STAGE LIGHTING The function of coloured light in the theatre is to stimulate the imagination and excite the emotions of the audience. In this use it is parallel to the function of music. If the audience is in a receptive mood—fertile soil to receive and react to the impressions and atmosphere—there are two great mediums with which to achieve these effects : light and music.
Assuming that the director is familiar with the possibilities as well as the limitations of every piece of equipment used in stage lighting, he has to consider the colours at his disposal; the emotional values attributed to each ; the relative strength of each colour ; the effect obtained by their isolation, succession or combination. He may use coloured lights upon a stage as a painter uses his brush and paints. He can tell a complete story with lights. By the employment of the appropriate colours he can interpret the rise and fall of the emotional scale, using lights to emphasize or heighten the emotional climax.
Considered from the most elementary aspect, light may be said to have two primary purposes : brought upward, or brightened, it elevates, inspires and stimulates; taken down, or subdued, it creates a depressing, quieting or narcotic effect in the same pro portion. With various shadings, gradations and combinations of colours, a certain mood may be produced in an audience. Each colour possesses a property which will create that mood or contri bute to its creation.
For example, red will excite, will create a premonition of im pending danger; or it may be used to achieve a sinister effect. Amber and white added to the red will eliminate the more formid able aspects of the colour and create an effect of speed and action. Yellows and reds with a supplementary white will create a sus tained mood, and serve to establish a definite atmosphere. Blue creates suspense. The audience becomes keyed to a mood. It becomes interested in the succeeding action. A mixture of shades of this colour will create a subdued mood, or even depression. Purple will impart an atmosphere of majesty, of power, of magni tude. Toned amber will contribute to the effect. The use of the primary colours, red, blue and green, will create a mood of pas sion ; of primary emotions ; of strength and virility.
Thus we see how each individual colour can either definitely ex press a mood or be used in conjunction with another or other colours to achieve a particular mood. The intensity, proportion and quality of the colours may be modified to suit the finer grada tions of the mood.
An audience cannot be thrust into the atmosphere of a particular colour, or transferred from one mood to another too abruptly. The speed or tempo must be judiciously timed to correspond with the character of the mood. Otherwise the ultimate purpose of the light ing is apt to be defeated. For this purpose, the dimmers on the switchboard, which bring up or take off the lights at the required rate of speed, demonstrate their usefulness.
The relation of coloured light to music follows the same general principles of emotional interpretation. It is altogether possible to take a musical composition and interpret it by means of light, by establishing an accompanying atmosphere ; to interpret the variety of moods ; to mark the changes in tempo, quality and volume; to heighten or emphasize the climaxes. The analysis of colour as indicated above will serve as a guide to the interpre tation of the emotional qualities of the music. A brief specific application of the theory will explain this.
The orchestra has tuned up and is ready to start the overture. It is necessary to secure the attention of the audience; to con centrate its eyes and ears on the orchestra. The mechanical equip ment is used to accomplish this end. The major illumination is to be thrown on the orchestra. The house lights are brought down. The musical composition to be played provides the atmospheric theme, so to speak, of the lighting. With the spotlights in the ceiling or dome of the auditorium we may throw the desired light or colours on the orchestra itself. The other lights in the ceiling may be selected in colours necessary to establish the opening char acter of the music. Behind the orchestra is the stage curtain, an ideal background for the light interpretation of the music. A com bination of spotlights or colours may be used for this background.