creation of effects and fundamentally new lighting devices.

Artistic directions

1. Aesthetic understanding of modern, rapidly developing technologies. Awareness of the presence of appropriate and inappropriate techniques and devices, as opposed to the presence of good and bad devices and techniques.
2. Creation of a unified theory of staged light. Methodology. Philosophies and ultimately the creation of a unified modern school of staged lighting with numerous directions.
3. Bridging the gap between theater and concert.
4. Creation of a fundamentally new scheme for a single staged lighting, through video projection.

To describe the features of modern staged lighting, it is necessary to navigate the variety of the proposed arsenal, both technical means of staged lighting, and artistic techniques.

Parts III-V of this textbook will expand on the current stage in the development of stage lighting.

Prospects for the development of lighting technology and the artistic component

The emergence of video heads and video scanners, an increase in the luminous flux of video projectors, the creation of LED and, in the future, laser video projectors connected into a single visual system with a video recording and real-time video processing system, already now allows you to create a fundamentally new scheme for a single staged lighting. The principle of the new approach lies not only in the possibilities of video projection expanded to a reasonable limit, but also in a fundamentally new video beam control system. The shape of the color of the beam becomes not only a particular characteristic of the beam, but also carries an image that can be changed as you like. Videomapping, which has already become a classic, has still unrealized prospects: so far it is only frontal, but what prevents the principle of three-point lighting from being applied to video projection? LED screens with a small pixel pitch, freely dividing into clusters and, if necessary, transparent, allow even now to create not just scenography, but multi-layered and dynamic scenography. Controlling video streams and synchronizing with light and mechanics allows you to create not only pseudo-volumetric images, but also improvise with images in real time.

Conclusion of the first part

Stage lighting of our days has the following peculiarities:

Technological: the predominant use of powerful electric sources of directional light with increased light output and a flexible control system.

Ergonomic: light sources are located at a distance from the object of illumination, local light sources are used little.

Artistic: about The fundamentals of artistic lighting have remained unchanged since the middle of the 20th century. Basically, technological methods are developing. The exception is the use of dynamic lighting in the form of moving beams and the widespread use of concert video.

Upcoming development trends: the emergence of powerful, small-sized projectors allows you to fundamentally change the principle of forming the shape and color of the beam. Until recently, the shape of the beam was formed by a classical optical system and various mechanical devices, and the color was changed, mainly by light filters. Then with the advent of video projection, the shape and color of the beam is created on the matrix of the projector and changes instantly within absolutely unlimited limits. A gradual departure from the "classic circle" of the beam will cause a qualitative leap in staged lighting.

The appearance of video projection significantly affects the fundamental approach to creating staged lighting. Firstly, a very strong dominant appears in the scenography in the form of a “self-luminous” video image, which, moreover, is not static. As soon as set designers and directors comprehend the possibilities of video projection and overcome the inertia of stage video, in the form of a “big TV” on stage, fundamentally new complex scenographic solutions will arise.

Secondly, the convergence of two professions: a lighting artist and a media (video) artist, will allow the first to apply the possibilities of video in direct light, the second to apply their knowledge and taste in creating a common light space.

As an example, I will cite the so-called "mapping" (mapping) - a video projection technique that allowed projecting onto an object its own image, edited and dynamically changed by means of computer graphics. Actually, the process of mapping is the process of "stretching" a texture onto a "smooth" three-dimensional object.

By applying mapping not only from the front, but also from the side and control points, we get a fundamentally new, truly spatial scenography.

Video heads also significantly diversify the possibilities of a lighting artist.

The limiting factor of such a scenario is only the conservative thinking, the relative high cost of the video projection component and the relatively low luminous flux with relatively large dimensions of the equipment.

In fact, we are on the verge of a fundamentally new approach to stage lighting and scenography.

distant prospects are seen in the development of hologram technology. The consequence, which will be the use of self-luminous, instantly changing, not subject to any limitation of volumetric decoration

The profession of illuminator appeared in the Shakespeare era. Special servants ensured that the candles were not smoked or extinguished during the performance. Systems for lighting theaters began to be developed in Italy during the Renaissance. Today, in order to become a lighting designer, one must not only be on the “you” with electrical engineering, but also have good organizational skills, have an artistic taste and a well-balanced sense of light, and one also needs to know physics, optics, directing and scenography. As you can see, there are many requirements, and therefore a lighting designer in our country is a rare specialist.
The features of this profession are shared by Konstantin Gerasimov, a lighting designer and CEO of TDS, a company specializing in complex technical support for events.

