How does a lighting designer start their work?

The lighting designer starts by understanding the performance, not by choosing lamps. First, they must know what is happening on stage, what the rhythm of the performance is, where the viewer's attention should be directed, and what visual language arises from the directorial concept.

At the beginning, the script or text, set design, scene plan, actor movement, and any musical and video materials are analyzed.

The technical conditions of the theater are also important:

• available lighting positions,
• heights,
• battens and bridges,
• rigging possibilities,
• available fixtures,
• number of circuits and control options,
• time allocated for setup and focus,
• technical capabilities of the console.

Only after gathering this information can one begin to define specific light directions and the number of devices needed.

That is why the theatrical process differs from a regular order for "stage lighting." In theater, the lighting usually has a specific function in terms of drama and space. 

How to analyze text, movement, and dramaturgy?

Text analysis involves finding moments when place, time, emotion, focus point, or the relationship between characters changes. These changes can later become the basis for creating cues.

However, not every scene change requires a clear change in lighting.

Sometimes the best solution is a very subtle adjustment of level or color. At another moment, the dramaturgy may require a radical cut from the previous image and the construction of a completely new space.

The lighting designer analyzes, among other things:

• where the actors are,
• how they move,
• who is the most important at that moment,
• whether the scene should be realistic or abstract,
• what the changes in time and place are,
• where the climaxes appear,
• in which moments focus is needed.

Movement is particularly important.

The light prepared for the actor standing by the table may stop working if the director changes the blocking during rehearsals and moves the character a few meters away.

Therefore, the project is created in dialogue with the evolving staging. 

Collaboration with the director and set designer

The lighting designer should collaborate with the director and set designer from as early a stage as possible, as the light depends on both the concept of the performance and the physical space.

The director defines the dramaturgy, the way of guiding attention, and the character of the scenes. The set designer builds the space through which the light will move.

If the set design has high walls, it may limit some side directions. If the floor is shiny, it will strongly reflect light. A translucent fabric may look completely different when lit from the front and from the back.

Therefore, set design decisions have a direct impact on the project.

The lighting designer should know, among other things:

• the colors of materials,
• textures,
• moving elements,
• reflective surfaces,
• translucencies,
• the location of doors and openings,
• projections and screens,
• changes in the set design during the performance.

Well-designed light can make the same physical set look like a completely different place in subsequent scenes.

How to divide the stage into areas?

Dividing the stage into areas allows for independent control of visibility and the character of individual parts of the space. Instead of illuminating the entire stage with one broad field, several overlapping zones can be created.

The number and size of areas depend on the set design, movement, and method of staging.

For example, the stage can be divided into:

• left front,
• center front,
• right front,
• left back,
• center back,
• right back.

However, this is not a universal grid.

If the performance primarily takes place around three specific elements of the set design, it may be more logical to create zones that correspond to those locations.

The division allows for directing the audience's attention.

If the conversation takes place on the left side of the stage, the remaining space can be left at a lower level. When the action shifts to the center, the light can smoothly guide the audience's gaze to the new location.

In theater darkness is as important a tool as light. Not everything needs to be visible all the time.

Light positions in theater

The direction of light has a huge impact on the face, silhouette, the texture of the set design, and the depth of the space. Therefore, the design usually utilizes several different positions simultaneously.

Front

Front light primarily provides visibility of the face.

In theater, it can come from bridges, balconies, FOH positions, or other points located in front of the stage.

However, it should not automatically dominate the entire picture.

A too strong and flat front can flatten the figure and scenery. Therefore, it is often combined with side and back directions.

Side

Side light very clearly models the silhouette.

It is particularly effective in movement theater, dance, and everywhere where the shape of the body is important.

It can come from high side positions or from lower fixtures like shin, mid, or head height, depending on the concept.

A side source creates a more plastic image than even front light and allows for a stronger separation of the actor from the environment.

Top

Top light falls on the stage from above and can create very controlled fields.

It works well for building isolated zones, tables, circles, or specific elements of the scenery.

However, at a sharp angle, it can strongly shadow the face, so one must consciously decide whether such an effect is intended.

Toplight can also be used to create atmosphere and texture in the space.

Back

Backlight comes from behind and helps separate the actor's silhouette from the background.

It can create a subtle contour or a very strong silhouette effect.

In combination with haze, it also allows for building visible connections and additional depth to the scene.

Backlight is particularly important in dark scenes, where the front is limited, but the figure should still be readable through the contour alone.

Specials

A special is a fixture or group of fixtures designed for a specific task.

