electricity in the modern theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and...

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Butler University Digital Commons @ Butler University Graduate esis Collection Graduate Scholarship 1-1-1929 Electricity in the Modern eatre Pearl Bartley Follow this and additional works at: hp://digitalcommons.butler.edu/grtheses Part of the Other Languages, Societies, and Cultures Commons , and the Rhetoric and Composition Commons is esis is brought to you for free and open access by the Graduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Graduate esis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Recommended Citation Bartley, Pearl, "Electricity in the Modern eatre" (1929). Graduate esis Collection. Paper 93.

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Page 1: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

Butler UniversityDigital Commons @ Butler University

Graduate Thesis Collection Graduate Scholarship

1-1-1929

Electricity in the Modern TheatrePearl Bartley

Follow this and additional works at: http://digitalcommons.butler.edu/grthesesPart of the Other Languages, Societies, and Cultures Commons, and the Rhetoric and

Composition Commons

This Thesis is brought to you for free and open access by the Graduate Scholarship at Digital Commons @ Butler University. It has been accepted forinclusion in Graduate Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please [email protected].

Recommended CitationBartley, Pearl, "Electricity in the Modern Theatre" (1929). Graduate Thesis Collection. Paper 93.

Page 2: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

6~Gt

SI au

Page 3: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

Acm~

I neh to mAke aGl:nOll'ledgecumt het"e 0,

gratitude to Protessor Claud.. Sifritt, lIrs. Eugene

Fite, '.:JY IllQ'ther and f'nther ana ~ friends. who ha....

a1dec1 and-efiC~ I:l8 in tllU un4~. the • , re&bl1ed.

had in ctI 'been 1u their words of en­

oourag 1es8 atzoong.

Page 4: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

PURPOSE.

It 1. 'the aim and purpoae Or th1a theall to show

that eleot:rlo1ty in the modern theatre 1. & uaeful and

neoel.ary oOlJnOdlty. Allo that the effeots £'nined through

the developr.'lent of eleotrioal equ1pment Ildd ';;'0 the effeo't­

1vene.. or playa aa produoed by t}1e modern theatre. It 11

del1red to ahow that eleotr1oal ourrent wUl cont1nue to

be u.ed in the Itace 111o;!lting or the future although the

prelent method Uled may beoome obaolete.

Page 5: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

TABLE or COl

t - - 'U ge 1.-Creation o£ 11 1!eaninrt a'ttnohad to it

by tum ~ The dovelo1J:;tent thoata-e ­

,iChbinZ; oandla~_ oU.

gas, 1ble1 , ani 1 •

T II .. ... crary time., Pa!t.e 18.

01 icity ith

liJ!:ht~ ....wn~; f'oot1i • 'bardeI"Ur.hts.. 1'1 .. stri .. spotl .ts ­

Light. - Color.

III - ~'lh. 1I1".lUM Page 72

la. in tine

1;1"9 - POint!lB. - c 1\1% - :reon .~.

Page 6: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

I

Page 7: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

'T."T",~·tClfi 11 'lImAM.

bednn1ng God created heaven and earth." RA'J"'I";n 1I'&S wit!-lOUt to~ and void; and darkness 'Wf.I.8

;aM irit

-And God , rel)G 1ight I and e was 1ight.

"And God the liBllt, that it was (;ood: nnd God divided

light !'rID th.. c1:lr1mes8.

"And light Day, and the dlU'tneos ITit!nt. l'.lld

tho """,ninr!: end I:2t4!Dblg were firot day."

Thus did " ide light for I:18Jl during the day.

volV\9d ~. :e priniM.ve to ovorooce the darkness. It is not

solely a J:m:l::Im instinct whi 'Ol"OAB ,g,irlnola to ne.l~ iW'Pmo+- to

.ts 1d st

instinC't ot self-nrolJenat

am this imltinot forcGs :' seU-preservation. But nan wal

'lll1Q1,Umohable and lnaatlo.ble dO-GirO fo 1Dd.opendonce, and

iot ia thie _re oivilization. Tll1a ,GDO~re

t13 tord.oncy inher'" 1'8 Q yearning

tl lnilopimdmlce) ab~olute.is Q charactoriotic ot

tho Divi.m:J.

I no diff01"O:nt trm the little boy who 111

...old nM UDaf20aid throudl tho day., . a :pering and ~

child il~ i nO. nnn afraid.

In that b It c1oeod dO\'ln on • the 8U.'l dipped down

- ~ - - - - - - - - - - ­~ ~ ~ ~

1. iGBDeois 1: l~.

Page 8: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-2­

in the west trePetblngs tha1; he could not explAin. terr. that

ovel"~jheloed. h!tl, noises that d~sturbed him. Fear orept aver him

am ~ turned to the one "aurce that could r6allsure Mm. the Rail

fire 1Ihioh he klri1t bUrning constantly before the ~ of his enve •

••18 body _a ~ by it, but 'the th1J:l£tbD.t att1"acted him line tha1;

the faint flicltering flame citted light. Deoaule this faint fl.ome

did emit light ana: the sun emitted light r:.an joan cane t4;> oonneot

11&;}lt with satetr; ~eB end' aoourity, whilo da!'kna88 harbored

......JLIIId ovi1 .nWts. 'I'1,_A

tore, light mturo:l1y uc.ma lSaorad, lite-giving 'and s:vcbolici oE div-

lIPuano••

There were many f~ at primitive worehip. Thore were those

wor8h11JPDd 'thO 3Wl. BCU:!8 W1'8h1t7P8d ~lti B.8 'tllO. uoa. of nll, and

zoe wore U84 -ehOrle·WhO p~o.CI8C1 'the FU'Q eove all e1eo, bijt the

n&1"f.Ul1OUM factor in eaoh form line laht for 1t is oasily seen that

each of these cults is bo.sod on light am its protootivenesSe M

the!!" belief' in this new religion gr_ it beoatle 0. oustm to 001"1\

dead 80 ~ might bo proteatEtd by this IIm1e light

world.

Throuehout all oountries anoient races WOVe light and £ire into

thoir rites aM while tbDre 'were sane di.ttctronees tho underlying ideas

were sil:lilo.r. :I'be GrM1m, in lJP,:rtlaular. llmJ"k the 'boginniDE ot luu.1an

olvi1i~1.u~ OQ 'the dA$8 or 'tUG rn;oaJ.~ or 1mO MfiVO!UY n.re by'

~CN!. wi"tb the o~ ~ e.1't.1fioi.41 lie'Jrt the bee:iJming of

a new .ra. They plaoed the rira an the alter arxl evolved marJY oere­

l:lonial u CJf lamps, candleD o.m fire. '!'he use IJade of th0 fire by

tho Vostal. :tent Raoe :he,sooe0C8 Do 10j;ond. The oere­

or light in the Chi"iBtian olml'oh avolvod both froo. _

ations of ~n cuotCl:l.8 and of th~ 'm\iural ~olim ,of fire and light.

Page 9: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-~

The Dible contai1l8 referencoa mtIormnce end dY:1bolism

11 fUXi £11"9'. 18 moan Constant"ine c<DlID.Died. the

entire oity o~ Constantinople to be iJ.lumiJm.tOcl bya% candles on

Chri Eve. In the thirteenth oonLwy altlr 11 cm:M) into

mneal --1

light kCRl:le ft'f"'J tIaIrover, it beca:m dt

into three groupll in the RmAn CA'tmo1.io chu1"ch. (l) were

B~bolio of God j 0 preaenoe or the eft of hie nrel ; of Chriat

or of "tho children of light'· or and Gatt'... 't:D:t B.

