Download Stage lighting installation for Gloryland Theatre: designer`s report

Peak Journal of Social Sciences and Humanities Vol. 2 (3), pp. 27-31, September, 2014
https://www.peakjournals.org/sub-journals-PJSSH.html
ISSN 2331-5792
©2014 Peak Journals
Review
Stage lighting installation for Gloryland Theatre: designer’s
report and explication
Enendu Molinta L. O.
Accepted 8 August, 2014
The study focuses on a new theatre in Nigeria, the Gloryland Theatre, built in
Yenagoa by the government of Bayelsa State. From an analysis and explication
of the architectural structures of the theatre, the stage lighting instruments, as
performance equipment designed, ordered, delivered and installed by the author,
are given technological and artistic considerations. Their artistic and
performance implications to the benefit of Bayelsa State Council for Arts and
Culture are delineated upon. The study concludes that the theatre and its
installations are of great benefit to visionary directors, choreographers, musical
directors and designers in Nigeria. The theatre building of this sophistication
may, indeed, mark the beginning of a new age of theatre events in Nigeria that
will tap and harness the creative, aesthetic, and communicative values of stage
lighting to modern theatre practice. These were evident in the continental –
th
African Movie Academy Award, and the national – 20 National Festival of Arts
and Culture, that were hosted in this new Theatre in Nigeria, soon after its
completion.
Key words: Sound and acoustics, stage décor, stage lighting, installation, theatre
planning, theatre architecture, multipurpose theatre.
Department of Theatre and
Media studies, University of
Calabar, Calabar, Nigeria. E-mail:
[email protected],
Tel:
+2348033392268.
INTRODUCTION
The Gloryland Theatre project was initiated and executed
by the government of Bayelsa State Nigeria. The theatre
was projected to be an architectural masterpiece, the
pride of the people and government of Bayelsa State. On
completion, it was expected to be a ralling point for major
theatre events, for selected dignitaries and, for selected
functions that suit indoor situations. It was initiated in
1999 and fully completed for commissioning in 2004. The
execution of the project involved specialists and
professionals - engineers, architects, technologists,
builders and artisans; carpenters, masons, iron benders,
painters, tillers, plumbers and electricians, etc. The
author, a theatre/media scenographer, designed the
sound and acoustics, stage décor, and stage lighting for
this new theatre. This installation report focuses only on
stage lighting design and installation.
Stage lighting is one of the visual elements of theatre. It
is, in definite terms, a functional creative entity of stage
communication that enhances the recreation of the
different worlds of the actor in performance. The theatre,
today, in its attempts to recreate human experiences
draws its materials from the realistic, imaginary, visionary, fantastical, whimsical, and illusionistic spectrums.
The performance falls back on the supportive values of
selective stage lighting to interpret such scenes and
environments with credible authenticity and plausibility
before the live audience. Stage light has therefore,
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especially in the 21 century, repositioned itself as a very
powerful tool of contemporary scenography. Perhaps, to
achieve the utmost values of stage lighting in stage
performances must have been part of the desires in the
planning and equipping of the Gloryland Theatre. Reid
(2001) noted in his study some of the indispensable
values of stage lighting: “Lighting is perhaps the most
fundamental of all the staging techniques. There is not
much in the actors doing their stuff if the audience cannot
Enendu
see them…”
DESIGN AND INSTALLATION
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The art of stage lighting has in the 21 century theatre
gained prominence and greater acceptability due to the
tangible returns of light, supported by digital and
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computer technologies. Some practitioners see the 21
century theatre as the theatre of the designers (the
lighting and sound designers being most outstanding). A
theatre may be seen as incomplete or not sufficiently
functional when light is not fully considered in its planning
and installation. Pilbrow (2006) writing on “An Auditorium
and Stage Design Guide”, noted: “A successful theatre is
a complex mix of theatre design, architecture, acoustics
and performance technology. A balance must be struck
to provide unrestricted possibilities for tomorrow’s
unknown stagecraft within a human-scale space that
allows performance to take flight”.