TDS Konstantin Gerasimov at work.

“The lighting designer is an amazing combination of one of the most technical and at the same time creative professions. With the help of light, we convey the general idea of ​​the show, create an atmosphere. For each project, we develop a unique design, select equipment that can solve specific problems. And here it is important not only to know the laws of lighting, modern devices and technologies, but to have an indefatigable imagination in order to surprise the viewer again and again.

In our business, as well as in painting, you can’t just pick up a brush and immediately start creating masterpieces. This profession is a lifelong learning. It is not enough just to master the basics. The show industry is developing rapidly, new technologies appear every day. You need to clearly understand which of them are in trend now, and look for what the global audience has not yet seen. And here the symbiosis of technologies comes to the rescue, because any show consists of a set of elements - scenery, video sequence, special effects. Having worked for many years in the show industry, I realized that the secret of a successful show lies precisely in an integrated approach to creating a project. Collaboration of the lighting designer with other technical specialists allows creating the very exclusive and brings the show to a fundamentally new level of quality.
This idea formed the basis of the TDS company, which brought together professionals in the field of technical support for events. Our team leads the project at all stages of its life - develops stage and scenery design, creates light and video installations and performs a full range of technical administration and project support.

We believe that the quality of any project depends on the thoroughness of its preparation, so we use 3D visualization and pre-programming methods to design and stage the show. This allows you to see the full picture of the project and work out its technical component in detail even before the start of installation.

Click on the photo to see the next slide.

One of the problems of the Russian theater lighting designer and illuminator, says Vladimir Lukasevich, chief lighting designer of the Mariinsky Theatre.

What lighting designer- this is not a person who knows thoroughly only lighting technology, Vladimir Lukasevich understood a few years after starting work in the theater. Therefore, he and his friend Mikhail Mikler, now the main lighting designer Maly Opera Theatre, came to the production department of the Leningrad State Institute of Theater, Music and Cinematography (LGITMiK) in 1977 and asked to teach them according to the program, which they themselves compiled for themselves. To the general subjects traditional for production designers, they added color theory, electronics, the physiology of vision, the psychology of perception, which previously did not exist at all in this faculty. Now this and much more will be taught in the new course of the production department at the Theater Academy. On the course Lighting designer”, created on the initiative of Lukasevich and head. Department of the production faculty of V. M. Shepovalov.

Other people's mistakes

Lighting designer creates his role Sveta” in a performance, which in theory (like all other components of the “role”) should make the viewer both cry and laugh, which is what the theater as a whole serves. How can you really make a viewer cry if you don't know how to press his lacrimal glands, if you don't know the psychology of perception? There is the physiology of vision, for example, the law of dark adaptation. How to make a change when "cutting down" on the stage so that the viewer does not notice it? Maybe just pay off light, but it will not be enough, since there is no complete darkness in the theater - after all, there is an orchestra pit, lamps emergency exit, etc. Perhaps, in this case, it would be more correct to adapt the audience's vision to some increased brightness in order to prolong the viewer's feeling of "darkness" until dark adaptation occurs. These are quite real tools... And if you don't want complete darkness, but want a state in which the viewer sees what is necessary for the action, but not what you wanted to hide? Of course, you can practice for a long time empirically, looking for to what extent, to what brightness and for how long you need to adapt the viewer's vision, or you can just know how the adaptation curve works ... Well, the psychology of color perception goes far into history, whose roots you will find in Tibetan philosophy and Buddhist culture. Ancient Indian theatre, for example. When a backdrop of a certain color, say, green, was lowered in an Indian theater, the viewer immediately understood that it was about melancholy. It was both a symbol and a sign to the viewer. Well, and so on. Such things, of course, need to be known and understood initially. Why fundamental education is needed - so as not to start from scratch every time, our favorite method of our own trial and error.

Unfortunately, in Russia there was no school where the entire amount of knowledge necessary for education would be collected in one place. contemporary lighting designer. There has always been a transfer of craft from master to apprentice. But masters such as Klimovsky, Kutikov, Diaghilev, Drapkin, Sinyachevsky, Barkov, Volkov, Simonov, who worked in the fifties and seventies, always said: "Watch how I do - and learn." Naturally, therefore, they left few disciples. And today, it would probably be right to say that for the most part, all current Russian lighting artists- self-taught. Based only on their own experience and intuition, they again and again start from the same zero that the previous generation started from. This is the essence of the concept of "professional school" - it accumulates experience.