(2) 1"$l1giaus Vf1rIi ,t is

wol"8hln. (3) ,ey may 1X1eflOBS oel"~c1n divioo irs

8e 0,£ 'their being bles-sed by the ohur . and, thoreforo, flAY

be helpful to IlQUl and body. Yam" of t DGJ"ClQonio.l uses are 1"9­

tninod yet toc1aY ill the chUrch.

It is lmOIm ~'t every ~ !WI oe~ :tnatino'to, 8 1"e­

as to ~o needs, reaponaea ~o per8QIUJ o.nd yre­

as. Ucrr:.IJV'er. of all solf-o.aaiJrtive or

- -naet ~

In

a'll tho other reBDonllei:mAY be ,sat:l.51-3,oa" '101­

to his instinots.

, instincts DAy be oatiai' ouely 1'"f!.4'.'hn,. be

lly iC!lIGtoa. in ,first drama.

, the fifth

..... e ~Jas. thee.tp~j the

hill upon whiCh the lpOctatorG could sit. At their teet was a

ou'CUlar space called the orohas'cra. It Wl\Bthere tho notal's and .

chorus perto1'l'J8d. on ther sid, ot this oh

Page 10: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-4­

to ml402'take, for at n!t;1dl 3l1&'!"oup actlvity ceased.

It hae 'be9n ehoPm that mn ,is ve.rf sensitive to light aoo it i.

very easy to aoa that ~.an 'fJO\Il4 enjoy the drama .. l:.rrMt doal more,6'VeD

inr; EI 0 vicia1'louulyI if' tho light ploaaed hiD ImlIlO 0Jt

aeBthet10 beauty. st, ctmm:o at ligb't othel' than the bright bluo­

:t in Greeoe r;hen hUgh oolored mm­f

inge were atrOtched avo-r big open air thoatro,3 and a Boft difJ.vaua

11gb ~. sliGbtly t

• Rr,pan thsGtro, ,d.valoped QIah in the 8~ bam)er. am

lnn.Qiiww'ar. the Ba::m.nB elaborated

folded in a dGo'D gr,ooveW:hlch run

ftN,."kiIni ~ '. ~-- ~.

_ theatres

tell into di until t!1Cl eleventh ee~the drm:a

118.8 again revived by tho C' a1npl,est OPUoc101 fran tho Bible

were used to ~uoate the mtUlS ople in the elflltllm.'l;arJ prin­

ciples ot Chrlstainit7. It 1a tb~lt se little plays ware givon

Page 11: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

..s.

inaldo tho ohurch. It this be the oas.. ClUldles in BCone. about.

th ligbtJiJg. BOftYOr.

est "o11J,l.arity ot +'nMtilll laY8,~ Inll'IUI1e am anterY

plays. bee.. 80 , _zoe forood

torrilS. In ~.Ion. plat.toms 1I8re llonntod on 1Ibe01li and 1m" 11 pageants_ two stories hig!l, the upper one being

used as a

The norality plays toll Jl\tracle plaY"

the purely aunl4r 1&18_ AD the plaY" ,gr- and. 'mDH d1"Qlll.­

atic they increased in originality_ \'lhile th.-. had never been 8.JV'

aetual sUlGe

open i'loatiD&

brou&bt about the U8e ~~v in effoata 1

play. Thus, in an aac.ount FUsion play at Valenoie:nnD b1

16&' it is found that devil ~ne ,t fire am. -the mouth t4

• bto!:gPound

.In the .U'teoDth oenttlrY

,tre into their oastles aID uDier their llt'trcmag& t:

stage lightingcwntP into be! 110. an I'i;alian, !...~ 15G6 wroto a

tl"B1IU111U scribed osr­

tain ods tor the ~tiOD of lidrt;ing eff9cti. U._

wero secured by plaoing torches or lamps 1ft .rUled with

a colored liquid. A red 1 was achieved the 1e

with red AtlbS1" light ..... made .by us white w1..~ and blue by• a so1ut qua 'rita, vorn!.a and ~ic aoid. e bottles

were mod1a cos was

Page 12: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-a­

+ltftIIII. a bri 0. ~erloCftor.

Leone BebNo r Urteresting ~rllm- in the

Rm1rllB • hal wit'tien ,t Ud1ta :Jhtn1lcl b. placed n,.. Ie It

J /ftl"~ CQ;DD et BD'Dre. 1., ,cCJi'!-.diGs tor the nUruoa8

"hU.tat" 1e lot hto anlJOtw dells jc~ aaam". IIe

fts. it~ ti ba118'lter in tm3.bolio"tio l~t1ng

fw in p: ce M i11umintltQd +''hnrift aca=o in t~yin

whiob the BUbjeot was h:lLnmr per 11

1 fhtanto

i diPI 18 aoapa 1& m-OlfMttiva. furorao

nlat! 0 I5penti__"

n-er_ obbor R~islllUlOG tlrtilits did not at;!" with de •

li dtei'l1G8d facing tbe audi.ence.

bOPdeJ!'8 •

1~r;htil1g ......ivnl'l

b aids in th thml-trloal illusion.

lights he ~el5ta should be erGgtCd tonrd

at.. liMtB nb0q.]4 obe

• 111 ~ed

the 01 • was "U1.1t. In it is 1

~ - - . ~ - ~ - .. - - .... -1. 2.

3. 4. i

5.

6

Page 13: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

·.,. a

deve1~ of the HCDU1 atn&G mll inti¥"deooro.tion Burl" ing

one large opening. proaoenitm f'roco. 180 it lJaa nt

this time that stage retreated baal: of a ~1D. and ~f)r the

curtain wus tor eaeh play.

to be built. ~Dr ~118 time all

the 8tages covered and entire build J

artifiGial lighting came into pernanenee in the ~1.I:lIM.,,",.

Inigo Jones. a lisbman lived in the 8~ OeD-

II, sited in l' "e. returnod hroe influcmcod to a &root extent

'by -the wl: a

and Eniland. e 'WllS innom'tio.r using !"l'I.fluotOl'D

on the 8 and thereby inoreasing the intensity to a groater degree.

"Y18 influenoe lnued down through the oenturiell a8 present day

stal:eO~art tnced directly . boe1nnlng in Jonet:i

!he OGllCGn :00 stag.e lighting in tho seventeenth

tu1'y _a by suspending lea in chv.nr1oliers over tho eta~ n..Tld

having open 1 vr1th floa.tine wioks placed aoross the front of the

8taf!e. molty red light. Tho lOB woro tallow

tmd J!8Vt1) n yellow li.ght. It Tmlll only

candles. muon &\V8 tl ateo.dywh1te 1 oould be WI

their Gost. The tiro d:n.ngor wall grct. or oourse, and to ,t

th~ large 8'l'W'to.." .... etloks bre ued in Qd,:,.ition to

al'r.;lye • The only d~¥~A¥ftnft~ !B the quo.lity of light :rthe nd aud­

lonGe was toot du the peri'oroanoc chandeliors aver ­ltoriUCl were raised o T1811s which tended to darken the r slichtly.

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-8­

s.t tm em of the eit:btMDtb century tl oil

daainlltod. light~. The 8ta.~eCftfli of that day was mted

the 011 ~ only a 10'7 intens i t-J of liJ!bt oummed

eYeD thcru.gh eat numbor ot :lights were ~ed. TIUs cr.~8

Page 15: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

••

-9­

mounted :1 1" to obtDJ.n 'VU1"1ntion

in the light JilO.ny iI:JgcmlOW! meobnrii""" were 1nveiited. lire PlInY

oil lanpe of ,tre ot London ftre

Wb ioh. by an

U1(.;8JU.0WI sy'Itam of 16'9'ers, o~«l mo"a:mter. asoend or

del:toeDd as required and pr~ed UOODJ. efteats.

