Lighting master profession. Lighting designer: behind the scenes profession

Stage lighting designer is intended to emphasize the general idea of ​​the performance through the light and color scheme, therefore he works in close collaboration with the stage director and develops the style of the lighting design of the performance.

In the theater, scenery and lighting play a special role. Stage light gives the performance special expressiveness, creates the necessary emotional mood, and even, as David Lynch argued, “Light can significantly change the perception of the performance, and sometimes the characters’ characters.” Light effects can also change the scenery beyond recognition: “Dark clouds turn into heavenly flowers if they are kissed by light,” said Rabindranath Tagore.

Modern lighting and stage equipment provides unlimited possibilities for this. And in some productions, light is the main component of the scenery. A stage lighting technologist is a full member of the creative production team in the theater.

Modern lighting equipment in the theater is varied and complex. Stage lighting is provided by lighting fixtures installed in a variety of places:

• overhead light - spotlights suspended in rows above the stage (1st plan, 2nd plan);
• side light - lighting fixtures installed on side galleries and portal scenes;
• external lighting - spotlights on special balconies, ramp (at the front edge of the stage);
• horizontal light - equipment for illuminating the horizon;
• special light - lamps in the form of lanterns, candles, torches, built into the scenery.

In addition, additional lighting equipment is used for special effects: a light curtain, backlight, strobe for a flickering effect, etc.

In ancient theatres, stage lighting was manually controlled by a team of lighting crews positioned at different ends of the theatre. In a modern theater, lighting equipment is controlled centrally using computer programs from one special room. To operate all this complex equipment, you need to receive appropriate education.

During the preparation of a new performance, a lighting score is compiled, which reflects:

• list and number of lighting devices used in the performance;
• numbers of light programs;
• lighting and dimming mode;
• signals for light changes (cues, movements or phrases);
• filter colors, light intensity, direction of lighting rays and other parameters.

Lighting scores are refined during lighting rehearsals, during which positions and lighting modes are practiced, as well as the actions of the lighting shop workers. The lighting score must be carried out strictly and without changes.

Features of the profession

The professional activity of a stage lighting artist-technologist can be implemented in three aspects:

Artistic and creative activities- during which the specialist:

• is engaged in the development and design of lighting support for the performance according to the design of the production designer;
• develops lighting effects;
• creates the necessary documentation of the performance’s lighting score (if necessary, involving specialists);
• leads the stage lighting design process;
• participates in lighting rehearsals, during which artistic lighting is fixed on the scores;
• exercises constant control over the accurate implementation of lighting of performances in the current repertoire;
• In the course of her work, she uses the latest scientific achievements in the field of theatrical technology and technology, as well as new materials.

Organizational and managerial- during which the artist-technologist can manage the departments of the theater that are engaged in the lighting design of performances or produce lighting equipment for the theater. In addition, he controls the correct execution by employees of the lighting score and the rules of safety and labor protection when working with such equipment (fire safety and sanitation rules). Conducting mounting lighting rehearsals and, during them, the necessary adjustments of lighting equipment are also the responsibilities of the lighting technologist.

Pedagogical activity consists of teaching disciplines on the lighting design of a performance in educational institutions of theatrical art (technology of lighting design of a performance, design of stage lighting for theatrical and entertainment enterprises, prototyping, basics of lighting engineering and lighting equipment for the theater, theatrical technical graphics, technical calculation of structures).

Pros and cons of the profession

pros

1. A creative, interesting profession in which you can develop technically in accordance with innovations in this area.
2. The profession is in demand not only in the theater, but also at concerts, cinema and the circus.

Minuses

1. Irregular working hours
2. Nocturnal lifestyle
3. Possible disagreements with the stage director, who may adhere to the point of view of K.S. Stanislavsky and underestimate the role of the lighting design of the performance: “Never forget that the theater lives not by the brilliance of lights, the luxury of scenery and costumes, spectacular mise-en-scenes, but by the ideas of the playwright. The flaw in the idea of ​​the play cannot be covered by anything. No amount of theatrical tinsel will help.”

Place of work

Stage lighting artists can work in theaters, film and television studios, concert halls, venues, stadiums, and the circus.

Important qualities

• rich artistic imagination;
• ability to draw and work with hands;
• good color perception;
• emotionality;
• attention to detail;
• constant desire for professional growth.