At the annual seminars for Russian lighting artists Lukasevich heard more than once about the practice of working in some theaters, which is completely unthinkable in work lighting designer: "And in our theater the director says:" Filter this lantern with red! This one - with green! Point it here, I said! And this one - there! Do as I said ...".

This is what I would call work. illuminator, - we will illuminate where they say.

Modern theater can't work like that. This kind of practice became obsolete a hundred years ago, and these are, of course, the rudiments of the theater of the 19th century. But surprisingly, in a fairly large number of places it exists safely. Perhaps this is due to the fact that our directors and artists traditionally receive insufficient education in matters of "scenography" and Sveta and how poorly educated people are convinced that they "know everything." The problem is, of course, two-sided. Insufficient education on both sides gives rise to situations of mutual distrust, when the director does not believe in creativity lighting designer, lighting designer - shines, where they say, thereby initially impoverishing the work being created.

Of course, no one argues: the stage director is the creator and generator of the idea and concept of the performance as a whole. But not the question of the director - what flashlight where to send. The director has other tasks - to deal with actors, mise-en-scene, and so on. The point is that the lighting designer works with the director from the very beginning, when the idea is still being formed, before the performance is rehearsed on stage. By the time the artist enters the stage, everything should be ready. Absolutely everything for rehearsals, where the “role Sveta”, in the same degree as any acting role. It's too late to think. That is, he must give birth to a score Sveta, which falls on the concept of the performance, carried out together with the director. To build your own work - to create a color scheme that harmonizes not only with the costumes and scenery, but also with the characters, and with the music, and everything else. In a word, he must make his own accurate and aesthetically verified work, work out the lighting score. Otherwise, half-finished performances - "works" - are obtained. According to Lukasevich, one of the problems of the Russian theater is that we very often do not distinguish: what is lighting designer and what is illuminator, which at the request of the director illuminate the actor - "so that it can be seen", and the scenery - "so that it is beautiful."

Education standard

The impetus for the start of work on the opening at the Theater Academy of the course " Lighting designer”was Vladimir's invitation to the University of Connecticut to give lectures on the history of the subject in Russia. Americans, by the way, engaged in vocational training lighting artists since 1936, the Russian experience seemed interesting. And Vladimir, in turn, envied the way their training is arranged. After all, the drama faculty of the university has four own, well-equipped theaters, in which 6-8 full-fledged performances are staged a year, by all the students of the faculty. Thus, lighting artists, just as, however, like actors with directors, there is an opportunity - and this is even necessary - to work and illuminators, and editors, and assistant directors, that is, to master the theater from all sides. For the course they manage to release on their own as lighting designers 5–7 each performances. Accordingly, when they finish the course, they already have a decent portfolio and can be something interesting for employers.

Vladimir Lukasevich in the past had experience in teaching (12 years) theater lighting engineering at the production department of LGITMiK, and even several courses were released in the specialty "Artist-technologist" with a specialization " Lighting designer". Ultimately, it became clear that theoretically, without a decent technical base, this, perhaps, does not make sense.

You see, it turned out such a wrong thing. All attempts to create a normal class at the faculty and at the same time at the Mariinsky Theater were unsuccessful. And it turned out that people came to us to study, we taught them, they graduated from high school, received a diploma " lighting designer” and were sure that what was written in the diploma was true. But it wasn't like that, or not exactly like that. At least, because they did not have the opportunity to learn the profession in practice. And it turned out that we told the person that he was red, but he was actually bald. But cheating is still not good. Because of this, preparation lighting artists was stopped, but it's easy to read lighting technology it wasn't very interesting anymore.

And further. After teaching in America, I was tormented by envy: why is it possible to learn from them, but not from us? After all, today the situation has long been different, and there are opportunities to get a certain technical base, you just need to work on it. And we agreed with the Theater Academy to open a corresponding course at the production department.

It is in the specialty Lighting designer»?

Here is buried another, big and at the same time ridiculous problem. The main idea was that from the very first course it should be a course lighting artists. Without any specializations there, because these are still different things: specialization and profession. But then we came across something interesting. It turned out that in the list of professions available in our country, lighting designer Yes, but not on the list of the Ministry of Education. That is, it turns out that the profession is like that, but no one understands who and how should train specialists. It's complete nonsense.

For this profession to appear in the above list, there must be an approved Education Standard. We wrote this standard, but there is probably no one in the ministry to deal with it, to approve it (because of 8-15 graduates a year).