In some theatres, notably at Dirr,d.ngbs::t,

CI"J oan be shifted in f'ront by '& lEITor,but with a load clat:t@r."

GO-DI;J.'li10DII of stage lighting the 8ame in all 'Clie

eountriee and each one _8 a' fftllil8't1'tUte that

lc11nl'rove upon 11 hst aeouae

11 • a u~on 'a1'lg1D.8er .Ll..... V.wTorV..l.....- '

bad i~l usee of cas whioh 1mS

distilled 'or lighting SUCh ~eat stride8

were o that in 1 Fredrick m.ns81", l!1 ~, ins"blllod

lights in the stage of the Lye__ in Lon4an. The tirot

playbouae was equ~ in 1816. This_8 Cheetnut

hiladel'Dhia. _ :L1R.n:dng 1ft18 a great

stride over the oil lamp 8ystma Qf ligbblD,m it

beeome stan4ard equi~nt f theatroa.

the adopt, ot int rst

tb8a.tr19S Ir'ooo to ccm~te their

awn gas.

It :!.l!J a noticnble !'net tbct throup all oontul"ies

thea.'tre led the in l1glttiDg. is adal'tec1

18 later to use tor dones'tic ll~.i.nr;. 8 ot,

oil, and eloatr1a!:t7.

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-10­

'ith the instillation ot go.a in the theatre. 'the directors

f j 're~i;e tho quanltit1~

scene

~ of gu light~~. 82"li • and ft.!n

11JPJItI J'S!!&ined.: the aeme~ r:'llter jo1Dt;1I were installed correspond­

oozme~tions cDll14 be

'l'11lln"n wre gas rogulatora for '\;he varloWl cains and a ~Mo

the flOIf' of- gaB over thIl emire stage.

regulatore be.. lmOllD ae the gas table. The pr!ne ipal gal min led

to thi& table whm it 1RUI divided into sub-oaiu whioh led to the

_ ...... jo:umll 8 ~tt.n o the~2"iQ.l.

flexible rubber tubing.

There, was, se, great Q.Am:er at fire in w1JlgB am.

tlys fr f1lwea. OW8Yer. s was Gan'tro11ed to ..

-in detree by ing wire proteDton in front of those t1m:les.

causing irrlto.:tlan ot

samet _ or nine lmndl'eC1 ___,"""bCll ,

i 17 UDt'lerlitilmd '\:; would be r:onorated. ·'fhe:retore. it be­

came ?De Dr the greatest lees o!'.thB thu:tre. It \ftlB inpossible

to U6e a ventilator, because the air CUJ"1"I!II'itn sed bY it carted

the voioes up the ---~ -~ the jets

even moZ"f) of a dantii" before. Thill conaition, battever. wo.a

Page 17: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-11­

Qll'-'Yinted &S8 oh:1Jlmeft OVer' tho jets.

led in the opuuon

~lthe aount

first t!De in the hlltory of the

be darbnDd and thia aidec1 the attempts

,~-1Um at illui.Onwhioh the dir..

lI'l'rl:Mt ...-J.ahod toe

gas 1n'to 1me theatre brout!:ht abOut S0Ja8 radical

ahaDttes in the building ot the stage in the tbel)tre. Clarence strat ­

, "The relation of ttl::' -~p lamrui. tilth their Ntleortol'8' to

t' ruponsibl the cm.rYed .B.-Dran.n

Gf'f'8J:1ba 'Were pinGc1 ',+J"Prtllll'h ,WlO -orgas li~

that never been a."oClClpUllhed before. Sir IIem'Y Irving 1I'b.S the

DIl8t6it 11~1ug 'ile-cla!tDl so by all m-1tics. It has

.... effoats with

8 lIttlUlmtmt

ate..taments ei ~ll ua~t!ons •

ina! .."nromma,te la-bcl' p],nno1Qg of +}YIIJ%#f' itics."

lJevorthe~ Willing t use

C:lr

CiiohanicUl~y

new G'Yer ot

t1me. Irving was the first man to talaJ into caideratlon the valUe

of .uthetic lighting in the th8&tre. Ilis experh'lenba which beoame

o euaoeesf\11 1II8re oalTied on at the L.votnm' thOCl'hro. London.

Tt~r, ·nt"rlnto o~GS and

1 in th&

- -.- . ~ . . ~ ~ . . ~ . . Stage .t inG - Thll!lrWI n'Pi\ b8 -. 41

Page 18: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-12­

gas l!Lr;b.ttn.z. t inf!pin~ on

--~ the ole • lmel1~t wsed e was that which

cyllndrioal block whi_ah was di~

booteclto 5.nt of in­

candcsoenoe o£t a br rt; white • This 1 was

ver:t pt;1Iforfu: ito mys could be projected 1 iBtancos. The

1 law, 4 gr iali1UVo!",• atr ·~oo of l1D:e had _:1arJ.e ao th

bl~OQk of' lir.Jo ,.s oon~ and tlm~re had to an

individual. O'DOrn.t It wo.s very uae1\11 for u!JObtinr; people and

oed in tho !':ront o£ the

stage

The 1I!I"Vl!'t.ftD £ orert1.1miir th f'r'6nt~-hOWJe liehting

is POPV-J.I !me. Thill new nM -oamJrful 1 was

im'ented b7 Thl:Dls Dl"xrmjriDrt in 1816 but it not used in the

,,, •11 nnernl1y until saa.

~'Y' yea:rB lAter.

Q1eatr:1e 'arc 1mD dot1Ol'l.strat04

in London in 1808 by ita ~~r Sir IIm"Jpb.ry Davy. The!Au.l1p con­.

.istod on rods, (L otoo. to the torminal of Q

TOltaJ.c bniJtery tbauaEUld ce'11•• 8ctr1O our would flaw

-n the two carbon r were broil tomhor, but WBr

sepnr: the current croes the gap heatod the _ of the positive

CtU"bon to lJd08Cence. -to oonstantly be

Page 19: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

- 13 ­

pushed together becauae "they vnporizod. In 18'16 the Jlooh­

lrolf' oandle mwe into siBtence whi. 'Mr£ormIId th..l.D.

ROWDTOr. in Wle in the

thOIl170. Tho rust i"oo~ZOd at its v~in

• The arc was u8Gd for rcal1eti ~ ight

rather than for general ItGge lighting. It also4QD8titut.ed

tl first electric unOt Ur.:bt. The era 1I(U, plaoed in foous with

'~bolio rAirl"'m ana. 't.hgJ!Brnllol b-. refloated wns }&8sod thl>oWIh

BD..LOJ'"'. ,torftD. In 1860 $.t the

achieved '~OflOlJ" byetteot ~ a ra1nbtJlr for lloa,,~~'"

pe.89 light trOD an olectric aro thr BIlD.ped

lI'h\rl;i;er £1. This

,usod ,t 1

arc light.

ll'J'lJ .von. £nults' DV'ftl"ea!la • of • ~:h 'naB the Doise and th

other was thnt an 01J01"t1tor COJ1S'tmrt o.t'

• Thus it .. ...~

,t an­

.,istoJ or at

Page 20: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-14­

p ired aharooal 1'111ed t,he two ooi1e of platinua wire

and bridged the gap bet\1een ptlDU~ thJtow!:h thi. ohn~

ooal heated it to incamellcenoe. The air in glallB globe

having been recoved a_a fur Q8 possible the ham tDlDl:. t

availnble. 'lh ooal db! not burn up o.t onGe as the BI:l811

am ,t in tho tube. The idea 1I8.S

ingenious. 'but 1I'Cl8 tJft.nrnottcaiJle as the globe rap!&tly

blao:L."8DeC1trm t.lte evaporo.t the incandea.eent charooal.

