Автор: FRANCIS REID
скачать → The Stage Lighting Handbook
Справочник по сценическому освещению хорошо зарекомендовал себя как классическое практическое руководство по освещению. Книга объясняет процесс проектирования освещения для всех форм сценического производства и описывает используемое оборудование. Это новое издание включает актуальную информацию о новом оборудовании и обсуждает его влияние на методы работы.
Google Translate в помощь
It is easy to be poetic about light in the theatre, and a great deal of lip service is paid to its possibilities. Certainly, lighting techniques have shown a tremendous development in the last thirty-five years, and there are now a large number of lighting specialists. But no theatre, whether it be amateur or professional, can thrive on over-specialisation. To twist an old phrase, every theatre person must
be a ‘Jack of all trades and a master of one’. A jack of all trades should not dabble in electricity but every theatre person should know something about light. Therefore, this is not a book about
electricity, it is a book about light. If light is an actor’s environment, then every actor should have a basic understanding of light in the theatre, should think about how the production is trying to use light and how that light can help to project script and actor to the audience. Every designer, whether of scenery, costumes or properties, should be able to visualise the finished product under stage lighting conditions.
But theories about the Art of lighting are useless without some knowledge of the Craft: the way in which the desirable becomes the possible. Every user of light, every director, every designer, every actor, should have some knowledge of what is technically possible — not in terms of electricity, but in terms of light. In theatre, there is no positive, clear-cut, good or bad, right or wrong. It is a very subjective art — who, for example, shall be bold enough to define a good actor? The lighting designer, in the midst of rehearsal pressures, might be tempted to equate good acting with the ability to find light. Hardly a universal definition of good acting!
This book cannot, and does not, set out to lay down objective standards for good lighting. It merely discusses some of the possibilities of lighting and how these can be turned into reality under practical stage conditions. In the twenty-five years since the first edition of this book was published, there have been considerable developments in lighting instruments, colour filters and control systems. In little over a decade, automated spotlights have become commonplace. The fifth edition prediction that, ‘It is not difficult to foresee design computers talking directly to control desks — and focusing lights!’ has
already become established reality.
But the basic facts of lighting do not change. The underlying philosophy remains the same: it ain’t what you put, it’s the where that you put it. Improvements in the tools of the lighting design trade do not automatically lead to improvements in the quality of the lighting design. Efficient robust spotlights
and sophisticated micro-processor controls may speed up the lighting process. They may reduce or even eliminate some of the old problems, so that the lighting designer is free to concentrate on visual ends rather than technical means. But unless the right type of lighting instrument, with the right colour
filter, is hung in the right position and pointed at the right part of the stage, any expenditure on the latest spotlights and computer control desks will be in vain. Consequently, the equipment chapters in subsequent editions have been amended to take account of new developments, while the chapters dealing with the principles of lighting design and lighting management have been expanded
The author, in his continued attempts to find ways of expressing a visual medium in words, has been helped by his colleagues in the professional theatre and by the many students with whom he has explored lighting’s contribution to the performance environment. To all his students over the years at the Central School of Art and Design (now Central St Martin’s), the Royal Academy of Dramatic Art, the National Theatre School of Canada and in many parts of the world (particularly Australia, Cyprus, Germany, Hong Kong, India, Indonesia, Korea, Malaysia, Pakistan, Singapore, Spain, Sweden, Thailand and New Zealand) he once again offers his sincere thanks for the continuing way in which they have sharpened his wits by asking searching questions.
For the illustrations, the author is indebted to Strand Lighting and their magazine TABS, the technical theatre review CUE, AC Lighting. Arri, Avolites, Cast Lighting, Clay Paky, DHA, ETC, Mike Falconer, Nigel Hollowell-Howard, JEM, Lighting Innovation, Lightworks, Optikinetics, Ludwig Pani, Martin, Northern Light, Rosco, Selecon, Skyhigh Stage FX, James Thomas Engineering, Vari-Lite, White Light, Norman Adams of Aberdeen District Council Publicity Department, W.G. Crisp, James Twynam, Barrie West, Wybron and all the technicians who allowed their work to be invaded by the author’s camera.
The lighting image on the cover was computer-generated by Mike Falconer, using WYSIWYG software