What is this Education Standard?

A list of all the subjects and knowledge that a student must master in order to become a professional. I invited for this work my friend Jim Franklin, who once organized a similar course at the University of Connecticut (now one of the leading schools of our profession in the USA). In parallel, he lectured at the Theater Academy for a whole semester. At the same time, this topic was actively discussed at meetings and round tables of the Association lighting artists Russia. They broke spears. It started with nonsense: And what should it be called? lighting designer or something else? But what is lighting designer? I don't understand who is lighting designer. What is design in general in our understanding? After all, in English the word "designer" does not directly correspond to the word "artist". It's more of a constructor. Although this is also not entirely true. Ultimately, we are talking about a profession that is creative and creates a certain visual range, which means an artist. After all, outside of our disputes, it exists in the register of professions. Lighting designer- this is right.

On the other hand, how to teach to be an artist? It's probably impossible, it's more likely from mom and dad. I think that in our Academy (as in any other creative university) it is, first of all, about giving a person a craft. Craft methods of existence in the profession. And what he does with these techniques, how it is realized, depends on his creative potential. But the profession needs to be learned. History of Russian and foreign theater, history of material culture, history of fine arts, philosophy, theory of scenography, history of Russian and foreign literature, perspective, drawing, calculation of theatrical structures, painting, drawing, psychology and physiology of perception, history theatrical light and theatrical costume, computer modeling and the theory of the spatial solution of the performance ... Yes, we have included a lot of other things in the Education Standard. Long list.

For what lighting designer study so many humanities?

To be educated, modern. How do you propose to work on a play, let's say, or an opera, without knowing the history, the material culture of the era that your performance is about? Narrow professional knowledge, in my opinion, Karl Marx called "professional cretinism." For the sake of broad knowledge, of course! Later, Jim (I was on tour at the time) presented our program in Munich at a seminar lighting artists where monsters of our profession from Europe and America traditionally gather. And, according to Jim, colleagues were a little surprised: the program looks even more serious than the one that exists today in the States. The fact is that for a number of reasons, for example in the United States, there is no way to provide such a wide range of items. And the St. Petersburg Theater Academy has a huge resource in this regard. And I went for it deliberately, because in the American school I was very embarrassed precisely by the limited knowledge of history, the experience of the world, European theater, and the general outlook. They, perhaps, know nothing about the Russian theater, except for the name of Stanislavsky. There, at the university, students came to me and told me about crazy ideas that they themselves came up with. And I had to give a lecture about our compatriot who worked for Dalcroze in Hellerau in 1912. “... This has already happened. In the fourteenth year, Nikolai Saltsman already did all this ... ". So that lighting designer is not just knowledge flashlights. This is a detailed knowledge of the subject from all sides.

What are the requirements for the entrance exams?

Due to the fact that the course is open specifically at the Theater Academy, we, like in all creative universities, have the opportunity to arrange a selection of students in two and a half rounds. According to the way you want.

So for what?

I want the student to be smart and talented. The first qualifying round went like this. Each applicant received a reproduction of a painting - a classical painting. Based on this picture, it was necessary to draw a plan, a side section - to make an allegedly theatrical stage - and put light. In the hands of only a pencil and paper. It didn’t matter to me how they can draw layouts - they will be taught to draw them for four years later - it is important to understand, firstly, how much a person sees space and, secondly, how much he sees light in this space. This is the Jesuit task I set them. And for the second round, you had to either take a photo yourself, or find clippings from magazines with pictures in which light played a certain role. And talk about it. And not the simplest spectacular pictures, where, say, the sun rises behind the forest and a powerful “backlight” light is visible, but something more complex, multifaceted. There were a couple more problems from school physics and drawing. Then - an interview, when all the teachers of the department asked the applicants about the theater, literature, music. To understand how theatrical person is and from our team. Thus, eight people were selected (although initially I assumed a course of six). We really hope that they will come out of it.

And your graduates will put light in the best theaters in the world?

