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The author looks back over a long career working as a stage lighting technician in the American theatre, sharing personal experiences, and providing an insider’s view of the art, history, and culture of theatrical lighting.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-09-06T14:09:14Z No. of bitstreams: 1 PDF Final.pdf: 28443878 bytes, checksum: 54aa452035b930d127bdd66911f48a0e (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:20:42Z (GMT) No. of bitstreams: 1 PDF Final.pdf: 28443878 bytes, checksum: 54aa452035b930d127bdd66911f48a0e (MD5) / Made available in DSpace on 2018-09-11T13:20:42Z (GMT). No. of bitstreams: 1 PDF Final.pdf: 28443878 bytes, checksum: 54aa452035b930d127bdd66911f48a0e (MD5) / O objetivo desta tese é investigar a práxis cênica como problema estético-visual, cuja origem se encontra, não apenas nas primeiras teorizações do teatro da Grécia Clássica, mas também nos estágios iniciais do drama clássico, uma vez que ambas as abordagens observam, analisam e operam com a posição artística da luz no contexto do espetáculo teatral. A presente tese compreende a práxis cênica como uma obra compósita, cuja efetivação geralmente congrega o trabalho de muitos artistas, i. e., mesmo quando nela se observa a acentuação de um ou outro aspecto, sua natureza se afirma na interação dinâmica entre os diversos aspectos e agentes. Tais elementos interagem em movimentos irregulares, transversalmente articulados, entrelaçando-se ao longo do processo de criação. As investigações que constituíram a tese incorporam os conceitos de imagem cênica e de visualidade, aplicando a análise bibliográfico-documental como estratégia para identificar elementos instigantes para a discussão desses conceitos. A abordagem refere-se a um conjunto de documentos, desde o teatro grego clássico até a contemporaneidade, e descarta o ordenamento cronológico, pois leva em conta as específicas relações entre os textos e a problematização que guia a tese. Procurando analisar a amplitude das interações entre a luz e a cena, o presente trabalho é sustentado por duas convicções: em primeiro lugar, as contribuições da luz estão presentes em momentos muito anteriores à “montagem da luz” de um espetáculo; depois, do ponto de vista histórico, é preciso constatar a presença da luz no teatro, em momentos muito anteriores ao Renascimento italiano, no século XVI, quando apareceram os primeiros teatros cobertos que necessitavam da luz artificial para a realização de espetáculos. Com a leitura de textos e documentos do âmbito particular do tema, a tese indica futuras intervenções, tanto na abordagem teórica da cena em si, quanto no seu planejamento visual. / The aim of the dissertation is to investigate the scenic praxis as an aesthetic-visual problem, whose origin lies not only in the first theorizations of the theater of Classical Greece, but also in the early stages of classical drama, since both approaches observe, analyze and work the position of the light in the context of theatrical event. This dissertation understands scenic praxis as a composite work whose accomplishment usually gathers the work of many artists, i. e., even when it is observed the emphasizing of one or other aspect, its nature asserts itself in the dynamic interaction between the various aspects and agents. These elements interact in irregular movements, articulated in a transverse way, interweaving the process of creation. The investigations which formed the dissertation embody the concept of scenic image and “visualty” applying the bibliographic-documentary analysis as a strategy to identify provocative elements to its discussion. The approach include a set of documents from the classical Greek drama to the contemporary times, and discard the chronological order because it took into account specific relationships between the texts and the questioning that guides the thesis. Seeking to analyze the extent of the interactions between light and scene, this work is supported by two beliefs: first, the contributions of light are present in the spectacular events in much earlier times then the moment of the "lighting assembly" of a show; second, from the historical point of view, it is necessary to observe the presence of light long before the 16th century Italian Renaissance, when the need of artificial light for holding shows appeared in the first covered theaters. With the reading of texts and documents on the scope of the particular theme, the thesis indicates future interventions, both in the theoretical approach of the scene itself, and in planning for the theatre lighting design.

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This treatise analysis what functions light has in theater. It was inspired by Rosalinda Kraussessay Sculpture in the Expanded Field but builds mostly on the following three booksLinda Essig Lighting and the design idea (2nd ed), Nigel H. Morgan Stage lighting fortheater designers and Francis Reid The stage lighting handbook (6th ed). It discovers nineunique functions of light (performance style, dramatic style, image,illumination, 3Dspace, 3D form, selectivity, environment, atmosphere) and develops a graphical mappingof them based on a mapping by Reid. The functions performance style, dramatic style,image are superior the others. Some light functions are more closely related than othersand the different functions can easily be misunderstood.The functions performance style and dramatic style (or just style) are especially difficultto understand and map out. Environment and atmosphere are two functions that is inopposition to one another and it would be interesting to make an expansion around theseset of terms by using Krauss theories.

Museums and the performing arts have very specific lighting requirements, not only in the technical aspects of their presentation, but also in regard to the communication and interpretation of artistic concepts. Thus, the design intent might have many different perspectives whereas the idea of being “neutral” is more complex to define. One of the critical aspects for the visual experience of art is colour, a subjective experience that can be conceptually approached from many perspectives, from science to the artistic realm.  This study starts by setting a theoretical framework in colour human vision, colour theory and colourimetry; and how this can be applied to lighting design concepts for exhibitions. The experimental part of this work explores some of the opportunities of complex LED colour mix systems in working with fine colour tuning and metamers. This investigation focusses on both the creation of the light stimuli and on how these lighting conditions can influence the perception and interpretation of a painting. In spite of its subjectivity, the perception of the art is contextualized with the colour theory background provided, the quantitative measurements performed and the results of an online survey. Additionally, the artist is interviewed in an attempt to gather views from the origin of the artwork to the viewer interpretation. This work might be useful to those with interest in the opportunities that quality LED technology, specifically colour mixing, offer for lighting design in exhibition and theatre environment. In fact, the complexity of exhibition lighting provides a perfect environment for research and experimentation, where improving the viewer experience is becoming an essential factor for museology.