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Assessment Task
According to E. E. Faraday
‘It is true to say [that this] heightening of effect should not be seen but should
rather be felt by the audience as a satisfying experience, for if the lighting is
used for lighting’s sake, the audience will become conscious of the artifice and
will probably cease to concentrate on the play. As is well known “the play is
the thing”, so stage lighting must above all be subservient to the play as a
whole; an accessory only and not a means to an end in itself’
Faraday, W. J. Furse & Co Ltd (1953)
To what extent does Faraday’s analysis still hold true in today’s lighting
industry?
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Introduction
Since the electrification of the Savoy by Sir Joseph Swan in 1881 debate has been
rife between designers, directors and practitioners alike concerning the usage of
lighting for pragmatic and creative means during performance.
E.E Faraday raises an intriguing point which to this day has sparked debate across all
sectors of the performance and live event industry. Whilst showing no sign of losing
momentum given the amalgamation of video technologies, conception of control
protocols and invention of technologies to the sector of which Faraday would not have
been able to predict such as R. J. Keyes and T. M. Quist’s semiconductor DPSS laser
diodes and the introduction of the USITT DMX512 Protocol.
In turn each of these technologies have contributed to vastly expanding the industry
and more importantly, the assets available today in the modern theatrical lighting
designer’s toolbox. The consensus of the research gathered, although in some cases
severely contested, it has been noted a line of what is and what is not acceptable for
theatrical and dramatic lighting design seems to be emerging based on Faraday’s
comments that holds true to this day.
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Body
The heightening of effect should not be seen but should rather be felt by the audience
as a satisfying experience
Faraday states how effective theatrical lighting should be crafted to immerse the audience in an
emotionally stimulating environment in order to provoke an immersive experience. This viewpoint is
shared by television LD B.Bailes, who’s latest installation for ‘GingerLime’ embodies the concept of
subservient lighting, allowing interesting spaces to be shown in their best light, with the objective of
sculpting a ‘satisfying emotional reaction within the person experiencing it’. Bailes makes sure to
indicate a ‘fine line’ between right and wrong when implementing designs fabricated to subliminally
evoke human emotion. Equally ‘when done badly it's just a bunch of technology in a confusing space’.
In conversation with C.Davies a contrasting stance was shown indicating how ‘there should be no
template to light a show’. This was formed when he ‘was the LD for [Black] Sabbath in the 1970s, - the
band would play arenas of 20,000.’ That required visual lighting that ‘looked great from the back.’ By
utilising the rig in an unconventional way compared to other lighting designers, Davies used a host of
‘follow spots to light the band’ and ‘multiple par-cans within the rig to create excitement’. This
unconventional fixture usage has increased in popularity in the present day, examples include
K.Adams ‘Next to Normal’ utilising hard edged backlight to stimulate the audiences interest. Although
it’s worth noting this should be used in moderation as ‘if over-used can prove to be a distraction’.
Whitelight’s Brian Raven supports Fardays standpoint and adds ‘If you come out of a play and your
main memory is the lighting then as a piece of drama it has failed.’ This is highlighted by M.Susan’s
comment, ‘no two events in this industry are the same’, with each performance presenting its own
unique quandaries. It’s indicated this has remained true from Faradays time, where he states in 'Basic
Stage Lighting and Equipment' that each show ‘contains almost limitless variables’.
Figure 1.0 Bailes ‘GingerLime’
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Raven adds how in modern day performance ‘a well-lit play can improve the story and add a lot to it.’
Equally when lighting a band, ‘sometimes the audience has come to see and hear the group and not
be distracted by multiple flashing lights’ alternatively ‘other acts need the drama of an exciting light
show.’
If lighting is used for lighting’s sake, the audience will probably cease to concentrate
on the play.
Faraday makes his standpoint clear, alongside the majority of theatrical and television designers, who
oftentimes employed the ‘McCandless technique’ as detailed in ‘A Method of Lighting the Stage’
(published 1932) as the accepted procedure to light a space. This was due to the ‘sympathetic’, ‘realist’
appearance it provided with an intention of ‘complimenting’ opposed to overpowering the subject,
this notion can be perceived within current day designs such as Shakespeare’s ‘Othello’ lit by C.Bagnall.