I would like to, of course. I think it primarily depends on them. What depends on us at the faculty, I think we will do. And then - how life will lead. Maybe not theater, who knows. It's about the fact that lighting designer- this is lighting designer. And light he can stage it anywhere: in a casino, in a theater ... Illuminate the Kazan Cathedral or museum exhibits. This is a profession. And she can apply to anything. The question is that a person understands what he is doing. Of course, there is a specialization - architectural lighting, theater light, concert light. But these are all different subjects of the course. BUT lighting designer must figure out the best way illuminate this or that. For example, I would like to see architectural lighting Petersburg is not what it is today. After all, St. Petersburg is an amazing dramatic environment. Well, maybe Dostoevsky's Petersburg be illuminated just like Pushkin's Petersburg - these are different cities! And light, and the environment in these different cities should be done differently. Well, at least for aesthetic reasons. And we have all the lighting - flashlights: it was dark, it became light - that's all the progress. It's the same with theater - problems of the same root. But this period will eventually pass. Hopefully not without our help.

Vladimir Lukasevich was born in Odessa in 1956. At the age of fifteen, he entered the Leningrad Film Technology School with a degree in Theater Lighting Designer. At the age of seventeen he made his first performance as a lighting designer at the Ryazan Regional Drama Theatre. Graduated from the Leningrad Institute of Theatre, Music and Cinematography. He staged performances in many drama theaters in Russia. Worked in the theater. V. F. Komissarzhevskaya with People's Artist of the USSR R. S. Agamirzyan. He taught at LGITMiK the discipline "Artist-Technologist" with a specialization "Artist in Lighting". Since 1985 he has been working at the Mariinsky Theater as the chief lighting designer. He teaches at the University of Connecticut. He puts on lights in performances not only in St. Petersburg, but also on the stages of opera and ballet theaters around the world. He has more than 300 performances to his credit, classical and avant-garde productions: Boris Godunov, The Nutcracker, Lohengrin, Parsifal, Sleeping Beauty, Samson and Delilah, Corsair, Firebird, "Parsley", "La Traviata", "Copelia", "Carmen", "Theme with Variations", "Manon", "The Tale of Tsar Saltan", "Ariadne auf Naxos" and others ... The performances designed by him went and go on many venues around the world - Spoletto Festival USA, La Scala, Opera Bordeaux, Royal Opera Covent Garden, Opera Marseille, New Israeli Opera, New National Opera in Tokyo. Eight years ago, according to his project, a unique reconstruction of the lighting equipment of spotlights was made at the Mariinsky Theater, and lighting equipment with fully automated control appeared in the theater. Vladimir Lukasevich is one of the members of the board of the Association of Lighting Artists of Russia and under the auspices of this association and the Theater Academy of St. Petersburg conducts annual seminars for advanced training of lighting artists. And this year, on his initiative, the staging department at the Theater Academy for the first time held a set for the course "Light Designer".

List of subjects of the 5-year course of study in the specialty "Lighting Designer"
Foreign language
Physical Culture
National history:
World historical process in Russia
The history of homeland
Philosophy:
Fundamentals of philosophical knowledge
Philosophy of Art (Aesthetics)
Culturology
Psychology and pedagogy
Russian language and culture of speech
Sociology
History of Russian literature
History of foreign literature
History of foreign dramaturgy
Theater history
History of foreign theater
History of the Russian theater
Fine art history
History of foreign fine arts
History of Russian fine art
History of material culture and life
Drawing and painting
Theater buildings and structures
Organization of theater business in Russia
Theatrical make-up and pastige
Life safety
History of Russian music and musical theater
History of foreign music and music. theater
History of St. Petersburg
Theater Safety
Stage equipment (light)
Dramaturgical analysis
Theory of scenography
History of theatrical light
Scenographic composition
Artistic technology
Theater production technology
Stage device and equipment
Fundamentals of perspective and layout
Calculation of theatrical structures
Stage costume technology
Artistic lighting technology
History of theatrical and decorative art
Costume history
Fundamentals of architecture
Drawing and descriptive geometry
Theater lighting equipment
light and color
Light score, graphics
Psychology of perception
Theater Lighting Technology
Electronics
Aesthetics of light
Computer simulation of light
Specialized software
Light in musical theater
Light in the Drama Theater
Architectural lighting design
Lighting for concert programs

