Pressestimmen
"A practical guide that will, better than any other book on the subject, help the LD get his or her design realized in the most professional and efficient manner." -Peter Maradudin, Lighting Dimensions Magazine "[Part Three] should be read over and over again until the reader really understands the very special gift Shelley is giving them." -James Moody, Technical Design and Technology " The best parts of the book work because they rely on understanding concepts, not remembering good advice. You don't have to remember, because you have understood." - Nick Hunt, Focus - The journal of the Association of Lighting Designers
Kurzbeschreibung
Combining theory and application, A Practical Guide to Stage Lighting provides a comprehensive analysis of lighting systems along with step-by-step examples and illustrations of the technical tools and methods. Readers will benefit from experience-based tips, techniques and traps to avoid in preparing and executing a lighting design. Anecdotes illustrate why some techniques succeed while others fail.
Existing textbooks about theatrical lighting analyze artistic vision and visual concepts, which are important for the aspiring designer. These texts do not, however, provide any information about the mechanics required to produce those visions. This book addresses the realities of working in the theatre using practical methods to squeeze flexibility out of a lighting system and present solutions to common problems.
Synopsis
Combining theory and application, "A Practical Guide to Stage Lighting" provides a comprehensive analysis of lighting systems along with step-by-step examples and illustrations of the technical tools and methods. Readers will benefit from experience-based tips, techniques and traps to avoid in preparing and executing a lighting design. Anecdotes illustrate why some techniques succeed while others fail. Existing textbooks about theatrical lighting analyze artistic vision and visual concepts, which are important for the aspiring designer. These texts do not, however, provide any information about the mechanics required to produce those visions. This book addresses the realities of working in the theatre using practical methods to squeeze flexibility out of a lighting system and present solutions to common problems. It includes practical approach to lighting design and implementation; experience-based tips and traps to avoid; and provides thorough examination of the documents used to create the lighting design.
Der Autor über sein Buch
PG2SL is an "under the hood" exploration of lighting design.
There are many texts that explain the mental processes and methods used to create light on stage. Very few texts explain the purpose and use of the mechanical tools that are necessary to convert those conceptual images into a lighting design for a production.The most finite time period in any theatrical production starts when the the load-in begins and ends when the curtain opens to an audience. This constrained period of time can be called stage time. And this will come as no great news: There's never enough. Time spent on stage trying to make a decision, rather an implementing a decision, is often stage time that is wasted and can never be regained.when I was a younger student of lighting design, I wasted a lot of stage time. I had gone to classes and read books, but no one said anything about effectively using time. Without a system or enough experience, I would be led by others through a production schedule that usually resulted in an unfinished lighting design. While analyzing my dissapointment of unfulfilled designs, I finally realized that I had it backwards. Rather than walking in the door and backpedaling through whatever situation was dictated to me, I began searching for ways to dictate the situation. My goal broadened to not only creating a design, but also establishing the environment that would allow the design to be completed within the presented parameters.The creation of every lighting design requires a progressive sequence of tasks. Although every production is different, some variation of the tasks and choices must be followed to complete a design. Some speed expediting those tasks comes from experience and common sense. Other elements of the speed, however, come from proper homework. After years of watching and analyzing mistakes (both my own and others'), I believe I'm beginning to understand the relationships and progression of the steps. In doing so, I've created a general set of tools, methods, and techniques that I use to expedite the process.A Practical Guide to Stage Lighting is a "nuts and bolts" examination of some of these tools and methods. Part One examines the theatrical environment and explores the boundaries that define a light plot. Part Two examines the different documents used to define, communicate, and expedite a light plot. Part Three discusses each task involved in the on-site creation of a lighting design, and examines how the tools are applied to successfully and rapidly design light.The purpose of this book is to illustrate one series of methods that I've used to utilize the precious commodity of stage time and create theatrical lighting designs. A Practical Guide to Stage Lighting presents tools and techniques that solely address the realities of crafting a lighting plot with minimal space, tools, or time. Or, to put it another way, how to get the best lighting bang for your buck.
There are many texts that explain the mental processes and methods used to create light on stage. Very few texts explain the purpose and use of the mechanical tools that are necessary to convert those conceptual images into a lighting design for a production.The most finite time period in any theatrical production starts when the the load-in begins and ends when the curtain opens to an audience. This constrained period of time can be called stage time. And this will come as no great news: There's never enough. Time spent on stage trying to make a decision, rather an implementing a decision, is often stage time that is wasted and can never be regained.when I was a younger student of lighting design, I wasted a lot of stage time. I had gone to classes and read books, but no one said anything about effectively using time. Without a system or enough experience, I would be led by others through a production schedule that usually resulted in an unfinished lighting design. While analyzing my dissapointment of unfulfilled designs, I finally realized that I had it backwards. Rather than walking in the door and backpedaling through whatever situation was dictated to me, I began searching for ways to dictate the situation. My goal broadened to not only creating a design, but also establishing the environment that would allow the design to be completed within the presented parameters.The creation of every lighting design requires a progressive sequence of tasks. Although every production is different, some variation of the tasks and choices must be followed to complete a design. Some speed expediting those tasks comes from experience and common sense. Other elements of the speed, however, come from proper homework. After years of watching and analyzing mistakes (both my own and others'), I believe I'm beginning to understand the relationships and progression of the steps. In doing so, I've created a general set of tools, methods, and techniques that I use to expedite the process.A Practical Guide to Stage Lighting is a "nuts and bolts" examination of some of these tools and methods. Part One examines the theatrical environment and explores the boundaries that define a light plot. Part Two examines the different documents used to define, communicate, and expedite a light plot. Part Three discusses each task involved in the on-site creation of a lighting design, and examines how the tools are applied to successfully and rapidly design light.The purpose of this book is to illustrate one series of methods that I've used to utilize the precious commodity of stage time and create theatrical lighting designs. A Practical Guide to Stage Lighting presents tools and techniques that solely address the realities of crafting a lighting plot with minimal space, tools, or time. Or, to put it another way, how to get the best lighting bang for your buck.
Über den Autor
Steve Shelley has worked in theatre for over 35 years as a lighting designer, production manger, and stage manager in New York City, throughout the United States, and on four continents. His lighting designs are included in the repertories many dance companies, and he's designed lighting on Broadway, Off-Broadway, as well as concerts, television, regional theatre, and regional opera. Steve is the author of numerous articles in trade magazines and has conducted multiple seminars at theatrical lighting conventions and major universities around North America. He's also the inventor and patent holder of the award-winning Field TemplatesT and SoftSymbolsT (www.fieldtemplate.com). He lives in New York City.