Where to study to become a stage lighting artist-technologist. Education

• Faculty of Scenography and Production Design Technologies. The school has a “Lighting Artist” workshop, which has the technical capabilities to study a wide variety of modern methods of stage lighting. Here they teach how to develop the concept of lighting design for the stage and hall. During the internship, students become familiar with the design of lighting equipment in Moscow theaters.
• Higher School of Performing Arts (“Theater School of Konstantin Raikin”). In 2014, the faculty of “Artistic Design Technologies for Performances” was opened with a specialization in “Lighting Engineering” and “Sound Engineering”.
• Belgorod State Institute of Culture and Arts
• Faculty of “Technologies of Artistic Design of Performances”.
• St. Petersburg State Academy of Theater Arts
• Faculty of “Performance Decoration Technologies”
• Kazan Theater School specialty "Lighting Direction"
• Courses at Theater and Art College No. 60. Seminar “Lighting Designer”

Salary

The remuneration of specialists in this profile in Russian theaters is low: from 20 thousand rubles. But experienced specialists are often invited to work part-time in enterprises, concert organizations, and nightclubs, where they can earn decent money - from 25 thousand rubles for 2 nights of work.

Salary as of 10/28/2019

Russia 30000—630060 ₽

Career steps and prospects

Graduates of educational institutions can begin their career in the theater as a simple lighting operator, stage operator, or graphic designer. For a novice lighting technologist, this is a necessary stage at which invaluable practical experience is acquired. Gradually, from an ordinary specialist, an artist-technologist can rise from rank to rank and become the head of a theater department responsible for the lighting design of performances. You can also work in concert organizations, night clubs, circuses, and cover city events and church holidays.

The history of stage lighting

Stage lighting was created in the 17th century, when theatrical productions began to be shown indoors. At that time, candles were used for lighting. That is, theatrical lighting developed along with the advent of new light sources. In the 19th century, oil lamps began to be used as stage lighting, and later gas burners. With the advent of electricity, theatrical lighting also modernized and became more mobile, bright and expressive. In the light scores of that time developed by K.S. Stanislavsky, it became possible to convey the state of nature and weather: morning, day, twilight, night, sunny or cloudy weather.

But the artistic lighting design of the performance developed not only in parallel with the development of lighting technology. Many directors used light to visually express the sound of music (Appiah), or to emphasize the volume of a human figure or architectural forms, or to express the tragedy of the hero’s soul (Craig).

The great Meyerhold used light projections to depict slogans, advertising, and episode titles. That is, the light became an exponent of the director’s propaganda, critical or satirical positions. Czech set designer J. Svoboda, using modern technologies (lasers and computers), turned light into the main character of the theater. The lighting design created the atmosphere, the air, the walls, the corridors, the curtain. These principles of stage lighting began to be used throughout the world. J. Svoboda came up with the idea of ​​using video in the theater.

Other directors, such as L. Mondzika and R. Wilson, consider the power of light to be stronger and more expressive than the skill of actors. L. Mondzik created his chamber performances as a confrontation between darkness and light. R. Wilson argued that “light has its own role, like an actor.” Directors of this kind contributed to the emergence of the profession of stage lighting artist. In Russia, this tradition is continued and improved by D. Ismagilov in Moscow and G. Filshtinsky in St. Petersburg.

Modern lighting equipment

Controlled (digital, intelligent) lighting devices are divided into 2 types: key and flood.

They are scanners and heads with movable bodies. At the scanner, the projection of the light beam is controlled by a moving mirror, and at the head there is a body moving in all directions. Both devices can change the color and pattern of the beam. Lighting equipment is controlled using the DMX digital protocol.

Analog lighting equipment consists of light guns emitting a tracking beam and flood light devices.

In today's theater there are many lighting fixtures that create magnificent effects:

• moon flower (other names: tunnel, broom or flower) - a lighting device emitting a beam of colored or white rays diverging at different angles
• A strobe is a device that reproduces light flickering in a certain rhythm;
• a spotlight gun emitting a bright direct beam for tracking illumination of a single object or person
• laser beams
• light floor
• ultraviolet lamps
• smoke, fog, snow generators
• flame simulator or generator and much more.