Books

Reference book on lighting engineering

Moscow House Sveta and the Znak publishing house are preparing for release at the end of 2005 the third edition of the Reference Book on lighting engineering».
The first two editions were published in 1983 and 1995. During this time, the Lighting Engineering Reference Book, published in a circulation of 65,000 copies, has become a reference book for most specialists and, at the same time, a textbook in many areas of lighting engineering.
The new edition is distinguished by a much greater completeness of materials, the presentation of the latest regulatory data, methods and means of calculation, design and lighting design, full-color design and printing on high-quality paper. In the new, third edition, the sections " Sources of light"," Ballasts and lighting control systems", revised methods of calculation and design based on the widespread use of computer technology. New chapters in the book: Light design», « Light and health”, “Energy saving in lighting installations”, “ underwater lighting”, “History of lighting engineering”.
"Handbook for lighting engineering» is intended for a wide range of lighting specialists, electricians, architects, hygienists, doctors, labor protection workers associated with the use of natural and artificial lighting, development and production lighting products, design, installation and operation of lighting installations.
"Handbook for lighting engineering will also be released on CD.
You can order the Reference Book on Lighting Engineering at the House of Light. His address:
Russia, 129626, Moscow, Prospect Mira, 106, of. 346
Tel./Fax: (095) 682–19–04, tel. (095) 682–26–54
E-mail: Light- [email protected]

Ballad of Light

“She is over 120 years old, but she does not look her age. No matter how many new sources of light compete with it, it remains the most beautiful of all. A thing that remains unchanged in its classic form, an example of perfect design, to which there is nothing to add and nothing to take away from. In many cases much more beautiful than all the lampshades and lamps with which they now adorn and cover it.
Thus begins a new, just-published book dedicated to the first widely used electrical device in history. The book has over 200 illustrations. The text is structured around three main themes: the technical aspects of the introduction of light bulbs, advertising and graphics from many previously unpublished documents, and finally, “words about light» - the view of poets and writers on the object of study.
This book is a 144-page long-voiced paean to the light bulb, with a superbly minimalist cover that replicates a 1912 poster commissioned by AEG by Peter Beechrens. The book does not pretend to be a technical treatise or a textbook on lighting technology, it is an "illustrated atlas" that is a pleasure to read. Even the title is reminiscent of Sveta bring joy and happiness.
The text opens with poems by the Russian poet Vladimir Mayakovsky dedicated to the electric light bulb and its fiery heart. The book ends with the lines of the great American neurologist Oliver Sacks: a fragment of autobiographical prose about his favorite metals - osmium, tungsten and tantalum, from which filaments in lamps are made. Between these two luminous rods stretch five parts of the book: "Myth and Beauty", "Edison and his kind", "War against gas", "Workshops of Light", "Our Time". Workshops of Light contains six biographies of the most important companies and exhaustive descriptions of countless commercial brands. The author is not new to such publications. In 1995, Lupetti published his "Signs of Light", now virtually sold out. Accompanied by illustrations, it is easy and enjoyable to navigate through the history of light bulb advertising with a bit of technical detail and cultural digressions. In fact, a third of the volume - its final part - elevates the charm Sveta on a high pedestal created by the words of poets.
Materials provided by the Portal Sveta
www.lightingacademy.org

Find out where you can get the magazine, you can ...

How are beautiful images created on television, in cinema or theatre? Do you think this is the merit of only the make-up artist? You are wrong. In this article we will talk about an unusual creative union, which creates all this indescribable beauty. We will talk about the collaboration of such specialists as a make-up artist and a lighting designer.

Let's start with the fact that not a single actor, presenter or hero will ever go on stage or in the frame without professional makeup. True, in the cinema, theater and on TV, this makeup will be significantly different. This difference will be due to technical aspects. That is why the make-up artist and the lighting designer (whose courses often take place in parallel to each other) will perform different tasks.

The face of the disguised theater artist should be clearly visible even from the last row. But at the same time, the audience on the front row still does not distinguish small details. Therefore, makeup can be brighter and applied with coarser strokes. The make-up artist is simply obliged to highlight the eyes, lips, nose, cheekbones more strongly. The lighting designer (he usually studies at the staging department of theatrical universities) during the performance makes sure that every artist and every scenery that is important at the moment are well illuminated. The light must accompany all the movements of the actors, be as alive as the process of acting itself.

On television, things are a little different. There is more static here, which means that the light will be different, and its role will be different. TV presenters “work” with their faces, sometimes for several hours in a row, while the shooting is in progress. And all this under powerful spotlights. Of course, not every makeup passes such a test. Therefore, the make-up artist is constantly on the set. As well as a lighting designer (such a specialist is trained in television schools), whose tasks include controlling the operation of numerous lighting devices. And there are indeed many of them. The flood, drawing, spot light does not move during the filming, but the characters in the frame - very much so! At the same time, the harmony and beauty of the picture should not be violated, even minor flaws in the face should not be visible to the viewer. Fresh complexion and naturalness - it is about them that the make-up artist and lighting designer are “baked”. Olga Spirkina's Ostankino TV School of Television is currently preparing professional television make-up artists. As part of this course, students study such a discipline as cameramanship. It is during these classes that future make-up artists are told how important it is to constantly interact with the film crew. In particular, with a cameraman and lighting designer. After all, the guarantee of a beautiful television picture is an effective creative union of technical specialists working behind the scenes.