It can illuminate:

• a chair,
• a door,
• a picture,
• a lectern,
• specific fragment of the scenery,
• a single character,
• an element appearing only in one scene.

Special does not have to operate throughout the entire performance. Sometimes one setup is installed solely for a few seconds if the moment has sufficient dramatic significance.

This is a good example showing that in theater, function is more important than the number of hours the device operates.

How does light shape the face and silhouette?

Light shapes the face primarily through direction, proportion between different sources, and contrast. The same actor can look natural, menacing, flat, or almost abstract just by changing the angle.

Front lighting from a slight angle improves the readability of the face, but may limit plasticity.

Side light emphasizes the structure of the face and silhouette. Top light can create deep shadows around the eyes. Bottom light gives an unnatural effect and is often associated with tension or distortion.

There is no single "correct" lighting for an actor.

In a realistic performance, the goal may be naturalness. In an expressive performance, the very same shadows that would be avoided during a conference can be a key artistic means.

Therefore, a theatrical design is not just about ensuring good visibility. Light is a tool for interpreting characters.

How to choose color and color temperature?

Color should arise from the drama, scenery, and concept of the performance. It should not be treated as decoration added after the project is completed.

In theater, even subtle differences in hue can change the perception of skin, costumes, and scenic materials.

Warm light can suggest a natural source, intimacy or a specific time of day. Cooler light can create distance, night, or a more abstract character.

These are just examples, not rules.

The lighting designer must also consider mixing directions. An actor can have a cool backlight, a more neutral front, and a warmer side. This makes the image much more complex than lighting the entire scene with one color.

For LED sources, the quality of color rendering is also important. A costume in a specific shade may look different under various sources, even if both appear similarly white to the eye.

How to choose fixtures for specific functions?

The fixture is chosen based on the task it needs to perform, as well as the distance and position from which it will operate.

Profiles work well where precise control of the field, sharp or adjustable edges, and the ability to limit light with shutters are needed.

Fresnels and other fixtures that create a softer field are well suited for broader coverage and modeling.

A moving head can be useful when one position needs to serve several different points or when movement and changing parameters are part of the concept.

LED bars and other linear fixtures can work with the set, cyclorama, or as low side light.

However, there is no obligation to use every type of device.

More about the characteristics of individual categories is described in the material about which lighting devices are most commonly used on the stage. In theater, the most important thing is to assign a specific function to a specific source.

What is a light plot?

Light plot, or lighting plan, is a technical drawing showing the arrangement of fixtures and basic information needed to build the system.

The plan marks the positions of devices in relation to the stage and structure.

Depending on how the documentation is prepared, it may include among other things:

• type of fixture,
• number of device,
• channel,
• address or dimmer,
• color,
• gobo,
• mounting position,
• general direction or function.

ETC describes the lighting plan/light plot as a scaled drawing showing the arrangement of fixtures in the rig and information such as channels, addresses or dimmers, color, and purpose or focus direction.

The light plot should be clear not only for the designer, but primarily for the people who will later physically build the system.

It is an execution document, not just a visualization of the concept.

How to prepare technical documentation?

Documentation allows translating the concept of the lighting designer into specific actions of the technical team. The light plot alone is usually not enough.

ETC indicates typical theatrical documents including patch sheet, instrument schedule, and lighting plan/light plot.

Instrument schedule

Instrument schedule is a compilation of fixtures, usually organized by mounting position.

It may contain information such as:

• type of device,
• number,
• channel,
• position,
• dimmer or address,
• accessories,
• color,
• gobo,
• notes.

Such a document allows the team to quickly check which devices are to be placed on a specific bridge, truss, or other location.

It is particularly useful during installation and later troubleshooting.

Patch

Patch defines the relationship between control channels and physical devices, dimmers, or addresses.

In the case of traditional fixtures, it may involve linking a channel to a specific circuit and dimmer. For smart devices, DMX addresses, operating modes, and a greater number of parameters are added.

A good patch allows the operator to work logically with the system without needing to remember the physical addresses of each device.

Focus notes

Focus notes describe how specific fixtures are set up.

They may contain information about:

• the focal point,
• the edges of the area,
• the size of the area,
• the orientation of the gobo,
• the use of shutters,
• the relationship to the scenery,
• additional corrections.

They are particularly useful when the show needs to be recreated later, on another stage or after re-hanging part of the system.

Focus session – when does the design start to exist physically?

A focus session is the moment when each fixture is actually set on stage according to the function intended in the design.