In his view, Reid (2001) feels that for some
considerable time, lighting has been a major growth area
in theatre technology, and a considerable air of glamour
tends to surround the mysteries of its arts and craft. It is
an integral part of a stage presentation.
Most theatres in the world now attempt to procure the
most up-to-date equipment to service her performances,
because of their functionality, reliability of the tangible
aesthetic returns. Auerbach et al. (2006) highlight the
implication of stage lighting technology to live
performance: “The close-up and the proliferation of
moving images have changed our perception of what
constitutes a live performance… Technology responds to
the need of an architecture that serves today’s
audiences. Good seeing and good hearing go hand in
hand…”
It appears to be a general view that all through history,
with no clear exception, theatres are planned with
profound consideration for effective installation and use
of lights in performance. Bentham (1968) noted in his
preface to “The Art of Stage Lighting”, that stage lighting
cannot be separated from the design of the building in
which it finds itself anymore than it can from the design of
the scenery it illuminates.
There appears to be a general agreement on the
relationship between the architectural characteristics of a
theatre house and the nature, type, number and positions
of the lighting instruments. These are usually and
thoroughly considered by the lighting design expert.
Burris-Meyer and Edward (1964), two renowned
professionals in the field, noted that: “For lighting to
produce the enhancement of theatrical performance of
which it is capable, the installation and operation of
lighting equipment in a theatre must be carefully studied,
thoroughly understood and adequately accommodated.
This study is based on this general premise. It focuses on
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architectural analysis and interpretation of the theatre to
the extent they influence stage lighting. It also focuses on
the selection, positioning and general installation of the
stage lighting equipment and its accessories for
Gloryland Theatre. It is from the point of view of practical
field experience of a theatre designer and technologist,
working in a new theatre building in Nigeria, challenged
with definite practical and aesthetic result.
According to Whiting (1961), the greatest technical
advantage that the twentieth century theatre enjoys over
those of past ages lies in its comparative mastery of the
art of stage lighting. Of all technical crafts, a director can
employ to reinforce the work of his actors, good lighting is
the most unobtrusive, the most flexible and, in many
ways, the most expensive.
Focus
The stage lighting instruments and equipment installed in
the Gloryland Theatre were imported from Stand Lighting,
a British stage lighting manufacturing company based in
United Kingdom which is considered by many, as one of
the best, most innovative and specialized in the world.
Strand Lighting has its main manufacturing firm in
Kirkcaldy, Scotland where the equipment, after
assemblage, were inspected and tested by this writer and
the Executive Director for Bayelsa State Arts Council,
Barclays Ayakoroma, before delivery to Nigeria.
This study, therefore, attempts to look at the Gloryland
Theatre, the Strand Lighting equipment imported for
stage lighting, and the technological and artistic considerations and functions of this equipment. The reasons
for choosing them, how they were installed and their
functioning within the context of Nigeria theatre practice,
are fully delineated upon and explicated in this study.
GLORYLAND THEATRE
The Gloryland Theatre was proposed as a multipurpose
theatre for Bayelsa State with the state Council for Arts
and Culture as its manager and first beneficiary. It was
projected to host and accommodate performances of the
highly esteemed and award-wining Bayelsa State cultural
trope which has, in its repertory, dances, drama, musical
and circuses. It was to host occasionally, performances
like pageantry, fashion shows, church conventions,
lectures, seminars, rallies or any other functions that may
not be suitable for outdoor locations like in the state
sports complex. It accommodates a seating capacity of
about 3000 people on the main floor and the balcony.
The Gloryland Theatre has a main auditorium which is
architecturally demarcated into two. The first part, nearer
to the stage, is an even semi-circular, untiered space that
surrounds the large thrust stage. The seats here are free
Peak J. Soc. Sci. Humanit.
and movable. The second part, up and closer to the
back-wall and located after a line of columns running
along the perimeter of the said untiered flat space, is a
raked or tiered auditorium with six rows of fixed seats
surrounding the entire even space. The placement of
seats creates two aisles at two strategic positions. The
two aisles lead to the auditorium exit doors dividing the
entire auditorium space into three equal areas. The
theatre has an upper floor, a balcony, which houses
about a third of the total capacity of the theatre building.
