Dance Lighting Book Project
Mark Harvey
February, 2008
Handbook for Dance Stagecraft
by Tom Skelton
Articles originally printed in Dance Magazine, New York, NY
| I. October, 1955 | |||
| A. Introduction - purpose of articles is to help dancers understand lighting technique and terminology in order to achieve better performances. | |||
| B. Challenges of good lighting | |||
| 1. Venues and equipment 2. Demands of repertory lighting 3. Differences with theatrical lighting techniques |
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| C. Stage direction terminology for the dancer | |||
| II. November, 1955 | ||
| A. McCandless method of cross lighting | ||
| B. Lighting areas | ||
| C. Differences in how dance uses space than theatre | ||
| 1. More lighting areas 2. More three dimensional sculpturing than theatre 3. Less concern with realism |
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| D. Terminology | ||
| 1. Acting area 2. Rail 3. Beams 4. Light pipes 5. Hot spot |
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| III. December, 1955 | ||
| A. Dance areas | ||
| 1. Center 2. Diagonals - left and right 3. Paths - center, left and right 4. Planes - center, up and down 5. Washes - front, left and right |
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| B. Dimmer groupings | ||
| C. Demands from different types of dance | ||
| 1. Ethnic 2. Classical ballet 3. Modern ballet |
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| D. Terminology | ||
| 1. Flies 2. In the wings 3. Tormentor or legs 4. Border or teaser 5. Concert border |
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| IV. January, 1956 | ||
| A. Color | ||
| 1. Mood 2. Color fatigue 3. Contrast 4. Psychological connotation |
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| B. Color mediums | ||
| C. Color mixing theory | ||
| D. Front lighting | ||
| 1. Warm 2. Neutral 3. Cool |
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| E. Side lighting | ||
| 1. Warm 2. Cool |
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| F. Special effects | ||
| G. Color manufacturers | ||
| V. February, 1956 | ||
| A, Angle | ||
| 1. Front - low, medium and high 2. Side - low, medium and high 3. Down lights 4. Back lights |
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| B. Intensity | ||
| 1. Contrast 2. Variety |
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| VI. March, 1956 | ||
| A. Modern Dance | ||
| 1. Stage area use 2. Focus of the movement 3. Color |
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| B. Example: Mary Anthony's "...the wind..." | ||
| VII. April, 1956 | ||
| A. Jazz Movement | ||
| 1. Floor pattern 2. Focus of the movement 3. Color |
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| B. Example: Louis McKenzie's Beal Street Lament | ||
| C. Pas de deux | ||
| 1. Lighting angles 2. Intensities 3. Color 4. Background 5. Ballet movements |
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| VIII. May, 1956 | |||
| A. Equipment purchases | |||
| 1. Improvised 2. Professional lighting fixtures |
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| a. Ellipsoidals b. Fresnels |
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| B. Border lights | |||
| IX. June, 1956 | ||
| A. Dimmerboards | ||
| 1. Use of trained electrician 2. Permanent installations 3. Touring |
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| B. Improvised lights | ||
| 1. Reflector lamps 2. Goose-neck lamps 3. Clip-on lamps 4. Photographer's photo floods 5. Home-made 6. Flashlights 7. Light sources as scenic elements |
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| X. July, 1956 | ||
| A. Colored light on pigment | ||
| 1. Subtractive color mixing 2. Additive color mixing |
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| B. Pigment | ||
| 1. Saturated color 2. Color tints |
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| C. Colored light on fabric comparison chart | ||
| D. Colored light on make-up comparison chart | ||
| E. Gel manufacturer comparison charts | ||
| XI. August, 1956 | ||
| A. Follow Spots | ||
| 1. Classical ballet 2. Modern dance 3. Multiple follow spots |
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| B. Light blindness | ||
| C. Dancers working with lights | ||
| D. Bringing up the whites | ||
| E. "Milking" bows | ||
| XII. September, 1956 | ||
| A. Masking | ||
1. Front light |
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| B. Curtain lights | ||
| C. House lights | ||
| XIII. October, 1956 | ||
| A. Dimmerboard technique | ||
1. Master fade outs |
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| B. Grey gel | ||
| C. Frost gel | ||
| D. Projections | ||
| 1. Linnebach projectors 2. Effect projectors |
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| XIV. November, 1956 | ||
| A. Projected shadows | ||
| 1. Realistic 2. Abstract |
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| B. Plano-convex spotlights | ||
| 1. Location 2. Size |
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| XV. December, 1956 | ||
| A. Floodlights | ||
| 1. Lighting drops 2. Stage floods 3. Backlighting 4. Work lights |
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| B. Footlights | ||
| 1. Portability 2. Circuit colors |
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| C. Borderlights | ||
| 1. Circuit colors 2. Dimming options |
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XVI. January, 1957 - No Article
| XVII. February, 1957 | ||
| A. Preparing a recital | ||
| 1. Planning 2. Ingenuity |
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| B. Set and prop ideas | ||
| XVIII. March, 1957 | ||
| A. Recital lighting effects | ||
1. Nickelodeon |
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| XIX. April, 1957 | ||
| A. Recital production issues | ||
| 1. Production staff | ||
| a. Production manager b. Stage manager |
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| 2. Rehearsal schedule | ||
| a. Studio rehearsals b. Theatre rehearsals |
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| B. Guests at rehearsals | ||
| XX. May, 1957 | |||
| A. Production staff models | |||
| 1. Production manager 2. Publicity and public relations 3. Reservations 4. House manager 5. Designers |
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| a. Costume b. Lighting c. Scenery d. Make-up |
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| 6. Musical director 7. Stage manager |
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| B. Meeting times | |||
| XXI. June, 1957 | ||
| A. Theatre rehearsals | ||
| 1. Stage manager 2. Lighting designer |
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| B. Technical rehearsals | ||
| C. Spacing rehearsals | ||
| D. Dress rehearsals | ||
| E. Scrim lighting techniques | ||
| XXII. July, 1957 | ||
| A. Touring stage requirements | ||
| 1. Stage dimensions 2. Draperies 3. Floor 4. Piano 5. Sound 6. Lighting 7. Dressing rooms 8. Pressing 9. Crew 10. Hotel |
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| B. Time schedules | ||
| XXIII. August, 1957 | |||
| A. Touring issues - floors | |||
| 1. Slippery floors | |||
a. Use of rosin |
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| 2. Splintery floors | |||
| XXIV. September, 1957 | ||
| A. Touring issues - draperies | ||
| 1. Hanging positions 2. Materials 3. Color 4. Sky drops 5. Extension techniques 6. Repair techniques |
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| B. Pianos | ||
| 1. Tuning 2. Positions 3. Lighting |
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| C. Dressing rooms | ||
| 1. Proximity to stage 2. Mirrors |
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| D. Additional stage lighting | ||
| XXV. October, 1957 Conclusion - Words of Wisdom | |
A. Curtain up/overture timing |
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