'rho nest att.trt wall made by Lodyuine. a sian, in

18"72, oons-isM.ng of' a aa of r:raph1te operatin nltroeen

gas. The life of thi., • It i. easy to He

that a 5.11m1'Aa:tioal

very eEpenlive tor use the th aT hODe.

- spring ot 1878, ThCD!lS- Edillon, with a:milaba O&p­

ital mm.ttofklthOWlaDd QO.J..IA. II uper~enf;a

Ylth the ~i04mt 1atI.p. lIe f

platinum. A4"+!AI" perfeot1ng a thermostl1tlc regulator, wh1cb. lmmntnt..

ed the p1o.ti.tlun+ tram 'I"oao , he also diSCOVftped

tha the tit.

became hard, a uvu-\.u b. open.~ad (l.t ,a b!.gher tceoernture without

Deltlng. This gave nor. 11

given, but agnin tho bmp expensive ~

lisec1 that each l&r1p tor household

~ r. Jh 'Would only be

POIlI:II~U T 'ora, he reasoned

he must have a high resiS'tanoo 1 in .In'ac'tlcal

Page 21: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-16­

carbon

would ,t Q cl8o!'9asoo ­

and ~O" pQft:la'nimt in the Idgh V&<MDIl :'l&d ol>­

talned. ordinary 8ew1n~ end by

paoldnl! it in e.n airti ng it

perature 1ft the furnaco. This

erial in the thread leo.ving only the oarbon 1.01,100, in .. mm:mer

o distillinc 0001 i~l a cloeed. retort .. "Ihioh loavQI a

coke re.ldue behind. Aftar several 'trinlo be finDlly ~

a carboniJed thread in A O!W pleo. all gIns' globe, all jo

being hermetloally loa1ed by tuIJion. Attar exhauatinlt it tor

hle a slight CUI'1".ent was DtUJsed tllrouftb the carboniHd

thr, • gantQ Oorle ei.r:ht h

'bef"OI"G '1alO go. . aG8.~d t. lal1p. This 1ni\tJ october _8 ,ed

8: - ~~~ ror forty-five hours. ~

prnO'ld.ea1 e the lamp leEl been hmroved

at varioo. p1"

A'r'(;,nl'" Thomas

light bulb; it was qui adOPted in tbt.la'tre,

Page 22: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-16­

iiO .tay. ae first; tbea:tN

front and baok lItOJl.o

y.r tM Bi

£ront ani

plan oi' lighting 1m.8 pl. 's Thoe:bre in

d drop into

11g.l1t1ng lSYBt~i

D'~.

It

but

and !:

~- by ccdiiniDl:::

~8a chanita he

s .fir3t

.hadow and -to al::l:lDl'ChOlb1

bl1iti6s.

[U"tor the a-.n:t disa.dvnn1:!lt:CG

tho ~tre

on. The

. tho BlUM

led.

t'ollOlf this

York :In

it.

J,"OO'l:l.u.gm;s up in

light

to _ tuw. !ZfJ

1y i­

aolElDd ",,0 be bGl1"ltGD .. elcotrlc t'!I~

Page 23: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

.17.

flexible b

el'leapn4li8

ever an+."PM in

()l.a

not Quw,w. The ill:ut'111mt1on

• Ie

-11 u.ppt'~t8d • 'bas ~ ot ligJl,tinG. Tha direct

rays 1 • The. elAirlff'it!

~i;ural ~0'iIB.

Bt:e.l!8 li~r; wrnn~tIIi

1f8a.ry h reet have

rmmrded to a

Page 24: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal
Page 25: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

..:ia.

,,1.th the cCl:l1ng of th1e ~

a ~ DU'oL~V· 'g-~ lit.

It 1.a iiiitaeiiiry befaro"GO~ into tm tia~ ~

on'! atel!!e eauimen't to 'tal."G un i:A '8lSJO detail

eleotric1ty-. UOIle'Ver. there will be ,_,11 up do'bails

that are of value am use in t

Volts Q.re CDaeure of

oir-anlt. In t Ga1IOoA'alaot~

rical current to tlOlf through the wir 1:t1e8

voltage for domestio purpoeo8 is hbMPM and volts.

A...-.vo:-e. Qondtitute a T.lG8.SU1'e i"lows

oh-cui-t. 1'hUs. if

burn1ng 'tho· d2:1noNll' Wlod a ...

lng. V~. are

'rage. as in this case. It of 16 a::merD&

on .. oircuit and 'the voltago 18 11

am ,d 1nd the l'ft~rtO

lAwl'O that my be lcGdecl. ,

~l~ftnit 18 ~t0 oomplete :rYr.r"InnJl ~.

There aro two types •

0D0 is direct currant. In this 01

tl~ r;y. t irlMol'l¥OI'e nrc Ill.UlY noOUt:mrY1 wire

to oonduct ~ pociti7o curl' Clr.d anotbDl to a the negative

ill tn. ler

citieae • s itthomi1rl:emt # :tl~ dirootion.

in is reverso.l•

Page 26: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

I

-19­

takes ce aboDt • .ttt:v t Q. socond. All stage lighting

___ th. ­equi~.nt will work 11 on either cmrrmrl::;.

exception Igf very low vol transfome!'s 1Ib1oh will operate

onlY on alte1"nat1n~ current.

'1here ring a cir • This is

80ries 08 ot 4l'Jl)Ii.ra:tU8 i. the

while t wlta..&8 vari08. en pura11el wirinC b used the

voltage rupplied to oaoh n1ece ratus 1s the 8811Q1. but the

~~a varieD. SWit -~ are alway. wired in a

_ 1e 1rl. tor N~se. are Q.l~

wired in parallel.

o G o 0 ¢¢¢

~er 11e1

A. fuse 1. a proteot.ive dwiee. wired in a .erie. with

l!l circuit tInt rill "blarl in C:lS8 DOre of a load i. put

the oircuit than it ca.n carry wi:tl1 safety. .

• l)'bmcJo;rd equip:wnt in

large tben~•• 1s :oll'auitd. The

positive wire of 'the £irst circuit and the ti~e wire ot the

decond oircuit are c wire t' 18 COl:II:!.OJ1 to both

circuits. Thie wire is cml1ed the nwtral or inaide wire. The

negative wire ot it ill tnawn 8 the OlI'ba1de neg­

ative Wire iti.,.. "ire Hoond aircuit 1. called

the ide positive wire. Thi. ca:lhbmtion tuo 110 oircuits

Page 27: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-20.

tl&keli tho voltage 220 aoroa., the two O11taide wires am aorOS8

the neutral wire t:o each or the oqtaide wires 110 volts.

()v..,.~\~i N~9"-'T'~!.------------------.-1 ...._----l.1

\\0 ....

N Eo \l'T R ...-. ~ ," i I I _1: j..lo \I \ \O~

tlv'Ta.\Ci ~Ol!>t'T'~'C"T, I I I 'C .... 1"

\ \ O'J \\0"

liwiring tboa'broa must undor the la.ws of

tlonal Dlect!'imll ,trtf is to havo _

iwrurMOO. ~l.-o. in a DrOQli of t __ this national

lectrieal COde ha of t110 oity r

wiring oontrary to its rUles is ,ble oode

of wire beu • a180 tIl. m.:Jmber

-be w1.l"ed in oircuit lOllS other natterB

in hamm'.

thl'ee-wire ...""'+~ • switoh rd irQ it two

Page 28: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-21­

CIIl in­

0, h'tused

Page 29: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

22

oontrolled. that theY mrve fallen ietavor witJl

of the director&h Unless this l' of equiD:l8l1t i8 COh eot­

1y 118"" it does, in truth. bocCI» bQrtbear. In oaaee

th _ J.11!mi .f'r(lll

the 11 • f"M'RT'lIIl'l'"t: of ifle ..40ft ..... 80 the

bOlt rneath

li&ht on

• IrOll'UVOr.. tOO't~iy..AWJo"

are, tlOclOS81l.l'7 sto.20 ligb.t~ unlcea f'U1

Bud!tor!Ul:l is uae4. If th1s

a

cm:fnot OV'o~eczvt.