Despite this, current technical author F.Reid argues the pragmatics of the method, ‘if light is sufficient
for the front row, it will not be from the back’.
In addition, certain designers, experimental theatrical practitioners and directors from Faradays era
were opposed to the idea. Artaud’s Theatre of Cruelty was the physical embodiment of surrealism and
‘bombarded the audience with light’ holding an intent of taking them on a visual journey. Similarly
Brecht’s ‘Mother Courage’ and JaquesLecoq’s ‘The moving Body’ require stark lighting with
unconventional ‘top-lighting’ combined with a ‘smattering of shadow’ emphasizing expression and
grotesque nature of performance to shock and alienate the audience.
Figure 2.0 ‘McCandless Technique’ ‘Jewell technique’
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Modern techniques such as H.Bay’s "jewel" lighting combat this, employing multiple angles, (a
reference to how jewellery is lit in a display case). Equally LD Michael Broderick’s ‘One Man One Light’,
a duet between a single automated fixture and actor in a new interactive theatrical form. Although
the standard of programing practice is high, it’s snubbed by theatrical purists as a ‘marketing gimmick’
and ‘fad’ regardless of audience response.
Although each of the aforementioned practitioners had sizable following none of their works broke
into mainstream television as they were regarded, ‘unsavoury’ and ‘unfit for the wider British
audience’. It is suggested Faraday is writing with theatrical and television elites in mind.
Scientific breakthroughs lead to conformation of theories and in depth understanding. This allowed
lighting designers of the late 20th
century sculpt designs based on the human response and strive for
maximum audience emersion. Journals such as NPL’s ‘Principles of Photometry’ allow modern
designers to inform their designs regarding ‘The Human Photometric Response’ further recognising
the needs of the audience. These revelations included perceivable lux levels and human 555nm peak
response. Despite this many support LD J.Farncombe’s traditionalist viewpoint conveyed through ‘The
Stage’ magazine 2010 arguing how ‘theatre is an escape from reality and should not be informed by
science’, echoed by F.Reid in the Stage lighting handbook stating how ‘stage lighting is not an exact
science’ consequently opinion is still divided.
Since Faradays time there has been a significant shift and exponential increase in demand for aesthetic
lighting within the television sector. Triggered by the introduction of Marconi’s ‘revolutionary range
of cameras’, integrating dichroic prisms (more recently Bayer filters) and prompting the BBC to roll
out BBC 2’s five month integration from July 1967.
Figure 2.1 ‘Theatre of Cruelty’ Figure 2.2 ‘Commedia Dell’Arté - The Buffoon’
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In comparison to the monochromatic 4:3 cameras used in 1953, technological advancement has led
to 1080i 16:9 colour becoming the new UK standard. S.Bailey describes how ‘higher image quality and
[an] increase of viewers has resulted in directors demanding more from lighting and video
technologies’. Previous camera technologies required high levels of light with uniform constant CRI
(such as that supplied from the PATTERN 237 wash) due to low optic sensitivity. This is now not the
case and has opened the floodgates for creative design. In comparison to standardised ‘Prime-Time’
television such as the ‘Good old days’ (1953) the entire sector has undertaken an overhaul.
ITV’s [formerly Granada’s] latest publicly released figures indicate a much higher budget available than
previous years which is especially notable across ‘Prime-Time’ television. This has led to large
investment in performance technology which has caused uproar between theatrical purists presenting
the view that certain shows are becoming ‘broadcasted tradeshows’ with a dramatic increase of
‘Eyecandy-fixtures’. This feeling is shared by B Bales who postulates how over the past decade ‘it’s
possible that the TV world has started to ignore the rules, glossy shows such as X-factor go through
phases of going overboard with technology that [he] personally finds distracting.’ In response, SycoTV
dismisses these claims, marketing the show as ‘incomparable in its success versus rival talent shows’.
Figure 2.3 ‘Dichroic Prism’ Figure 2.4 ‘Bayer Filter’
Figure 2.5 ‘Good Old Days’ Figure 2.6 ‘The X Factor’
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In contrast to Faraday’s time the use of social media and marketing techniques currently employed by
manufacturers has dramatically increased, subjecting specifiers and designers to the latest ‘must have
products’ in both a direct and subliminal way.