This provides the seating space for the state dignitaries.
This space is located at the central area of the balcony. It
is not only lavishly furnished but treated for comfort,
safety and visual aesthetics provided by the colours of
the seats, the floor and the railings.
The theatre is located at the heart of the central area of
Yenogoa, the capital of Bayelsa State, Nigeria. It is close
to the government house, the sports centre and other
newly established government public offices. It is
therefore located within the reach of the people whom the
theatre is supposed to serve as postulated by BurrisMeyer and Edward (1964).
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foyer, the security rooms, the bill board and lavatories
form part of the front of house spaces within the
Gloryland Theatre. Flight of spiral steps fabricated with
cast iron sheets run from a space close to the foyer to a
landing before a door-way that leads into the control
room. It is on the same level with the balcony.
Lighting positions
By a late architecture modification initiated by the author
with the Executive Director of Bayelsa State Arts Council,
adequate lighting positions, lighting operational areas and
technicians traffic systems were provided. This brought in
two lighting bridges, three electric sport bars and a
lighting control/projection room. There is also a cat ladder
that leads from the control room to the cat-walk. This
provides a traffic system for the technicians to the two
lighting bridges and the three electric spot bars which are
located over-head the stage area.
State lighting equipment and accessories
Gloryland Theatre and its stage
The Gloryland Theatre has a conventional thrust stage.
At the upstage area, terminating on a back wall, the stage
has a base of 80 feet wide from where it projects and
thrusts towards the auditorium area, first, to a depth of
ten feet evenly. Thereafter, the stage then projects further
by another twenty-two feet as it now tapers to a forestage
line of fifty-one feet, but still, retaining the same height
and level. This creates a main stage area of a truly level
hexagon.
On both sides, and on the same height and level of the
six-sided main stage, demarcated each by a short
thrusting tormentor wall of five feet three inches from the
back wall, are the two side stage pockets. These side
stages balance up with the main stage, measuring each,
twenty-two feet by fourteen feet. They are for the bands
or orchestra when needed, normally, one for the
traditional and the other for the modern orchestra. The
entire stage area is finished in brown, polished, hard,
layered, timber. The up-stage limit of the stage is
bordered by the cyclorama, in its traditional milk colour.
The stage area drops to the auditorium floor level by
two runs of shallow step-units running on the entire
downstage perimeter of the main and the stage pocket
areas. Behind the backwall of the stage are the dressing
rooms, offices and the scene dock separated by a major
backwall that accommodates the two main loading doors.
The front of house (foh) space is located by the entrance
into the auditorium.
The front of house, facing the car park and theatre
terrace, is located after the auditorium. The ticket offices,
The author was the lighting Consultant for Bayelsa State
government for Gloryland Theatre. After several visits
and the study of the stage and architectural characteristics of Gloryland Theatre, a list of equipment was
forwarded to Strand Lighting for costing and assemblage.
List of equipment
At the receipt of the equipment list, Stanner (2004),
European Customer Service Manager noted, “thank you
for choosing Strand Lighting equipments, we are
delighted to be of assistance to you. Strand Lighting is a
major global manufacturer and supplier of high quality
lighting equipment and software”.
When the lighting designer called on Bills Richard, the
Strand Lighting, Project Director at Hammersmith
Studios, Yeldham Road, London, on his was to Scotland
office of Strand Lighting, he observed that our order list
was most comprehensive. He added with gratitude that it
was a joy to him dealing with a designer who knows what
he was doing. He hoped that the installation would further
project the image of Strand Lighting in Africa and,
particularly in Nigeria.
Lighting installation for Gloryland Theatre
The control room – control position for all stage
lightings
i. The two units of 10x24 Lx Manual Lighting Consoles
Enendu
with 2 presets, were installed.
ii. The 8 units of Act 6 double socket dimmers of 2.5 kw
per channel, were here located. This forms the terminal
for all feed cables from lighting instruments, from all
positions in the theatre.
iii. The two, Solo 2 k follow spots on low, revolving stands
were mounted here. The beams reach out to the stage
through the glass window that separate the control room
from the auditorium.
iv. All lights switching panels are also located in the
control room.
v. It also serves for other control systems apart from light
– air conditioners and sound systems.