- will be thrown into

The!'e are three 'tY:D08 U foot11~"tute.· nomoI:,!.. "the open­

gh. tho Oallpo.rteant ,and the 5.nd1red. T'hO open-trough is

construotedof ahe~l t..l-u1t is GUD1t at '&0 outer edv.o ot

the stage floor. The hood ~ un abOut five or .1:1: inol18~.

This ie linod wit.h a flat white paint or a t1Dg1:1esia paint

reflects the light while tho slope freD thQ 1'1001" to the baa.

Page 30: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-23­

is mlnt«1 black in order that no light be

ref'letJted U'D 0D'b the proscenium arch. Thia is wired with

the ditferent color cirCt~1t8. In the old days thore _re

throe in mmbar. red. white Q.Dl blue. but now in the up-to­

te th8ntrful 'thtW o.re mrocl with five. red. FOOD, blue.

r. The JmI:lbor

by the s1ze ~ the lwn.P8

the D~nt

1.

a ftt"tnt"

the trough is such. t:

an angle of thirty degreos • .

of

Page 31: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

screens ~. faoile; or to provide _. e tor a footlight or

The I:loath the retloator- - -.

Oh:IUmel ,and wire lI1!Pi.nn_ leb holds a

lanae fCYr' e oolor circuit. The 1

It is ~ try! to the eyo8

• There are two tcilrl2a o£ this footli •

b.urn1n« law -.,attap wattaee laDpe.

18 aounted benao.th the stna

floor. 'thraw"1Dg the flux of 1ts lim't t-onPc1 tho audltoriUD

Where i1l 1s re.f'leoted 'fJOImrd the stan by a ourved shield which

b pe.inted 1Ih1~e. Altmough tbo light re.tleote4 is diffu.sed in

quality. its cli.reotl.OD dan be ohanmk\::'by the d:tWlal1t ot

8h18J4 .-1Itl1dh 111 on H~• .a.

of f' 1i lng

C1~'b u­

• using la. -tt.at;o .1.8.tlP8.

Page 32: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

There 1Q a1 ot footlight that c(I;lbine& the

,itxtirect 1i"::JN!i The leps are

JiBde in suoh into

the poeition a.

Tho borde:rli are l3Qnpanion equiIDmt ot the

.1J!'J1~ but

aatJllrCa" tlat 18. tr<Xl OYGJthii.4; i'h8 ooniJ'hrut)'b:1oD

_ the IIIJIID 0.8 that ~]·~ltgh~., Tb81 8,}'e i~--';'

eel a-Dl b1m:!:. fram tl,. gricUron and r1Jll' parallel to the tootlig!!l't'.

The first bQrder. which i8 known &8 tho oonoert border.'-8 just

back o£ the proeoen11m arch. Borders are then hUIUt at intervale

of" lix or SenD fact. A lapp -taco sa::lDtin_ haa five or a1%

1& .speoiall)" true ~ theatrea aa.torine:: to the

r.msical o~edy type ot show. lI<:M\W'er. in the legitimate theatre

whee the boxed set haVing 0. oe41:1.nD! is be1DF. 'USOU care fI1~

...._·-t.......lyt tho ,biirdan of tho OVerhead lif'..bt1Iu: fulls on the

oanem banter.

As there are ftriOU8 types 80 are there

nriOlll tY'OU ot borde1"li~ts. 'lhe open tr,_~ ., ob~

80.Lete twIrr. is stUl ~~d 1n 8(J;l.O of the older theatres.

is the

x-ray type. f1an'ver. thG -~lng today

is done by t.1eantJ 1.JX1liJ.1~B. ~hiB tl, will be diacusse4

later.

Page 33: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-26­

stripli{;htlll arm h . indicates. Lights nlaoeC:1

in in 8 vorti on j wide the

11 . 80 djusted. are known

0.8 the pro iUl:l strip. 'i'hey are like trough

type and are rapidly becacing obsolete. o being re­

placed III- juot in the 6 ord.sr light8

are bel I.ulODCl by 8Dat8.

Footlight•• borderllg.l,tl and strip ttl give ott

1 t~t 18 direat10nal only toa 81 d thDrfJfO:ro

theY are ola.8seQ with equlp:lBnt e;iving off ~neral diffu

light. the flood. a vary ....~.I\..+: e{lu1~ in the

theatre, 0 leo a plaoe ha ,'1 betWeon dL~Dd directed

H.lht for it O.al:!D1.l both. t\.1J it thrun

.. brood beam or diffused, d4-n+.NI f is la1aIril

by of olivette. It is 1.

tr If the firs'" woduotion. in ~1 it • It

is s1J'imlest 1. stage equ.i .­ion ~nd uoe. It is primarily 811 o:axm.-£'ac«'l BhDtrt-iron or woQil­

en bax:, l1n.. with O,etul. tb~ tac~ of wbiQh 10 aboutoi.ght .

inoh.s square. Th. side walla corwo.~ tonrd 11,

:loh i. about sb: 1noh•• .1~ is fitted

nth 8. Dogul 110 at , which aoc<E1od.nm 8.D3'

lamp h'CIIl thr" bund~ watts to two thousfUld

inaide is paintal with a flat white r, ~ is

resistant enauf"ll to IS • 01iv­

tho e .tlodern eo ro.flnttl1m- of spun urim4mn.

Page 34: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-*!.7­

Thb is QwitOd bY a ooot ot laquo-r *1ah preveJita di8­

ooloring and oxidizing. The ,color of the l1r.bt is detera­

!.nee! by the o:olor tledia which con be in,erted aero•• the faoe

It is :iaportaut tlw-t there be air ci~at!ng !D

all lidlta that burn a lEl;) of high nttabo. ~larcf~. they

r.tUst be made w!:th double wiLl1a, and tll.reed vi:eh holeS in Q!'der

that the air may cirou1ate aDd that thol'c!!tr111 be very little

1081 of l:l,.ght. !hil pieo. of eCl\.d.JEl8Dt !:laY be t>..lnced on

floor. hung in tbe flies, or placed on a .tan41U'd

teble in hetpt fr'am f • The term "epot...u:m;

ment, tram the

IItmOI' .PQl;~ in

l1guc. e­

lena DdUiited in a .heet~ .• esoa

ot light to the opening oooupi.ecl by the lena. Thee. lena are

nade in TfU"ioua diameters and di£1'eront toeal leDgtba. By ..

a 1'0\11' inCh 1"OGUS it i. \IJIleRtood that it Blight t.

placed tour biOhes _~ frcI!l~the flat aida of a pl8.no-ctrAva

lena. a beB1:1-ot '.l!.cbt ro,e ".,1;11 eoei",~. frci:l tlle abhOr, and

conver.ely, a beam of parallel rays will be brOU£b:t; to i tOC'U8

lens. It i.,.of 'OOuree• .oeoe.s8.I"y' 'Co brins

the saare. r4 light necor to tho ltmll 11' the beam '1•.to b

Ipreact lan-wiee. 'rhe better tYl'88 ot apablilt1rl;s have a swrical

Page 35: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

__

ight

of oauipnent in tho thoatYe +.nrt""" me:rtiomd bofo

~~"1lt the snatl:1.ght i5 rapidly supere~

light and proaccmi'UJ39 Dtr:t.p. Aol'Q1PI tho

moojoanium n ,..,,'h+'hnN

'all aro much nato flan&lJ.v

atrel. pipe Q.I'O cJanx:!ed

of the eo DlltlshDtOr"J arro.ngment

thl3 .pOtll~tB of

light. Th. posit " etlD 'be lIh1ftod. so that

all ~rtl! ot the .et, be

plokod out while otharlS rcnam (1111. ~1WJ aamD m"1n01pl.