In addition, technical advancements in environmental science have been made since the ‘Great smog’
of 1952. Consequently lighting designers have been heavily exposed to opinion and external pressures
to conform to acceptable ecological standards. This feeling is equally conveyed by J.Valchar who when
questioned over influence placed on the industry mentions how ‘It is worth noting that when LED
[fixtures] initially flooded the market and became 'the thing to have, LDs went overboard.’
During Faradays time genres such as farce, romance and entertainment were prominent within most
mainstream theatres. These performances required naturalistic lighting states achieved through a
uniform wash and protagonists highlighted with ‘limelight’, follow-spots often fitted with frost to
soften the beam.
To this day the concept of ambient frontlight and follow-spot usage remain as a staple of televised
variety shows and musicals, although further more refined with the introduction of HMI and Xenon
lamps. It is incredibly apparent when reading catalogues of Faradays time fixtures were produced with
Figure 2.9 ‘Twitter’Figure 2.7 ‘Artyon’ Figure 2.8 ‘Instagram’ Figure 2.10 ‘Facebook’
Figure 2.11 ‘Refurbished Follow Spot’ Figure 2.12 ‘Thoroughly Modern Millie’
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a ‘war-mentality’, striving to be ‘functional’, ‘reliable’ and ‘robust’. Providing functional roles with no
thought of aesthetics, highlighting Faradays ‘the play is the thing’ mentality.
An accessory only and not a means to an end in itself
As faraday states, theatrical ‘lighting is not a means to an end’. An opinion shared by B.Raven who is
a strong believer ‘light should also be integral to the piece’. The concept that ‘lighting has to help tell
the story’, ‘explain the time of day’, ‘add realism to the setting and reflect changes in mood & tone’.
This is embodied almost every modern traditional performance. This standpoint that light must have
a reason is embodied through the work of R.Fisher on ‘An Inspector Calls’. To add a further dimension
to the play and manipulate the audience.
‘Paule Constable who spends a huge amount of time in the rehearsal room is an integral part of the
creative team (her work on shows like War Horse and Curious Incident are perfect examples of this).’
Figure 4.0 Fisher’s ‘An Inspector Calls’
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Contextually Faraday wrote the 'Basic Stage Lighting and Equipment' for both a student and amateur
demographic. Additionally his subjective literary style and use of vocabulary such as ‘probably’ is
vastly different in comparison to formal published guides and journals of the era which were further
direct. This hints at a slight sense of insecurity in what he was saying, suggesting he was aware of
opposing viewpoints, but accepted potential to be proven wrong.
Britain during the 1950's was in many ways different from today. The most obvious of which was the
physical fabric of the country. In 1950 the Second World War’s legacy was everywhere to be seen,
especially London. Most grandfathers had served in WW1, most fathers in the second and most men
called for National Service surrounding the threat of cold war. The prospect of a job external to this
was incredibly enticing. In regards to theatre lighting of the era, being 'contemporary, revolutionary
or going against the grain of the established lighting style’ often lead to unemployment from ‘money
conscientious production teams’, 'beaten into submission' of normality through fears of losing
audience.
Faraday, similar to many others at the time entered theatre, working his way up alongside designers
from a young age. As expected he was introduced to the idea of ‘subservient’ and ‘sympathetic’
lighting whilst impressionable which grew with his style. Through literature Faraday explains how to
achieve useful effects enabling students and amateur lighting technicians accrue a certain level of
knowledge which would make them appealing to potential employers, who simply ‘required stages to
be lit’. This emphasizes how aware Faraday was of his audience, accepting revolutionaries of the time
with the intention of creating ‘new and experimental visuals’ would not have purchased the book in
the first place.
Despite the strict era of which ‘Basic Stage Lighting and Equipment’ was published, it is considered the
concepts Faraday outlined ring true to this day with unanimous agreement from designers, product
manufacturers and audiences alike, despite introduction of new technologies, techniques and
discovery across the past 62 years.