Light Artist Day is celebrated on July 11th. People of this profession are irreplaceable in the theater - in many ways it depends on them how the audience will perceive the performance. Artistic director of the Royal Theater for Young Spectators Yaroslav Ermakov told RIAMO in Korolev about the intricacies of a lighting artist’s work, experiments with chiaroscuro and the use of light projections on stage.

- Yaroslav Igorevich, tell us about your experience as a lighting designer.

I used to work in electronics, my first education was technical. He worked in television for a long time - first as a simple assistant, then as a second director. Conducted a huge number of live broadcasts. This was due to the fact that I am well versed in technology, I quickly grasp everything and can navigate on the spot. I was constantly learning something new. This helped me a lot.

Initially, when the Royal Youth Theater was first created, it was a studio theater, and everyone contributed what they could to the common cause. There were professional lighting workers here, I just looked at their work, memorized it, and learned. I was interested in this, and I gradually came to the conclusion that I myself began to work with light.

I believe that a lighting designer is a collaborator with the director. He must have a very good idea of ​​the concept of the performance, understand it and, with the help of technical means, achieve its implementation on stage. I can note that quite a lot of directors came from lighting designers. We can say that this is a mixture of professions. It's good if you draw, it's good if you have spatial imagination. And most importantly, you need to love the theater and the show you create.

- How do you work on staging the light for a performance?

If I know the play, roughly understand the director’s idea and what he wants to get out of it, then I get involved in the work right away. I watch the rehearsals and imagine the style of the future performance. As a rule, the feeling comes immediately. And the first feeling is always the most correct! Then I select the equipment available in the theater.

Everything is done depending on the depth of the concept and the funds allocated for production. Also, everything depends on the desire of the director. You can use an insane amount of equipment, or you can make a good performance with one single light bulb - play everything around it. So the organization of light very much depends on the agreement with the director, on his ideas and plans.

For example, before, when the firefighters gave permission, we played Hamlet by candlelight. We carried out various experiments with shadows.

- Does equipment often break down? What do you do in this case?

Equipment breaks down depending on the complexity of the system. We can have one device “fly out” every three or four performances. In general, we can say that approximately 2% of all equipment is constantly not working. In large theaters there are duplicating systems that even duplicate the lighting control panel. We don't have that.

When a breakdown occurs during a performance, the main thing is not to panic. And this depends on the corresponding qualities of the person. To cope with force majeure, you need to know your system very well and correct everything reflexively. Hands must be faster than thoughts. The performance never stops.

© provided by Yaroslav Ermakov

- Tell us a couple of interesting stories from practice.

We have a lot of interesting stories! One of them happened when I was working in television. We had filling devices, the lamps in which sometimes exploded. And one day during the news, when the presenter was on air, one of the backlight lamps exploded. It was a bright flash, and sparks fell from above behind the presenter! Everyone fell into a kind of stupor. But I think the audience thought that this was how it should be, since it looked quite beautiful. Although it was very dangerous.

There are also plenty of stories in the theater. Local lighting is often used on stage - different places between which the actor moves are illuminated. It happens that the artist does not fall into the beam of light. For example, he doesn’t reach the required half-step mark, stops in the dark and plays further. At the same time, there is no light on his face at all! And you mentally shout: “Step a little more, there’s a spot of light on the stage!” But there is no way to quickly move the device, since everything is programmed and is associated with significant difficulties. All that remains is to grab your head and hope that the actor will not make a mistake at the next point.

-Have you ever made lights for city holidays?

At city festivals, invited professionals work with their own equipment, designed for use on the street and, as a rule, already assembled for a specific show. Such equipment is much more powerful than ours. Sometimes, of course, we do our own stage lighting for evening events. However, this happens quite rarely.

© provided by Yaroslav Ermakov

- What do lighting directors do in the off-season?

We are engaged in equipment maintenance. Everything is washed, cleaned, repaired. The stage is a very dusty place. In fact, every device is like a vacuum cleaner!

In addition, lighting designers usually work seven days a week and seven days a week. So they have a very long vacation, and they can only use it in the off-season.

Finally, many earn extra money - for example, in Moscow. The work there practically never stops; one or another site is always working. Lighting designers go to festivals, work on professional development, and attend seminars.

- What awaits the Royal Youth Theater in the new season?

In the new season we will have a new lighting designer, we are currently training him. So, I think he will bring something new, his own, to the theater.