has resulted in the reoval or 1ca.1um strip light aDd.

l'8})laoacent of: it b:r ..... by grou!>&,

ot 'baby al'O'bs mountlXl

1um arch. 'l"kA". .tiotB too aro dirottbed laoecli n

Page 36: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

tho ~~. David Delasco 118.. the inventor o~ the baby .potb.~.

are also otroot ISoh1l2D.a the basica ot Which ill

oyolO1"8tl& ~lght1ng ettU1tD1nt Whioh will

be aaa.l.-g later.

lation

apply to each individual ", AnA l1ght~ equ1p::JDl1t. , tl1e intena1' a nmo+..o.4n ece ot equlp»Dt

'be 'I"OCU1ated to a oeMln.:Ln gree" tlm ohoico ar the- m:mber

electric ~IS W!Ied. Iloro«ns or mlks to a-nsorb

,,--"'S. The last nethoc1

i8 b7 far iJh1l I:1Dst lIatlllftctory. fhe c1.iiOcl quality of' 1

may be had by the choice o~ 'bb8 lanP. ro£leoting S'Ul'fac.e am dU­

fueine ned.ia. It is eaaily seon t

11 ba.ve a great deal to do with the light giT8n ott when it 18

consid.eroc1 thnt x:Alt-Gsium oa.rbonatce rofloets nint'Y-.f'ive percont of

- .. - .. - - - - - - ­~

~1T.n~ U&ht!J:l.c .. T. 1?uchS (j

Page 37: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-30­

ot the liGht thrown on it. silver ninty' rcent, 'While bla.ok

velvet reflects only l'ourthciJ.Dlmds ot a • The dit...

quali~, of li be had troo ho lOIms or by using a frost­

1e. bo1'ore the 18t1p. .

Color control if! achieved by nleans o~ color media wch 8.8,

gelatin or glass. or -"., color mixture. Distribution .at be oon­

lamps giving otf ditf'used li~t. TItM'Mrer, on 1

t~nc: a diroct light. by ns ot nas1:21, ehuttors, flippers.

irlsdalphragce and louvers the distribution can bo controllod to

S~ e:rtent. The control gained by ~ of position 1.8 ely

the relation of the loontion of the equipnent to the Bta~. and U1.

Daunting 4ft'

Thero tlre two types ot control, predetermined control and

in direct Itit ion to this the ovieed control. In

ternined caIltrol sverythint is adjusted i .nee to M"aI1nnfl

ity s1J:lplest

inerpena •• it is 0. t, ot oontralizec1control. In the

n-ethod of :Improvised oontrol each piece of oquitnent would roquire

Qn operator ~ioh 'WQUld be very inaive. It ill a mrt ot the i.­alated or dooentralized This 8 to.

~

~ the old aro li !nus the eloatrio arc

light still require. an oporator in COD8tant attend.nee. llOll'e'l'Or,

oonditione ill the theat1'e :e i' 'e Batl.factory that a oentral­

lzec1 control syateQ be used.

of oontrol SY8ti:ilu, ,e polDlllent , the flexible and the navable type. Th pOrament t"'JPe is 'that

Page 38: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-:':Sl­

lmost of'~n found in rental theatres. tor there ill d~ of

d.mu~ing it tbB.n 'th. oth~ tJPe8_ The wiring or the rOO1;.L2.gm;e,

boRerliftltB ana nr6_j~mm1um. U.ght. is po-1'mnnen~. in ohAracter.

the ftr1:tah board. A.. a d:lmoer to work correct­

1,. muat oarry no more am no lea. -.ttage than it 1. wired tor,

lr!'OUD1Dg of the lighta tor "ft.I.riatimi !a. very l:hdte4.

, yuis

~ by the pro4uoeP._ It ~ aJdbeautUul 1i161t­

eo't. are lIeen 1n a theatJ'e with this type' of oontrol it i.

tindcmbtedl,. bo6!NiiQ tb,o o~ playillt; thare oart1•• it. awn cem­

e l1dib1D:g equ1JDmt :nothing belori6i1i to the tllfttFe

current 8lld the h<l1ll1 11gmiB

The fltld'ble ~ is the boat.. c,arrla"ol in the thcai:r

at sent only a tfm theatrea are equipped with it. The wiring

is not Demanent in this type ot control. -The wiring oircuital

be~ oazmeoted "J"l:lbQntlY to arr1 eaUiment, temln­

t'lUlbiDg ~., plugging boxes fUn ferlAle cable con­

nectors. thOBe roem-eles are put in locaveni.e1'1'b 'Dlaoe.about

tllestage and all equipnClt is pl~$l into tllllm. Tbe mtch

board Enda ot thaB"o cu.r~,~va. all _ ~' ~' ~~.'~ tel'b.iDai:.e in a

mal.c~. ftitah.1Jovd .tar t'ladble eontavl Gana1st.

of a mnber ,ts wired ~th a sritab, disDer aud .tu.. just

a. n!~ ot the 'gOl"tm1ent ,I»ntrol tYDe ill. ,~aD circuits

equlp:1Ol'Ih. torrrl.na'be'Jn a pluez1ng panel

n1.tabboard, thWJ OIlY wiring oiJoouit oay be con­. any n1tohbOf&Z'dcg~tJU!taby DeanS of a plug in. 'i1&ttaGe o£

Page 39: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-32­

nitDhboo.nl is'mied to ~ the 8lrM.mtea

average &1:RBII lighting acb:lv1t1e8~ .1\1.0 several at the ~T"...n_

'boo.rd olroui:tsdo not have di!:l.e,rs. Theso are know as constant

cil"mlit~. and are a vory ftood thing to have on Q swit()bbo&rd. A

8 OJ]Al"a! :IS eo and wi11 there

I•• ....-~...ar.

The portable type of control has been the anner of the

traveling CCII!lpIJ1y of payers to the permanent t~· of control

foum in the ~lal theatre. The nitohboard. tor this type

of control la built in a 8tOUt baEo}" t.nmk that will at8Jll1 8hip-.

;ving f1«lpl~. in it swl£ohoa.,tillIo8 and d1mo.ers. !his type

carrie-s stage ,cable. plug boxes am .all th..:l"r equilE18llt even 'to the

footUghts .in maIJ¥ oases. However, theswitchboard8 are generally

lir:lited in cirCldts. jut" ·to· the. ~uet:1on for .blah 'tllDy' are I:1pM­

if'ioa.l1y builli.

e 1Ieatre n1'tohboard ieone, at the L'ios't ftpensive p~eces

of equiI1D8Jlt 1n t.ne theatre todaY-.,ao .1'.JL\IJiY ot them cODtthousands

at dollars. 'They are iSQtlet1ncS .80 big that f'r

_ thsJ. It is nOW a 1.... fJf

t1"lcal Ood. tbat all nit,?hb08J"ds MVEJ 9. doadhant. manbur. that

there be. no expo8ed parts on the front of the switohboard that oar­

riol ourr~tt A iiwo inoh piece of slate generally toms this deed­

tront. The bUlb Dr d!z:m~s are er.rabged above it.

Belmus:e the b~"013llGot-ed knife nltohos have ~1

handles thero 'l.UlO been 'Worked aut en intorlook1n0 Sy:i9tecle By

this syB.tem one .!!IU'flte circuit Day be interlockod to the tlB.8ter . oolor handle .or it may be Jmt:t ind~(Jnt. ThQt On _intorlocking

Page 40: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

marked "on.n

There aro nuceroua types ot m tohea that are used an c1ea4­

tront ftitchbOe.rcle.

ot the

nl'mbool.

