STAGE LIGHTING
DESIGN
PRINCIPLE AND PROCESS
Functions of Stage Light
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Visibility: “ If you can’t see ‘em, you can’t hear ‘em”
Selective Focus: Allowing the audience to see only
what they are supposed to see.
Modeling: Revealing the three-dimensional form
Mood:
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Composition through the use of the “four qualities of light”
(Intensity, Color, Movement, and Distribution).
Mood is the most difficult and misused function of stage light
in that it can overpower the other functions (there should be a
balance).
Contains the designers’ visual concept and interpretation.
Traditional (MacCandless)
Method
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Goal/Objecti
ve: general
and even
illumination
of the
principle
acting areas
of the stage.
Division of
acting areas
into lighting
areas.
Traditional (MacCandless)
Method
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Five light
sources per
lighting area.
Overlapping of
beams to
compensate for
instrument
characteristics.
Blending of
complimentary
colors to
achieve white
light (early
process before
quartz light).
Traditional (MacCandless)
Method

Four steps towards completion of design:
1. General Illumination of the Acting Area
 2. Use of Color Washes for fill and mood
 3. Use of Specials to focus on specific
moments as dictated by the script and
rehearsal.
 4. Illumination of off-stage or secondary
acting areas to compliment the action of the
play.

Traditional (MacCandless)
Method

A few more
tips:
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Lighting areas
are generally
8-10 feet in
diameter.
Odd number
of areas are
used
downstage to
prevent dark
areas.
Traditional (MacCandless)
Method

Ideal angles
are 45 degrees
above the
horizon line
and 45 degrees
either side of
center.
Class Exercise:
Motivational (Natural)
Approach

Developing the Lighting Plan(s):
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use “Lighting Sources” (practical and implied) in
the stage setting to establish the quality of the light
for the Lighting Plan (intensity, color, movement,
distribution).
Placement of “Lighting Sources” in relation to how
the actor is using the stage setting is important in
developing the Lighting Plan.
“Lighting Sources” should in-turn appear to
influence the movement of the actors.
Remember: In life behavior is influenced by
light…therefore you plan, to appear natural, should
reflect human behavior.
Motivational (Natural)
Approach

Continuing to Develop the Lighting
Design:
Layering Lighting Plans to accommodate
shifts in mood and composition, or time or
place.
 Overlapping Lighting Plans from different
scenes, looks, locales, etc.
 Use of KEY, FILL, BACK, RIM and TOP lights
to accomplish the Lighting Plan

The Principle Differences
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The difference between the two approaches is
that the “Motivational (Natural) Approach
begins with natural sources and expands to fill
the acting space. The Method Approach
begins with a general illumination and
expands to meet the specific needs of the
action of the play.
The Natural Approach offers a more effective
composition as it’s based on practical and
implied sources.
Both approaches can work on the film location
as well.