We also plan to use more light projections. It will be possible to try to make several projections simultaneously on different planes. Projection and animation are now much cheaper than making actual sets. However, in my opinion, nothing can replace real theatrical scenery.

© provided by the Royal Youth Theater

- What would you like to wish to aspiring lighting designers?

I can tell beginners: don’t expect someone to come and teach you everything! No institute, no courses will give anything if there is no desire to understand every detail of the chosen specialty. We need to watch more performances, festivals, concerts - both domestic and foreign. Read special magazines, communicate with professionals on forums.

If you are lucky enough to work with an experienced colleague, then you need to follow him, watch, remember, ask. Try to “get into” the profession, “get into” the plan. Listen to how he talks with the director, how he works on staging the lighting. You have to be passionate about what you do, only then will something work out. At one time I learned everything, I was lucky enough to work together with a real professional who had extensive theatrical experience. And when the mentor understands that you are really interested in this business, he begins to communicate with you as an equal.

Today, a lighting artist is one of the rarest, most interesting and sought-after professions. I encourage young people not to chase profit, but to take initiative, create and be creative!

The lighting profession appeared in the Shakespearean era. Special servants ensured that the candles did not smoke or go out during the performance. Systems for lighting theaters began to be developed in Italy during the Renaissance. Today, in order to become a lighting designer, you must not only be familiar with electrical engineering, but also have good organizational skills, artistic taste and a proven sense of light, and you also need to know physics, optics, directing and set design. As you can see, there are many requirements, and therefore a lighting designer in our country is a rare specialist.
Konstantin Gerasimov, a lighting designer and general director of the TDS company, specializing in comprehensive technical support for events, shares the features of this profession.

In our business, as in painting, you can’t just pick up a brush and immediately start creating masterpieces. This profession requires learning throughout your life. It's not enough to just master the basics. The show industry is developing rapidly, new technologies appear every day. You need to clearly understand which of them are currently trending, and look for something that the world audience has not yet seen. And here the symbiosis of technology comes to the rescue, because any show consists of a combination of elements - scenery, video sequences, special effects. Having worked for many years in the show industry, I realized that the secret of a successful show lies in an integrated approach to creating a project. The joint work of the lighting designer with other technical specialists allows us to create that very exclusive thing and takes the show to a fundamentally new level of quality.
This idea formed the basis of the TDS company, which united professionals in the field of technical support for events. Our team leads the project at all stages of its life - develops stage and scenery design, creates light and video installations and performs a full range of technical administration and project support.

We are confident that the quality of any project depends on the thoroughness of its preparation, so we use 3D visualization and pre-programming methods to design and stage the show. This allows you to see the full picture of the project and work out its technical component in detail before installation begins.

Click on the photo to view the next slide.

Interviewed by Maria Medvedeva

Business card

Anna Makhortova, 20 years. Assistant lighting designer at the Moscow musical theater "Monoton". Student at MGTT named after. L. Filatova.

We come across their work all the time: in the theater, at a concert, at a children's party somewhere in an ordinary cultural center. We encounter it, but don’t think about it, the result of this work is so natural and familiar. However, the absence of these people in the workplace is a nightmare for any director or actor. These people are lighting artists, “light specialists”. I was able to communicate with one of them, a very cheerful and enthusiastic student Anya.

What does a lighting designer do? What are his responsibilities?

The main and main task of a lighting designer is to provide the lighting component of a play, musical, or concert. The lighting designer comes up with what kind of lighting and at what moment will be on the stage, if the director does not do this. In general, directors often don’t understand anything about this, and then the lighting designer can completely design the lighting for the performance. If the director is an interested and versatile person, as he should be, then he and the lighting designer can discuss this, the director can write out the score, and then the lighting designer will be, rather, a performer. The entire performance is recorded as a sequence of turning on the “lights” on the control panel, and during the action there is no need to invent or experiment with anything - everything has been verified in advance. All that remains is to turn on a certain button in time. But the process of working out all this is quite long and labor-intensive, because you need to take a lot into account: color compatibility, lighting intensity, and so on.

Anya, how did it happen that you got involved in such a thing? Does this have anything to do with your future profession?

