Theatre Design & Technology - Summer 1979 - 23

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Ellip.oidol Reflecto, Spotlight. ("Lekos·)

Fresnel Lens Spotlights

I

inches or the lamp diameter in eighths of inches. The second
numeral, if any, indicates the focal length of each of the lensesNOT the focal length of the lens system.
2. Follow spots are not specified as to wattage or beam as this
depends on the house.
3. PAR lamps are generally PAR-64 MFL (8" diameter, medium
flood).
F.O.H.-Front of house
Booms-Side stands or tormentor pipes with bases
Cye-Cyclorama
Gobo- Template with pattern design
Transl.- Translucent (drop)
U.S.-Upstage
S.R.-Stage Right
D.S.-Downstage
S.L.-Stage Left
A.C.-Alternating Current
D.C.-Direct Current
Piano Board-A series of resistance dimmers mounted in a wooden
travelling case resembling an upright piano box.
Bounce Drop-A white translucent drop hung behind seamless muslin eliminates the necessity of an opaque ground row to mask floor
striplights.

Fresnels")

Beam Projectors

Ellip.o,dol Reflecto, Floodligh. ("scoop.-)

Follow Spa

PAR Lamp Head

Or

PAR Striplight in End View

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1. The first numeral indicates the diameter of lens or reflector in

R- 40 Striplight in Plan and End Views

Chart II

company and repertoire to contain personnel, costumes, sets
and lighting equipment in a bus or even a station wagon?
The foregoing are some of the questions that must be
answered by each individual company, based on its own
fi nancial and booking problems. From the answers, the
amount of lighting equipment the dance company can afford
to satisfy the particular artistic needs and illumination requirements of its repertory can be determined.

Analysis of Chart I for minimal equipment for dance tour
lighting suggested by various lighting designers will, first of
all, demonstrate something we all realize is true: There is no
one way to light for any situation and certainly no way to
anticipate all contingencies. The list of equipment suggested
by each designer is valid and practical, so it is up to the
individual company to select what equipment best satisfies its
own needs.

Suggestions from Lighting Designers
Several of the Lighting Designers reached in this survey
included some very informative suggestions which should
prove of great value to the interested dance groups in analyzing what equipment they may wish to acquire to illuminate
their dances.
Rather than break down these suggestions by category or
location, included are three of these analyses by the designers in their own words. Since they are quite different and each
provides valid solutions to lighting dance, the variety of
choice will give each company a chance to select the combinations which best satisfy their own particular needs for their
own special repertoire.

Notes from Jennifer Tipton
I find that a minimum setup is three lights per side, preferably 6" x 9" ellipsoidal spotlights, since one is able to keep
them from lighting the audience and off the backdrop or to
defi ne a space with them (Fig. 1). Notice that by having the
downstage and upstage units downstage and upstage as far
as possible, there is no dark triangle. Needless to say, there
will be shadows, but with colored borderlights some atmosphere change as well as relatively good visibility can be
achieved. The instruments should be mounted just over head
height so that they reach both the near and the far stage (Fig.
2).
As the company and the bUdget grow, there should be a
plan for increasing the equipment.
For good visibility in dance, light from front, back, and side
is necessary. The full stage should be lighted from each
position. Fig. 3 indicates the minimum equipment needed for
each color in each position.
USITT Summer, 1979

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Figure 1
Side light makes the body visible. The side lights should be
placed according to the same rule: downstage and upstage
as far as possible, and the center units in the center of each
entrance/exit. T he height should be as previously, just over

Figure 2
70

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Theatre Design & Technology

21
Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1979
