This document provides information on lighting designs for different stage configurations: - Thrust, Traverse, Theatre in the Round, and End On stages. For each configuration, key features of an effective lighting design are outlined, such as appropriate lighting instruments, stage sectioning, and light positioning. Diagrams and production stills are referenced to further illustrate lighting techniques. The document emphasizes creating well-blended general light coverage and considering the audience perspective for each stage type.

1. Thrust Theatre:
Key Features:
Each lighting design must have a key.
This is to ensure that when the plotting/rigging
takes place the crew are able to work efficiently
and have a clear understanding of the plan. This
could also be useful hen plans become very
complex and hard to read clearly.
General light cover extends only as far as
the action. The front and back cover is angled at 45
degrees.
Depending on the height of the stage
backlight is variable. For example if the stage was
more than half a metre off the ground you would
need to steepen the back
Thrust is a combination of End on and
theatre in The Round.
This staging is commonly used for fashion
shows so you will have to consider the fact that the
performers will turn round on the stage at the end
and walk back the way they came. You can overcome this obstacle by lighting the walk was as it was theatre in
The Round, so there is light from all angles and the performers are constantly lit.
Here are some additional images/guides I found in the book: Phaidon Theatre manual - Lighting and Sound
(Neil Fraser)
These images are for a production of Macbeth, which shows how this type of staging would be lit for a theatre
piece.

2. Traverse Theatre:
Key Features:
Use any type of Fresnel for the front light
(excluding 1K)However remember that they will all
have to be the same make/type of Fresnel as every
light has a different intensity of light, mixing them
could result in patchiness on stage which would in
turn become noticeable to the audience and ruin the
illusion you are trying to create.
Split your stage into areas (ignore any bars
as this can limit you. Light the area.) For the
purpose of this diagram I have split the stage into 8
sections from A to H.
Use 1K Fresnel’s for back light as this will
give a very deep tone of light and give depth to the
stage and will also give shape to the performers
form.
Each light in each area is 60 120 degrees
from the centre of each area. This can be achieved
on the plan by using a protractor. Repeat the
process for each area 3 times so you create a
triangle of light. This triangular pattern will create an overlap over each area so you are able to create a smooth
general cover with an even spread of light.
To further illustrate my point please refer to the images below taken from the book I previously mentioned. In
these images you can see a bird’s eye view and a side elevation of the stage. The first image outlines the effect
the lighting type will have on the performer as well as the stage.

3. Theatre In The Round:
Key Features:
Because in-the-round theatre has seating all the way around the edge of the stage it is important to
consider the fact you will not want to light the audience. (Unless stated otherwise in the script). To do
this you could use profiles as you can adjust the shutters to the edge of the stage. (Make sure to make a
note of this in the focus notes).
Similar to traverse theatre you will need to position the lights at a 45 degree angle in each corner of the
area you are lighting so that the performers can be lit from each side no matter where they turn on the
stage.
Unless stated otherwise for a specific effect there is usually no backlight used in theatre-in-the-round.

4. With 3 angles in use one person’s backlight with become another’s front light. Added lanterns to
highlight the actors may be unnecessary as it could end up creating unwanted shadows on set or
performers.
The action on stage will also look different from each seat in the auditorium so take time to make sure
you’re happy with each lighting state from each angle.
You will also have to consider the fact
that with each act the staging may change
considerably so bare that in mind when creating
your lighting states. Multipurpose lighting states
may be useful.
Also when adding specials to your
lighting plan consider how it will look to each
audience member. For example if you have a
physical window that is lit from behind this effect
will not work for the person behind the window.
So you will have to consider alternative options
such
as a
projection on the floor. You
may have to work with the set
designer to achieve this.
I have also added some more
images to help illustrate my point. These are some images of a lighting design for a production of ‘The
Crucible’. In the first picture you can see the three staging sets for all of the acts. In the second picture
you can see how the entire stage could be put into areas and lit so it will cater for all of the stage
settings.
End On Theatre:

5. Key Features:
When creating a general cover for
this type of stage you will need both
front and back light so you’re able to
bring the performers off the curtain
and give their entire body form.
Use 1K Fresnel’s for back light as this will give a very deep tone of light and give depth to the stage
and will also give shape to the performers form.
Use CCT MinuetteFresnels for the front light as they have a ridged lens which will give a diffused
effect. This will enable you to blend the light better on the stage so you can get an even spread of light.
You can also use the barn doors to take the light off the back and sides of the stage so you can make the
cover of light very precise around the edges of the stage. (This information will go in your focus notes.)
Once you have sectioned your stage into areas you will then need to start with your backlight. Going
from this in each area position a front light 45 degrees to the right and left of where you have put your backlight.
You should have created a triangular formation with 3 lights. Repeat the process until you have covered the
entire stage. (It is good to take the front light one bar away from the stages edge to ensure that you achieve this.
)