Figure 4.1 [Constables ‘Curious incident Figure 4.2 [Constables ‘Warhorse’]
. of the Dog in the Night-time’]
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Appendix
Bailes, B. (2015) Faraday and Modern Performance. 10 October 2015, 14:10. ITV Studios
London
‘Faraday wrote presumably about theatre, where I believe it absolutely applies. Take modern
productions such as The Curious Incident [of the Dog in the Night Time]. It's the best use of
theatre technology I've ever seen and uses a combination of LED screens, projection and
lighting to effectively re-create the story and captivate the audience.’
‘I was aware of the technology, but didn't really consider what was being used until after the
show. If you look at immersive installations, when done right the lighting (and sound etc)
creates a stimulating environment and an emotional reaction within the person experiencing
it. When done badly it's just a bunch of technology in a confusing space.’
It's possible that the TV world has started to ignore the rules, glossy shows such as X-factor go
through phases of going overboard with technology that I personally find distracting. I don't
see it very often, and presume it's less of a problem today.
In my opinion to the detrimentof the performance. Indeed,Faraday's words are still as relevant
to this day as they were in 1953. Ignore them at your peril!
Davies, C. (2015) Legacy Lighting Design for Live Events. 13 October 2015, 14:10. –
Skype.
‘Our rigs increased in size predominantly for large audiences to be visually excited, yet not
detract from the performance. The issue we faced was that the band could be clearly heard but
looked like ants to people at the back. By using multiple ParCan rigs we could create all sorts
of interesting patterns to get them visually stimulated if they didn’t have a good view of the
band. That most definitely applied to ‘[Black] Sabbath’ in the arena tours anyway.
Of course we didn’t have moving lights then, but we never wanted to detract from the artists.
The music lead the lights to make the experience better for the audience, not the other way
round. Personally these days I think some companies take the lighting too far, which almost
becomes annoying.’
Davies, C. (2015) The Development of Performance Lighting. 18 October 2015, 10:25.
University of South Wales – Trefforest Campus.
‘It was a strange world back then. No social media. We stayed in our own little world. If you
got a gig with a band you tried to do the best with what the budget would pay for. And we
only had Pars to create something different. As for the 50's there were no lighting, just what
was in the theatre. When you come to my lecture next year all is explained. All the best Clive.’
‘Every show is different. Lights are always there to add to the show or play not to distract. A
well-lit play can really improve the story and add a lot to it. When lighting a band, sometimes
the audience has come to see and hear the group and not be distracted by lots of flashing
lights, while other acts need the action and drama of an exciting light show. For example when
I was the LD for Black Sabbath in the 1970s we had no video screens and the band would tour
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the US playing arenas of around 20,000. So I had to create a very visual lighting show that
looked great from the back. So I would use follow spots to light the band and the lighting rig
to create excitement‘.
Raven, B. (2015) The introduction of LED Luminaires [Recorded Conversation]. 9 October
2015, 21:00
‘I quite like that quote and it is absolutely true. If you come out of a play and your main
memory is the lighting then as a piece of drama it has failed. The best lighting is when you
barely notice it. It is slightly different to good ‘sound’ when the ultimate compliment is when
you can’t remember anything about the sound on an event.
With lighting it is different as it has to be more visible by definition but it should also be integral
to the piece. It is no surprise that some of the best lighting I have ever seen has been by
designers like Paule Constable who spend a huge amount of time in the rehearsal room and
are an integral part of the creative team (her work on shows like War Horse and Curious
Incident are perfect examples). The lighting has to complement the play, help tell the story,
explain the time of day, transition in time, add realism to the setting and reflect changes in
mood & tone.
Another example would be Rick Fisher’s lighting and Ian MacNeil’s staging for the current
production of An Inspector Calls….without Rick’s lighting the play wouldn’t have anywhere
near the impact but without the play…the lighting is pointless.’
Valchar, J. (2015) The introduction of LED Luminaires [Recorded Conversation]. 6 October
2015, 15:30. PLASA 2015.
‘When LEDs initially flooded the market and became 'the thing to have' LDs went overboard.
In our latest range we have refined this with the DL range.’