'" 4i1lDer is " . for 1

of stege

lAop 18 said to bo aime

lp­

d

when the 1, ItJlUl.OQ to the is rec1uoed. thus o&us ing a

Page 41: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-Me

redUb'blon in the 'operation ~QtlU"e of the fUtiamt of the

larap. As this ..perature 1.8 reduced the lamp will not giTe off

80 much light. Alao when a lm'D 'le bu11inI under noi"miil. oonditi<Jl8

18 to ny, wum· the. amperage,: 1"88tatancO and voltage are one

mmlboed Mracm ~l. the Itmp

cent ItmtenB ot U2bts. It 18 true. however, thnt the deoreu.

of the voltage et a lamp ia nat of the same rnte a8 that of the

lwene. I'7hen iihe voltage is redu0e4 to eieb:t7-tive ooeroent the

lumens the vol' re­

• to fli.'ty tbS lunlDB are rOl!:u.Ded to ten peroent.

voltage 11 reduced to twentr peroent. it i. oOlUlidered &. black

• The1'O 1s still a TOry faint reel glow. 'but it i.8 nOt suf.

t it Ban be SOeJ1e • In order ror s.rr:I d1lll:lft' 'to wm"I: iUl 'the bea-e canner pos­

sible it ehould carry DO more or 10s8 than the wnt-ta(;O it is

wired tor, It the d1El:Jer is under-lo.aded it will dim in a jerlq

mIUUlCtr and fliolror. on \b8 other hand. 'if it 18 over-loaded

e 18 damer of ,seriously damaging the dimo:6r. As this would

be very espomsiw and dbli:Jers a.ro made only in etandard aiz••

there t'JaY b. lane di.t'f'iculty about it. In lIUoh a oue as that

of an underloe.d there 'CQ8 be a ionp placed in

sta8 flbj-N it arm not beSOeD and bY d:~ ita 'AIl~ to the

_ ch ia to be dtJ:Ded the 4!mI:1er will run as !t

,d. In the CIa.Be of' IU1 overlOBd, 'two dhmlors may be w1J'ed !D

parallel to each othDT and interloc.ked, tile diD::1ers will tunction

perfectlY. This should never be dCl18' it the db:1ns aaiiilOt b. !n­

'.!.._..........-. isDC ,

Page 42: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

in .&mer!._. the

_ __ _ __ ~. _ andtha

d~lt The sHJv type is J3&de by 1I1:ndln,g

MtS"·ohI"'''· t1r1l:t~.about t\7o p&.rane.l stripe of heat-rell.t­

ing ~lnr.'.J:Ulteri.al. . one end of the res!stw 'Wire on each

to t.be.8"~. are taatened the

~1" in 8. .erio8 with the cir­

it lll.ove8

8ar.. Urtrod\!oos I"el'-iatanoe cir­

4iiD=ed.Thls d!ltl=.er cannot be

thDll'1ld.;anguJ,ar plated1cmo1" b used, tar tbe moat llD.rt in

the tliea.trs t9 tUm large loads. It i.e very flat and ocm.1ata

mainly of .. rec:rto1]£l"ar oaetiron pmts frm:1e. with the resistance

.~"'0U8 :enamel. The wire is conneoted at "1RU"_

the enlmttl. The 8 o"ntaote are placed 'in luoh a ma"""R' that

are _pt bY Q slid~ coDtact tlat pivots at the oem!" of

the p1&W. This .11dinG eontaot is aotrbl'olled by e. bandle tbat

cl1ImfIiio. ~~a load rq1n&

een lmDdI"Od ':to tiTe tliaUiaDd ....ttI. They are UDGd par­

tlou.J.Q:rly beca~. they oan carry l!IUch havy loads.

e are two 'tYee. of round plate d:lDl:3orD~ The first 1.

11 lKDl...lm;erlook1nv. dJJ::Der. This 18: qed to a £1'86t ext&1\1".• in &tIIlteur r.rottP. They le8S ex­

intef'loo1d.ng plo.to di:::m"·.am are much lJt!ht:­. er 1n aonatruetion. They Are oiroular in shape. oastiron fr:sDe

ee18tones elements n!'e mbedded in the vitreoua lIDatilel.

Page 43: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-!6­

The re.istance wire' at eaoh is di.8tributef,l 'tlJ'OUnd the airel.

and each resistor is dlamtrically opposite the other. A

lWinging contact arm, pivoted at the oenter• revolves about

n"n-P+: J~ the oehtOl' throudl an arc ~ one 1J&mdrod aM

fifty cl8g1"M8. The baml. 18 ecmatructed the ewae IlIIUme;r ... hat at the reotangular plate dimr:1er. SSto

110 8'tepe and 8' I to 17" in diameter.

The large, ~, plate. bJ.ter~oald.ng 4!mr:ler

t18J1nOI' as'.. This 1

Page 44: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-31-.

'the theatre it is o8s.ntL1.1 ,t it laced in a position as

s 'DO.8s1bl-e 1e of the theatre. of

is attitude.

" Perhapl!ll d8foo't of I:1OSt 1idt1Dc syat8!1S is that

the 1VI.tlipulat "'~lta.. has to do i't blindly oft-stage

or depend ear ~, -- -8 delivered

s tohba [email protected] ~."

~'!CJW8Yer. tl1e.1'O are otb&rlJ in the theatl'o that. bOld that

an eleotr-ician llMd net 8ee the 8t1.G~ in order to {iGt his efteo't••

This idea was made use of in Ua-~ Ueinhardt Id Jiew York prod:

ion 01' tbe "L:iracle". ':hay. were a llUIllber of eleotrio

U88d 'in ue 11~mg o.r 1:111. pl~ aDd n•. 1I1tret situated so

that theY altht see the stage. Enoh l1a4 under his oontrol one

or more pieces of equipment am eaob t'eceived his instruDtions

tr.. 'the older Cllectrician whO wo.e sttt:i,ngat his desk r.ith ·the

abeets andsorlDt betoro h1n tmd oOD!uoted. the entire 1:1~~

'prod1lO't1on bY benw in conatant ccr;rnmioa-tl.on with

the operatorll. TMs was Q.n eta step i'ortmrd in the

trol of star::e ligho~.

ll/'ft!M\7'er, in 4ireot opposition to this !e 't. 8 been. 1JU:I'tall.eCl In tJte Chicaso Civio _ _

io 'CaaDBn.V. Dy this n"'8ystem the electrician mani­

pulates the lights without any gueslnfOrk. u he takes his plaoe

iD front ot the curtain. The lighting operator am his oontrol

a llooth flimilnl'to tho Dr'oal.'tors booth IUM1

- .. . . . - . ---~~ ~

Theatron - Clarence 5~tton

Page 45: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-38­

enables h1m lIee all lit.htbg on the atalto. This new de-

t aocCilpl!ahes this does away with the old. of ~toh

board and 18 oana'trwrted as follon.

"The General El~trio conbrol~-jOhime~l4U.ohIliii.ke. the nMr

nethod po.sible 1.Dvolves pr pally thr­

d8'1100s: .elt-synohronou.a actor, the lali vaouum rectif'yiDg

nBjokctting under the Dl1!Il8 ot .thyratron' and a new type of

eatuS"ated·re&otDl"'.

"The ••l.yn 1s a d6Vi.ce r••embl1ng as o;'dinary eleo't!".1.c

in appearanoe and construction. ContrarY to

of a motOl" however, the rota . elen.ent dOElB not revolve at El.

high D1J!Dt'C1t slowly, rarelY' more than a ccoplet.

revolution. Itrically, ~ rotating elcam produces a OOlT081lOD!...

