Theatre Design & Technology - Oct 1974 - 22

Adolphe Appia, Das Rheingold, Walhallandschaft, "Petit Format" 1897

reverses the natural shadow pattern. But more importantly, the lantern is conceived so as to throw light in long
diagonal lines. These lines, combined with the addition of
natural shafts of light from the invisible light source at the
top of the etching and the bodily attitudes of Mary and
Joseph, creates a composition of diagonal lines whose
intersection reinforces the direction of the movement.
Considered individually, the visible light source lights their
way, leads or pulls them on; the invisible light source
almost seems to push them to their destination. The
combination of the linear qualities of the two light
sources creates the sense of haste and isolation.
For Rembrandt, how we perceive the flight of Mary
and Joseph is most important. The reality of the moment
springs from the precise control of composition and
orchestration - from the mood of the pa int ing. Light, for
Rembrandt, creates mood through composition and
orchestration.
The sketches by Adolphe Appia for Tristan and Isolde
and The Ring of the Nibelung offer a theatrical example
of many of the above principles. These sketches are less
presentation renderings, more evocative indications of the
movement and progression of the setting and actor
through the time of the production. They are ind ications
of this movement in time and space as revealed in light.
Each key scene is notated in an attempt to capture the
story and mood in visually orchestrated terms. Many
times the sequence of sketches is determined by an actual
movement in light. At other times the sequence presents
an indication of shifting pictorial or spatial composition.
But always, the moment is rendered as revealed in light.

means of visually describing his intent. The sketches are
his means of presenting, in visually composed form, the
movement of setting, light, and actor through the drama.
Their concern is not with detail, as will be obvious upon
examination, but with evocation, through the use of
position and quality, of a mood that is appropriate to the
scene. They are "compositions in light", progressing in
time and space, which reveal the story of the production.
In his own words, the sketches "belong to a complete and
conscientiou sly executed scenario".
The preceeding analysis demonstrates that the
realization of light as expression in art is an element which
obeys the same visual laws which govern the composition
of other pictorial, spatial, and dramatic elements. In the
theatre the realization of light as expression also obeys
these visual laws with the added challenge of light as
revelation of movement in time and space.
Light in the theatre obeys no formulas, no rules, no
classifications except those which are physical and
mechanical and are thus immutable; or those imposed by
the designer, which are even more inflexible. Light is
expression. It becomes so when we begin to see.
The function of light in the theatre is the creation of
orchestrated compositions of mood, progressing in time
and space, which reveal the story of the production. Light
in the theatre can do no more. The designer should be
prepared to do no less.

IT PAYS TO ADVERTISE IN
THEATRE DESIGN AND TECHNOLOGY

For Appia, the expressive potential of light on the stage
was so powerfu I that the sketches had to be included as a

THEATRE DESIGN AND TECHNOLOGY

OCTOBER. 1974

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