Contact information for the makeup artist course
More about the course:

stage lighting artist designed to emphasize the general idea of ​​the performance through the light and color solution, so he works in close cooperation with the stage director and develops the style of the lighting design of the performance.

In the theatre, scenery and lighting play a special role. Stage lighting gives the performance a special expressiveness, creates the necessary emotional mood, and even, as David Lynch said, "Light can significantly change the perception of the performance, and sometimes the characters' characters." Light effects can also change the scenery beyond recognition: “Dark clouds turn into heavenly flowers if they are kissed by light,” said Rabindranath Tagore.

Modern lighting and stage equipment provides unlimited possibilities for this. And in some productions, light is the main component in the scenery. The Stage Lighting Technologist is a full member of the creative production team in the theatre.

Modern lighting equipment in the theater is diverse and complex. Stage lighting is provided by lighting devices installed in a variety of places:

• overhead light - spotlights suspended in rows above the stage (plan 1, plan 2);
• side light - lighting fixtures installed on the side galleries and portal backstage;
• remote light - spotlights on special balconies, a ramp (at the front edge of the stage);
• horizontal light - equipment for illuminating the horizon;
• special light - lamps in the form of lanterns, candles, torches, built into the scenery.

In addition, additional lighting equipment for special effects is used: a light curtain, backlighting, a stroboscope for a flickering effect, etc.

In ancient theatres, stage lighting was controlled manually by a team of illuminators located at different ends of the theatre. In a modern theater, lighting equipment is controlled centrally using computer programs from one special room. To manage all this complex equipment, you need to get the appropriate education.

During the preparation of a new performance, a lighting score is compiled, which reflects:

• the list and number of lighting fixtures used in the performance;
• numbers of light programs;
• lighting and dimming mode;
• signals for light changes (cues, movements or phrases);
• color filters, luminous intensity, the direction of the rays of lighting fixtures and other parameters.

Lighting scores are refined during light-mounting rehearsals, during which the positions and lighting modes are worked out, as well as the actions of the lighting department workers. The lighting score must be performed strictly and without changes.

Features of the profession

The professional activity of an artist-technologist in stage lighting can be realized in three aspects:

Artistic and creative activity- during which the specialist:

• is engaged in the development and design of lighting for the performance according to the project of the production designer;
• develops lighting effects;
• creates the necessary documentation of the light score of the performance (involving specialists, if necessary);
• leads the stage lighting process;
• participates in lighting rehearsals, during which artistic lighting is fixed on the scores;
• carries out constant control over the exact implementation of the coverage of performances in the current repertoire;
• in the course of his work, he uses the latest achievements of science in the field of theatrical equipment and technology, as well as new materials.

Organizational and managerial- during which the artist-technologist can manage the departments of the theater that are engaged in the lighting design of performances or produce lighting equipment for the theater. In addition, he controls the correct implementation by the employees of the light score of the presentation and the safety and labor protection rules when working with such equipment (fire safety and sanitation rules). Carrying out mounting light rehearsals and in the course of them the necessary adjustment of lighting equipment is also the responsibility of the lighting artist-technologist.

Pedagogical activity consists in teaching disciplines on the lighting design of a performance in educational institutions of theatrical art (lighting technology for a performance, designing staged lighting for theatrical and entertainment enterprises, layout, the basics of lighting technology and lighting equipment for the theater, theatrical and technical graphics, technical calculation of structures).

Pros and cons of the profession

pros

1. A creative and interesting profession in which you can develop technically in accordance with innovations in this area.
2. The profession is in demand not only in the theater, but also at concerts, in the cinema and in the circus.

Minuses

1. Irregular working hours
2. nocturnal lifestyle
3. Possible disagreements with the stage director, who may adhere to the point of view of K.S. Stanislavsky and underestimate the role of the lighting design of the performance: “Never forget that the theater lives not with the brilliance of lights, the luxury of scenery and costumes, spectacular mise-en-scenes, but with the ideas of the playwright. The flaw in the idea of ​​the play cannot be closed by anything. No theatrical tinsel will help.”