The lighting bridges (first and second)
The main stage areas and the two side stage pockets are
illuminated with lights installed on the two lighting
bridges.
i. 16 units of 2000 watt profile spot lights are used from
the first bridge as area light with a total of eight areas
marked out.
ii. 12 units of 2000 watt Fresnel spot lights are used to
blend the overlapping areas and to serve as hard
punches at selected “hot areas” of the stage.
iii. 8 units of 1000 watt profile spot lights are also used as
side light for the eight areas described.
iv. Two Toccata effect projectors (in flexible use) are
located on the first bridge and used to serve varying
dramatic and musical states of performances. Their uses
vary with the needs of productions to create the illusion of
reality and to pursue the creation of the worlds of fantasy
as desired.
Over head spot bars
These are lanterns-carrying pipes evenly distributed
overhead the stage, held in place by S-shaped, one inch
wide flat iron bars, anchoring them to the roofing truss.
The lanterns are held to the pipes by the usual hookclamps and safety chains. The barrels are the two inches
diameter, galvanized, hollow pipes hanging parallel to the
cyclorama, running the whole breath of the stage. They
are concealed from the audience view by corresponding
rows of black, dust-resisting, heavy fabrics. The lights are
in this order:
i. The up stage area, spot bar, holds the 18 units of the
Coda – 300 cyc/back light of three compartments. They
are evenly coloured, circuited, distributed and adequately
angled to enable the beam achieve a gentle even,
smooth, sweep of the cyclorama, in three variable colours
of blue, green and deep golden amber.
ii. The second and first electric spot bars hold the major
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back and side lights comprising of 4 units of 2000 watt
Fresnel spot lights and 12 units of 1000 watt, Fresnel
instruments, distributed to cover the various lighting
areas.
Special Lighting effects (in flexible use and positions) are
as follows:
i. Two, Toccata Effects Projectors (2000 watt), effect
projectors with two vsfx effects driven and two objectives
lens for fine tunning the moving and static effects. They
include the cloud, running water, flame and rain, effect
drums.
ii. Two, MK 3600 watt Strobe unit (freeze light) for
musical, the creation of fantasy and chimerical, dramatic
situations in productions.
iii. Two, ZR33 high output Smoke Machine with smoke
fluid and ducting kit, for the generation of smoke to
support musical and dramatic shows and spectacle.
iv. Two, Gelstring 16 Colour Scroller for colour variation
and synthesis. From this position, varying colours are
distributed on the stage or/and cyclorama in a dynamic
form.
The special effects i – vi above, are movable units,
usually deployed to suit the needs of each production, the
imagination of the designer and the dream of the director
guide their placement and positioning.
ARTISTIC CONSIDERATIONS OF THE LIGHTING
DESIGNER
The combination of 2000 and 1000 watt profile spot lights
gives the designer the desired objectivity and flexibility to
reach the actors with sufficient beam light from both long
and short throw positions as architecturally dictated by
the first and second lighting bridges. These are used to
precisely suit the conventionalized area lighting method
recommended and popularized by Mccandless (1978).
The 2000 and the 1000 watt Fresnel spot lights help to
blend the distribution of the intensity of light on the total
stage area. By identifying each area with particular
spotlights, it is also possible to reveal part instead of the
whole stage area when desired. This is most appropriate
in dramatic performances that may use simultaneous
staging.
The cyclorama lights help to create the illusion of sky in
the horizon on which different natural atmospheric,
chimerical, fantastical and even supernatural effects
could be created both in moving and static forms. These
are achieved mainly by optical projection. Thus, the
effects of running water (stream) could be created in
which the traditional occupational fishing of the typical
Bayelsa man could be re-enacted with pleasing
plausibility.
Peak J. Soc. Sci. Humanit.
The rain, flame, cloud effects are regular requirements
of typical plays in the repertory of the Bayelsa Council for
Arts and Culture with the Executive Director as the
resident contributor and playwright. It would appear that
these special effects were his dreams and artistic desire.
