Theatre Design & Technology - Feb 1971 - 21

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Figure 2
Placement of the open-faced instruments. Kev to type of fixture is at bottom left of illustration.

and internal modifications based on more recent
manufacturing techniques, but these are nothing
like the revolution in film lighting caused by the
open-faced instruments.
The need for a fresh look at instrument design
was voiced by Thomas Lemons in 1965. Similar
feelings have been expressed by many other people, but significant use has not been made of the
basic research material by the theatrical lighting
instrument manufacturers.
The open-faced instruments by Berkey-Colortran
earned an Academy Award for significant technical
contribution to the advancement of motion picture
lighting. Nine years have passed since this firm
introduced the first tungsten-halogen lensless lamp,
but there had been no extensive experimentation
as to their possible use in theatre until the project
described in these pages.

~

mally does, an instrument has not been designed
to meet this specific requirement. If a hard-line
cut-off is needed, the ell ipsoidal reflector spotlight is still used. Therefore, I had to pick a play
that would require a minimum of precise lighting
control as well as a non-proscenium theatre so as
to get around the masking problem.
I chose a new comedy by David Lloyd called

The Bathtub Bandicoot. This Equity production was
produced by Rex Devereaux and the Actor's Theatre Company of Los Angeles, which is headed by
Rudi Solair and Guy Stockwell. It was staged at
the Gallery Theatre in Hollywood and first opened
on May 7, 1970.
However, the producer was not happy with the
lighting, and we arranged to re-light the show with
equipment borrowed from Berkey-Colortran.

The basis of our experiment was to determine,
using the open-faced instruments available on the
market (1) the lighting possibilities in theatre,
(2) the reaction of actors to the instruments, and
(3) a basis for future design criteria.

The scenic design employed one set, which
was altered to represent two apartments, one above
the other, in a New York tenement building. The
biggest probl em was to take down the existing
lighting and replace it with new equipment while
the production was still running.

Because television and motion picture production does not require a hard-line cut-off or as
much control on spill light as theatre lighting nor-

The production had been originally illuminated
with 74 150-watt PAR 36 lamps using hoods,
snoots, and two-leaf barndoors. The lighting was

THEATER DESIGN AND TECHNOLOGY

FEBRUARY,1971

21



Table of Contents for the Digital Edition of Theatre Design & Technology - Feb 1971

Contents
Theatre Design & Technology - Feb 1971 - 1
Theatre Design & Technology - Feb 1971 - 2
Theatre Design & Technology - Feb 1971 - 3
Theatre Design & Technology - Feb 1971 - Contents
Theatre Design & Technology - Feb 1971 - 5
Theatre Design & Technology - Feb 1971 - 6
Theatre Design & Technology - Feb 1971 - 7
Theatre Design & Technology - Feb 1971 - 8
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Theatre Design & Technology - Feb 1971 - 18
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Theatre Design & Technology - Feb 1971 - 21
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Theatre Design & Technology - Feb 1971 - 26
Theatre Design & Technology - Feb 1971 - 27
Theatre Design & Technology - Feb 1971 - 28
Theatre Design & Technology - Feb 1971 - 29
Theatre Design & Technology - Feb 1971 - 30
Theatre Design & Technology - Feb 1971 - 31
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Theatre Design & Technology - Feb 1971 - 36
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