Defining what is good or bad art has always been a controversial subject. Judging aesthetics in lighting can be as difficult as trying to decide if the latest modern sculpture is “good or bad”. Art is meant as a creative expression of the artist (or artists, in the case of theatre and the performing arts). The lighting artist should be free to express their points of view through their art form of light.
However, we all have opinions about what is good or bad. The question is, how do we fairly judge the aesthetics of a production? I believe that the best place to start is with the Functions of Light. As you may know, there are six basic “Functions of Lighting Design” that the designer must fulfill. Although somewhat general in description, and sometimes difficult to measure, these functions are there to serve as the basic requirements for any good lighting design.
Although [the six basic functions of lighting design are] somewhat general in description, and sometimes difficult to measure, these functions are there to serve as the basic requirements for any good lighting design.
The Functions of Lighting Design include: visibility, selective focus, create modeling, create the mood, reveal the space, and finally (and most important) support the story. If the lighting does not accomplish all these functions, then you could subjectively say that the design is not “good”. However, the key word here is “subjectively”.
1-Visibility - What does that mean? Well, in physical terms an object is visible when light reflects off of it and we perceive that light in our eyes. However, just because something reflects light does not make it clearly visible. Visibility has a lot to do with modeling and intensity contrast. We can throw thousands of foot-candles on the stage and it will be hard to see people clearly if there is no modeling or contrast. So visibility is really how “clearly” we can see something. Good visibility is comfortable on the eyes, and is enhanced by all the qualities of light.
2-Selective Focus - Selective focus means that objects and people are highlighted or darkened to control the audience's attention (or focus). Unlike film and television where the audience is shown only what the lens sees, the audience in a live performance is free to look all around the stage, and at the theatre itself. It is the lighting designer's job to guide the audience's focus to important moments on stage. But again, what is important to see and what is not? That is very subjective, especially when multiple actors and objects are on stage. Sometimes it is more interesting to have an actor in the shadows, than in the light.
It is the lighting designer's job to guide the audience's focus to important moments on stage.
3-Modeling - This aspect of lighting allows the designer to help emphasize the three-dimensionality of an object or person. I am sure you have seen shows that looked “flat” and uninteresting. This is usually due to a lack of angled light creating shadows on objects. The contrast of light and shadows creates visual interest and actually allows us to see things more clearly, especially the human face. This is also true for three-dimensional objects and textures used on stage. Correct angles of lighting should be used to create the appearance of texture to the audience. Modeling can also create space and depth on stage. Proper backlighting can help separate the actor from the background, helping the audience perceive depth at great distances.
The contrast of light and shadows creates visual interest and actually allows us to see things more clearly, especially the human face.
4-Mood - Creating the mood is when the designer brings to life lighting atmospheres that evoke emotional moods in the audience. Mood creation can use all the qualities of light, but the most effective are color, angle and movement. Color changes will affect the audience subliminally. Sharp angles of light can be exciting and intriguing. The rhythm of the light moving from cue to cue is also a powerful tool in creating mood in the atmosphere. Of course, the real question is: Does the mood evoked support the mood of the moment in the script?
Does the mood evoked support the mood of the moment in the script?
5-Space - Revealing the space means how much of the theatrical space appears to the audience. Like selective focus, the lighting designer reveals space. It can change depending on which lights are used in a particular atmosphere. Again, this is all subjective, as special manipulation is part of the art of design.
6-Story - Finally, this component of supporting the story goes to the heart of anything we do in the performing arts. The lighting designer must support what the performers are saying and the story they are telling. This may be the most easily misinterpreted function of light. As artists we have individual points of view about any story we are telling. How we support that point of view is critical in evaluating a lighting design. Everything is dependent on this, from the collaborative process of the creative team to the overall production concept. The key [here] is a unified production that integrates all the areas of theatrical art, from acting to lighting design.
So, you see all that the art of lighting design is quite subjective. However, I have seen some pretty strange decisions made by lighting designers (and ultimately, directors) that make absolutely no sense to me. Does this make the lighting “bad”? I usually regard these choices as artistic liberty. I may not agree with them, but I respect them as art.
I believe that good lighting design does not draw attention to itself.
Where do I draw the line? I believe that good lighting design does not draw attention to itself. This can be one of the most difficult things to judge when you are a lighting designer. The best way to do this while in rehearsal is to temporarily remove yourself from the role of the lighting designer and make believe that you are a member of the audience. Watch the show from that perspective during parts of the rehearsal and you will discover which atmospheres and cues distract from the story. Also, a good director will bring this to your attention as well. However, I never like to wait to be told by the director that I am upstaging the actors, performers or presenters.
I can't tell you how many times a critic has reviewed one of my productions and was entirely wrong about the intent of the lighting design. Some of the worst reviews I have ever received were when the critics praised how “spectacular” the lighting was. I consider these types of reviews a sign of failure for my work as an artist. Obviously I did not get my point across.
So what is “exceptional” lighting design? Well, like the famous saying goes, “I know it when I see it.” I have seen hundreds of productions in my life, and I can count on two hands which designs were exceptional to me. These were designs that were truly integrated into the production concept. Right off the top of my head I can name Tharon Musser's exquisite design for "A Chorus Line." This was truly lighting art at its best. Not only was the lighting designer supporting every moment of the actors' and dancers' stories, she broke new ground in artistically expressive movement in lighting. The light truly danced with the dancers. The lighting had a choreography that matched what was happening on stage. It went way beyond the basic functions of light.
Another ... show was Paule Constable's beautiful design for "War Horse." Like Tharon's fine work, Paule created a design that was expressive and choreographed. It supported the story without drawing attention to itself.
So be careful when you start judging the aesthetics of another artists' work. Make sure you are knowledgeable about what makes a lighting design successful. Does the lighting fulfill all the functions of lighting design? Does it fit seamlessly into the production? Does it call attention to itself? Finally, did you enjoy the show? You can bet that if you did, the lighting supported the story and was indeed “Good.”
[Editor's note: This piece was originally published in 2014.]