Up to that moment, the light plot is primarily a documentation of intent.

When a specific fixture is turned on, you can see how the light behaves on the actual set, actors, and surfaces.

During focus, the following are set among others:

• direction,
• size of the field,
• zoom,
• sharpness of the edges,
• shutters,
• gobo,
• orientation of the field,
• positions of moving heads.

In practice, it often turns out that the geometry of the actual scene requires slight adjustments.

An element of the set design may block part of the light. The fixture may be positioned a few centimeters differently than in the design. The surface may react to the light completely differently than expected.

Therefore, the focus session is not a mechanical execution of the drawing. It is the first stage where the designer can truly assess the physical result of their decisions.

How are cues created?

A cue is a recorded state or change of the lighting system triggered at a specific moment in the performance.

It can encompass much more than just a change in intensity.

In a modern console, a cue can include changes in:

• level,
• color,
• position,
• focus,
• beam,
• zoom,
• gobos,
• other device parameters.

ETC in the Eos system distributes timing among categories such as intensity up, intensity down, focus, color, and beam, and also allows for applying delays and timing for specific parameters.

A cue is created based on the dramaturgy of the performance.

The change can be triggered by the entrance of an actor, a specific sentence, a musical cue, a change in the set design, or a specific moment resulting from the direction.

A cue does not always mean a visible change.

Very often the best transitions are so well matched to the scene that the audience does not notice the moment of change, but naturally begins to perceive the new image.

How to design transitions and fades?

A fade defines the way of transitioning between one state of light and another. Its timing can have as much dramatic significance as the final appearance of the cue.

A change from 20% to 70% can look completely different, depending on whether it lasts half a second, five seconds, or half a minute.

In consoles, timing can be separated for different parameters. ETC Eos allows, among other things, to specify times separately for intensity up, intensity down, focus, color, and beam, as well as to use delays.

This gives much greater control over the transition.

For example, the light on the actor can fade out slowly, while the background color starts to change later. The moving head can first fade out, then change position, and only then open up again.

In theater, timing is part of light direction.

That is why during rehearsals, a lot of time is spent not only on choosing target values but also on the question: when the change should start and how long it should last..

Technical rehearsal and dress rehearsal

The technical rehearsal is primarily for assembling all technical systems into one functioning performance.

It is the moment when the light begins to work with:

• the movement of the actors,
• the sound,
• music,
• video,
• changes in the set design,
• mechanics of the stage,
• stage manager.

The rehearsal can be stopped multiple times, as the goal is not to smoothly perform the entire show, but to correctly synchronize the cues and solve problems.

The dress rehearsal, or final rehearsal under conditions as close as possible to the performance, serves to check the whole in a continuous flow.

Only then can it be assessed whether the lighting dramaturgy works not only in individual scenes but also throughout the entire performance.

A look that looks great on its own may be too similar to the previous one or too strong in the context of the entire sequence.

How is the show improved during rehearsals?

During rehearsals, the lighting designer and operator refine levels, directions, cues, and above all, the timing of changes.

This is a normal part of the process, not evidence of an underdeveloped project.

Only with the actors, costumes, set design, and full flow can all dependencies be seen.

Typical corrections include:

• changing the level of a specific fixture,
• improving focus,
• expanding the area,
• correcting color,
• changing the fade time,
• shifting the cue trigger moment,
• adding or removing cues,
• changing the order of parameters in the transition.

Sometimes the most important correction is removing the light.

If the scene is too uniform and all elements are constantly readable, reducing the level of selected areas can significantly increase focus.

After the work is completed, changes should be recorded in the documentation and showfile, so that the performance can later be replayed in a repeatable manner.

It is this combination of concepts, documentation, focus, programming, and rehearsals that creates a complete lighting design for a theatrical performance.

Summary

The lighting for a theatrical performance is created as part of the direction of the show. The lighting designer begins with an analysis of the text, dramaturgy, movement, and set design, then defines the functions of individual light directions and prepares the light plot and technical documentation.

After installation, the design is refined during the focus session. The next stage involves creating cues, selecting levels, colors, and timings, and synchronizing the light with the entire flow of the performance.

The most important practical conclusion is that a finished lighting design is not a collection of pretty stage pictures, but a planned sequence of changes that operates over time. Equally important as the choice of fixtures are focus, documentation, cues, and fades.

In the implementation of the lighting for the performance, the rehearsal stage is an integral part of the project, as only in the actual space can the light be finally adjusted to the actors, set design, and dramaturgy.

Frequently Asked Questions