Place of work

Stage lighting artists can work in theaters, film studios and television, concert halls, venues, stadiums, circuses.

Important qualities

• rich artistic imagination;
• ability to draw and work with hands;
• good color perception;
• emotionality;
• attention to detail;
• constant pursuit of professional growth.

Where to study as an artist-technologist in stage lighting. Education

• Faculty of scenography and technologies for artistic design of the performance. The school has a “Lighting Artist” workshop, which has the technical capabilities to study a variety of modern methods of stage lighting. Here they teach the development of the concept of lighting design for the stage and hall. In the course of the practice, acquaintance with the arrangement of lighting equipment in Moscow theaters is carried out.
• Higher School of Performing Arts ("Theatrical School of Konstantin Raikin"). In 2014, the faculty of “Technologies for artistic design of a performance” was opened with a specialization in “Lighting Engineering” and “Sound Engineering”.
• Belgorod State Institute of Culture and Arts
• Faculty "Technology of artistic design of the performance."
• St. Petersburg State Academy of Theater Arts
• Faculty "Technologies of artistic design of the performance"
• Kazan Theater School, specialty "Lighting"
• Courses at the Theater and Art College No. 60. Seminar "Light Designer"

Salary

The remuneration of specialists of this profile in Russian theaters is small: from 20 thousand rubles. But experienced professionals are often invited to work part-time in entreprise, concert organizations, nightclubs, where you can earn decent money - for 2 nights of work from 25 thousand rubles.

Salary as of 10/28/2019

Russia 30000—630060 ₽

Career steps and prospects

Graduates of educational institutions can start their career in the theater with a simple lighting engineer, stage engineer, graphic designer. For a novice lighting technologist, this is a necessary stage at which invaluable practical experience is gained. Gradually, from an ordinary specialist, an artist-technologist can grow from category to category and become the head of the theater department responsible for the lighting design of performances. You can also work in concert organizations, nightclubs, the circus, cover city events, church holidays.

The history of stage lighting

Stage lighting was created in the 17th century when theatrical performances began to be shown indoors. At that time, candles were used for lighting. That is, theatrical lighting has evolved along with the advent of new light sources. In the 19th century, oil lamps began to be used as stage lighting, and later gas burners. With the advent of electricity, theatrical lighting also modernized and became more mobile, bright and expressive. In the light scores developed by K.S. Stanislavsky of that time, it became possible to convey the state of nature and weather: morning, afternoon, twilight, night, sunny or cloudy weather.

But the artistic lighting design of the performance developed not only in parallel with the development of lighting technology. Many directors with the help of light visually expressed the sound of music (Appiah), either emphasized the volume of a human figure or architectural forms, or expressed the tragedy of the hero's soul (Craig).

The great Meyerhold used light projections to depict slogans, advertisements, episode titles. That is, the light became the spokesman for the propagandistic, critical or satirical positions of the director. The Czech stage designer J. Svoboda, using modern technologies (lasers and computers), turned light into the main character of the theater. Light design created atmosphere, air, walls, corridors, curtain. These principles of stage lighting have come to be used all over the world. J. Svoboda came up with the idea of ​​using video in theater.

Other directors, such as L. Mondzika and R. Wilson, consider the power of light to be stronger and more expressive than the skill of the actors. L. Mondzik created his chamber performances as a confrontation between darkness and light. R. Wilson argued that "light has its own role, like an actor." These kinds of directors contributed to the emergence of the profession of stage lighting artist. In Russia, this tradition is continued and improved by D. Ismagilov in Moscow and G. Filshtinsky in St. Petersburg.

Modern lighting equipment

Controlled (digital, intelligent) lighting devices are divided into 2 types: drawing and flooding.

They are scanners and heads with movable bodies. At the scanner, a movable mirror controls the projection of the light beam, and at the head, a body moving in all directions. Both devices can change the color and pattern of the beam. The lighting equipment is controlled using the digital DMX protocol.

Analog lighting equipment consists of light guns emitting a tracking beam and flood light devices.

In today's theater there are many lighting fixtures that create great effects:

• moon flower (other names: tunnel, broom or flower) - a lighting device that emits a beam of colored or white rays diverging at different angles
• stroboscope - a device that reproduces light flicker in a certain rhythm;
• cannon-spotlight emitting a bright direct beam for tracking illumination of a single object or person
• laser beams
• light floor
• ultraviolet lamps
• smoke, fog, snow generators
• simulator or flame generator and much more.