I study at the Filatov Theater College, and the college has its own theater. I am studying to become a manager of social and cultural activities. When I was a first-year student, our theater's lighting designer was looking for a part-time assistant among the students. He offered it to our guys, but for some reason everyone refused. And then I started asking him, saying that gender is not important in this occupation, and that I would be very interested in working in this area. I entered college at the age of 16, so the personnel department could not register me. So I asked for this job for another two years. When the age reached the required level, I was immediately accepted. I have already worked for three years.

I am not a lighting designer yet, but only his assistant. Although an increase is possible in the future. At the moment I am not inventing anything myself, my boss is doing this. He sets specific positions in the remote control program, and during the performance I monitor the proper execution of this program, switching buttons that are pre-programmed. Of course, I am taught all sorts of tricks and features of working with light, so that in the future I will be able to work as a lighting designer.

So this work was interesting to you in itself?

Yes. My older sister works as a film director. I often visited the set, and at that time I also wanted to work in cinema. I thought that for normal, high-quality work, it is important to try to learn as many areas as possible in organizing the process from the inside, so that you can then competently manage and set the right tasks for your subordinates.

Along the way, I sincerely became interested in the process itself, began to be interested in the nuances and what I did not need directly in my work, but for myself. Initially this was not the case.

Tell me, has your immersion in this profession changed anything in your worldview?

If we talk about worldview, then all these are not such subtle things. However, I began to better understand color combinations. When entering a room, I pay attention to the light. And if you think about it, yes, a certain professional deformation has occurred. Now, when I come to a play or concert, I pay attention first of all to the light. Then I ask my boss questions about what was done and how, why exactly. I can no longer calmly look at what is happening on stage. How my sister and I can’t go to the movies normally (laughs). In general, when you come to work in the cultural and entertainment sector, you begin to pay attention to all this, try it on yourself and on your future projects. So, when I come to a concert, I concentrate not on my feelings and impressions, but on analyzing what is happening. This is a different level, and it is much more interesting, in my opinion.

To be honest, my range of interests has changed somewhat. New devices, techniques. This is all so unusual, I want to study and understand it. I recently attended a concert of a foreign artist who came with his own equipment - I only looked at this equipment, at how color and light combined with the music, working in the same rhythm. I wanted to be able to work with all this, to touch and feel everything. So that you can then create something yourself so that the viewer can say: “Wow!”

What qualities should a person have who wants to work as a lighting designer?

Probably, all the subtleties will be learned during the work process. But there must be a certain sense of color and light, that's for sure. It is clear that a colorblind person cannot become a lighting designer. You must have a well-developed intuition to understand whether there is enough light on the main character, whether it is worth putting red and orange, or whether you need to add a little cold lighting.

In terms of training: of course, there are courses. I know that VGIK has courses. But, for example, I didn’t complete any courses, I started with little things, like an apprentice before. My boss taught me a lot and continues to teach me. I gain experience from hand to hand. Yes, there are mistakes and blunders, but I immediately have practice. In general, a lighting designer is an ordinary profession. Few people are eager to get into something like this. It’s much more interesting to be in the public eye: as a director, as an actor.

How serious are blunders?

Lighting is an integral part of the performance. Anyone. In the dark, the viewer will not see anything. But modern equipment allows much more. Light sets the mood. With the help of light you can depict rain, fire, violent emotions of characters or sadness. I had a case. Since I don’t set up anything myself, during intermission I went to the buffet to have a snack. I return to my place at the beginning of the act, the curtain opens - and there is the so-called main lighting, as at a rehearsal. The actors all stand, they don’t start the action, they wait for the right lighting. But he is not there. And the audience is waiting for the actors to do something. I rushed around, pressed the buttons - nothing changed. Somehow, by the middle of the act, the lighting started working, and I had to restart the remote control. Then until the end of the performance my hands were shaking. Fortunately, it was possible to blame everything on the technology, which, as you know, tends to glitch. This is not an egregious case, but I have encountered situations where poor lighting greatly spoiled what was happening on stage and prevented the viewer from being completely immersed in the world of the performance.

A lighting designer is truly an artist. It adds an extra dimension to the performance. It's like a magic trick in a movie - foreground, background. Emotions, mood, weather. Release smoke or soap bubbles at the right time.

What, is the lighting designer also responsible for this?

Of course, the director comes up with this idea, the lighting designer can come up with an idea, but all the equipment is connected to one remote control. So yes, if necessary, I make smoke or bubbles or do other special effects.