A creative combination of these different special lighting
effects, colour filters and the other lighting instrument in
conventional uses are available to create the varying
dramatic situations on the stage and also enhance
musical/concert shows which are regular features of the
Gloryland Theatre.
CONCLUSION
The Gloryland Theatre, perhaps, has set examples on
the direction of raising the consciousness of theatre
owners; boldly informing the dramatists, show men and
the audience that stage lighting is an essential and
integral part of the total theatrical presentation and
experience. Most theatres in Nigeria before now were
biased in the provision of stage lights for their theatres.
They see it as unnecessary extra budgetary expenses
when, perhaps, the stage, few costumes and musical
equipment are already provided. The Gloryland Theatre
has braced the trail in the installation of comprehensive
digital stage lighting systems in Nigerian theatre. As
observed by Parker et al. (2003), theatre is ever evolving
in all cultures, and in countries (including Nigeria). As
audiences have gotten more sophisticated, artists in
theatre have pushed forward. The search for “meaning”
in a play, or musical or opera, is all-important. We expect
the design to reflect that search in a way that enhances
the experience for the audience.
This search was vivified in the stage lighting design and
installation at the Gloryland Theater perhaps, was
authenticated in the major international stage events that
were held in the theatre soon after its completion. The
first was the opening ceremony of the Theatre conducted
by the Nigeria Head of State, Olusegnn Obasanjo, in
1995. To mark this occasion, six lead Nigeria musicians,
six stand-up comedians and a drama sketch written by
Barclays Ayakoroma, formed the theatre ensemble
presented in that command performance. An international
event, African Movie Academy Award (AMAA, 2005), was
brought to the Gloryland Theatre in April 2005, and again,
in April 29, 2006 to tap from the aesthetic euphoria and
grandeur of the Gloryland Theatre. These were followed
by Bayelsa State hosting, in the Gloryland Theatre, the
th
20 National Festival of Arts and Culture (NAFEST,
2006), from September, 16 – 24, 2006. The varying types
and complexity of productions held in 2005 and 2006
inside the Gloryland Theatre perhaps may be seen as the
most abiding commissioning and public evaluation a
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theatre may likely have, and indeed, a test of the stage
lighting installations in performance.
As new theatres are planned in Nigeria today, as new
lighting designers and technicians join the professional
rank and production team, it is hoped that play directors,
choreographers and music directors continue to see the
undisputed values and contributions of stage lighting to
total stage aesthetics and communication. It is by this
development that the Nigeria theatre could continue to
tap the technological innovations of Strand Lighting for
the development of Nigeria theatre and improving the
qualities of her stage productions. The Gloryland Theatre
in Yenogoa, perhaps, may shock other state-owned
theatres and Cultural Centers in Nigeria into more
positive actions for the better of Nigeria theatrical milieu.
Both now and in years to come, Gloryland Theatre and
its stage lighting installations, could be part of the indices
for measuring the development and sophistication of
Nigeria theatre. It is strongly hoped, perhaps, that a new
consciousness is awakened for the benefit and
development of theaters and theatre practice in Nigeria.
REFERENCES
Auerbach L, Pollock S, Friedlanders S (2006). Stage Design:
Technology and Flexibility. Performance Arts Facilities. Hugh Hardy
(ed.) New Jersey: John Wiley.
Bentham F (1968). The Art of Stage Lighting. London: Pitman.
Burris-Meyer H, Edward CC (1964). Theatres and Auditoriums, 2nd
edition. New York: Reinhold.
Parker WO, Wolf RC, Block D (2003). Scene Design and Stage
Lighting. 8 Ed. Australia: Nelson Thomson Learning.
Pilbrow R (2006). The Auditorium and Stage Design Guide.
Performance Arts Facilities. Hugh Hardy (Ed) New Jersey: John
Wiley.
Reid F (2001). The Staging Handbook. London: A&C Black.
Stanner M (2004). European Customer Service Manager, Strand
Lighting, United Kingdom.
Whiting F (1961). An Introduction to the Theatre. New York: Harper and
Row.