Is the profession promising? Is there a lot of competition?

There are quite a lot of light workers now, but nevertheless, the prospects of this profession cannot be denied. Every small theatre, every group, even a little-known one, wants to have its own lighting designer. So you won't be left without work. The entertainment industry is growing and so is the need for lighting designers. It’s clear that it’s difficult to get into some cool places, there’s a completely different level, although there’s no exorbitant competition there either. But even an average-level lighting worker receives a very good salary, without risking losing his job, unless he constantly screws up.

Do you plan to continue this work after graduating from college?

Hard to tell. Plans are constantly changing. If at the beginning of my studies I planned to become a producer, now I want to be a cameraman. In this profession, understanding light is very important, so my current experience will definitely come in handy. I don’t know how much longer I will work in our theater, because everything in my life is changing very quickly. But for now I’m definitely not going to leave: this is experience, this is experience, this is practical knowledge. And it's just interesting.

I don't like the name of what I do. “Lighting designer” sounds too pretentious. Such a pretentious name distorts the perception of the profession not only among the “artist” himself, but also among his employers. It’s so beautiful and pleasant when they call you an artist just because you turned on magenta during the buffet table.

The status of an artist deceptively increases the awareness of one's professional importance.

I understand that the name was formed historically, but the modern show industry has distanced the definition of an artist from understanding the essence of his work.

Design describes this activity much more accurately. I don’t know how best to adapt the English name of the lighting designer profession. Lighting designer sounds clumsy. Lighting designer? Let him just be a designer for now.

The debate about the difference between art and design is not over yet, but I can clearly see the difference when you put it into light.

Artist

In my opinion, the artist acts independently. He creates an independent work to share his feelings. The author can throw out emotions and show a reflection of the inner world through a work of art. He makes art to share his experiences with the world or to be inspired by them.

The artist is not limited by any laws and is free to choose any means to achieve creative goals. At the same time, he is not obliged to explain his creativity and the techniques used to anyone. A work may not be understood by anyone or may have many interpretations.

Lighting designers in this case are those who create unique works of light without actors, scenery, or music. Works that exist independently and are interpreted by the public at their discretion.

He lets out a puff-puff haze, flashes multi-colored diodes and shakes his heads to the music - a lighting artist, uh-huh.

Designer

Design is the solution to specific problems. Unlike art, design cannot exist on its own. This is a support activity. The design must be understandable, and the designer must be able to explain and justify the techniques used. The designer must answer the questions why and why. “I’m an artist, that’s how I see it” won’t fly.

I am a designer because I solve problems with the help of light and show technologies. My task is to enhance the emotions of music, visualize arrangements and lyrics. Well, at least make sure the band is visible on stage.

A light show created for a concert cannot live without a stage, band and music.

Can there be a good concert or performance without good light? Of course yes, but not vice versa. Good light will never save a dull artist. This is even worse than an unsolved problem. Such a show pulls the blanket over itself and distracts from the main thing - the music.

The theater designer primarily solves the problem of lighting the actors and scenery. He translates the creative tasks of the director and production designer into the language of the lighting score.

The task of a lighting designer at a corporate event is to fulfill the wishes of the event director. Let people eat comfortably and dance happily.

On TV, the designer listens to the tasks of the director of photography and director. One of his tasks is to make people look better than in life :). “Drawing” so that there is, filling, background. It's important there. An example that L. Pozdnyansky told me: the director of photography moved the spot covering Gradsky on the “Voice” show closer to him. So, the angle became sharper, and the shadow of the chin began to hide the imperfections of the mentor’s neck.

I really like this quote from Colin Wright about the difference between art and design:

“Art is like masturbation. It is selfish and introverted and done for you and you alone. Design is like sex. There is someone else involved, their needs are just as important as your own, and if everything goes right, both parties are happy in the end.”

Such a different lighting artist

The lack of separate specialties and the arrogance of specialists working with light have devalued all lighting artists.

Well, we also have this:

The title of the profession of lighting artist is devalued and does not reflect the essence of my work. I am a designer.

About colleagues as dead people: good or nothing. Criticism cannot offend you because it makes you better.

The artist does not see, trust or does not understand. The viewer doesn't understand. What then gives me the energy to do this? First of all, myself. Secondly, you, dear colleagues.