- .her rcrtr..tinc elClmt in the slme diroct­

same count. .. the use

the l?Rnme Canal locks 18 control­

led, and they are used Sn thll!l ot1tm.'b1'1 'VB.l'ious 'IJlIl'PQ18S.

including the open 11·

evators, etc.

.y to 11 or group of" lights pas 001"0 reactor.

other wiDdin[; o£ this reaotor ia .fed 'I 'l'"ftnT. curl" in

varying emounta h* a of thyratrOJUJ. The amatmt of ree­

titled current 8.U1)P1ies 'by these thyratrone depends on the eleot­

rioal relat!rmabip bel:aeen elEments of each tube, and this ~ - - . . - . - - - - - - . . - ­ ~

rol - P1D.:~1tn·d ~v.a.Eine - .r. 412

Page 46: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-39­

lori.nf: ~:

"The grand r.l8.ster knob controlling all tho lights on tlw

stage electrically controls the tlOV&llmt of the rotating .1­of a ~and mnste~ sel~. This sel8y.n i. olectrically COD­

r;overn1ng not only the tlajar and minDr'

groupe or lights. but a180 'tboindividual DOdUlatOJ'B for Bingle

Page 47: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-40­

lighting oircuits. Therel'o.re. ~nt of the e:round JlIQ"ter

ftri":t.'Pnl blob oauaee all the selayna ~~ting the mod­

ulators to move In aoiitOi'Ed.ty with it" and the DOdulators. pre­

set aocording with the requiJo_ents of the soene. opera1ie to

oontrol the li~htlS. It. however. individual oont.rol 01' at17

jor or m!iiop, ;rOUp or 'S.D4!vili'Ul:l-lijiting "oirO\dt 18 desired.

the

not intarte:08

are one hundred end forty-one individual sta~e

lighting cil"oults 1n tha nG Chi,Clago Civic Opera nouse.

c1rouitsinoludoB li£hts of bub one 'ofthe t

used on a 'tbIIl'trQ l!Itag~ .. amber. 1IIl1it.. blue and red. }. tvDioal

oircuit J:lRy eover the amber li,.J1ts at o:no IS ide or the oentor of

the tootHmts.. tile red limts in one ~ tho light bridges. or

one of 'PomMt.sIt • 'IP'''~l'Al

e",.m,i+.n e eo.rou'Diil un4er the aontrol of ca8'tor bob.! ".mrapn.

ing; ~o'r example. all tM blue ll~tD in tho borders 'end foot­

lil'.'htll all the amber in the paol"oDt lighta. all the wbito in the

etc. In addition. ,all the l1dlta of each color.

,0 l:D11te1!' WIleN. are oo21-trolled tIY a col.or aas'ter J::nob. Fin­

ally. all the (lolor mutei 'bmbB Ofm be grcmp controlled by the

ter bob. the Berne systEillll is folloved nth the hOl1I1.

llt!ht8 in the thatr._ but in a. l:IUCh .. hlpler tom. •• tho light­

ing 011'001t8 involved are oc=pD.rat1vcly fOff.

"The enR'g;J' irIvctlVOd in the oontrolof my of the 1rd1.". idual limtiw! ~1rcuit8 is appradJ:llltely one-tenth tl'B't 0011­

lumed by '0. poabtt flashlight. !he enorgy oontrolled. however_

Page 48: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

8

-41­

runs as high 8.1 t)d.ptw.{ in a ~11"8n 0 'b.

,rator will p~ " - ".aired 11d1tJ.n.E

, /I

be coDbDOted o JJlmt'11:. neana of •

!JO.s-ter tumbler switch. intensity of too li~, will

then be a tatter ly turning the grand r.lG.ster ~, or other ,\

blobs, •

It lli -nDO'.SI1!'Y roal:l:so ~ -MlftliBional theatre

is rare llDtt the amateur tre ~ 80 t~t can II1P¥M"fI

suoh olabo_ eQ,uip!l.ezrtin l"egard to a nitohboard. !(t the

im.o it i. b 1fVIIt.:r. 0: hAVInr: the

t lrthfIPn he

:wutchel" is not the mal't aatiB-

d8J)eDds on a silent

effective.

l!Lnf:mo ~WD.:Ll"Qt\ 11 6 ~he 1"OCD 'CO 't.110 11

GYri go OU't' 01' Cc:ma on

,y be. On the • just as bad tar the

actor keep his mIMi on a 18 re-j

ollOl'tltor. A condit, kind D;.J.Y' be

net bY ho.v1Im: the li«htin2 cn)oi'n.:taz. wheN he ean tIle II'tG>l!ea

am tbia ean on.ly be tho oontl"ol smpl1f~d

and 1888 upenaive.

said, H ••tiD be l1rd\t: QM thel"e ....s l' ­

r-Dadl the Bible, s ng oalled 1" eel in ni Roodn'eDUt It tcmMld visible

- ... - - . - - - . .' ­D!.D10 - uonOD:uI • t3

Page 49: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-42­

,t ensl'l':Y. It be oonaidered in }Xlrts: first • ob-

j ;ve Ii .Dd sec'Ord 8.8 sUbjeoti". light. The purely

!hysical asrlocts are oon.idered in the first, and ~iolod.oal

and DBYOholoJ!1oal aspects are oODllidered in the

The physical aSp80tD ~o the nature and "fI~8 of l ...~".

It Me Illready been t armed visible, radiant enGl'rY. 'rhere are

several dUTerent forms ot thiS k:1.ni. of energy all of whioh tnWitl

at the aAtlS velooitywhich 18 about one hundred and e1"."

thousand miles per '."fWuu.. 'ftr aro I.r wave length- wavo le~ ,t 1.

visible ~ ...,. is ranging f'r0llL 0.36 merOlUf to 0.75

miorons • A 'ray- 0:1: 11 is one direction in which light "travels.

This ray will bend and ~r&vels i.n stn1«ht line.8. 111­

aotion of rnya fU" an axi. 0 itu ab of lig."lt it

all ~e of a plss through one point they are

said to b 8 fooua-ed.

The principle aouroe of ligllt novr 1n tihe thes.tro is

eleatl'10 incandescent lcro. The clevelop:umt

incondQcat lampthnt Thealll in 1879 bas bpClliu,hf:

ab the use of tunEaten as a til ,t inIIt or carbon. Thil

new filaDent is m.cnm~ e:1.t1ler in a vacuum. or in the ,osphare

01 inert gas; the liz8 the Thedeto~

lanps of ~ ,ted in iNtr+.

Tl ,y unite ot 1i ," neoessary to

stnge u the l' whi cb is the quanlty of ,l.:utI1li• a:nd the 8eo is the Ie toot which 18 the JJO(l~ of tlw

qual!ty or UlumiMtion. It t be l.l:DCijIl"8t<)ocl that light is

Page 50: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-4~-

e l1hoinat_ton 1s the 01"1.-eoii& .LlIZWD is the moUnt

a surfaoe one to-ot square root. (IVery point

ils equally distant trClll. the II source which emitll

Ie ~%' of licltt evenly in all directions. A foot

Ie tl1e intono1ty ot the l1r.ht tbraIm a area one .foot

e. 1m1onis the light

<randle pm7er at 1 evenly in all dir­

'l'bDNf'oro. one 1U1Un square foot ~ one foot

aandl.,.

'lhia is vOr"J ~ in stage li~ting. 6speoially tryr

lititt1Dg n , ous1nt

Ii needed con be c ted. A hundred

thirteen huxldred IlJL18n8 of light ·and a

about ty-one bn!Kh-ed lutlenll

Is hii that the &'&Pan"

dny would give an intensity of e1 th -­

shOAled £'rail the BUn but sti11 expofJad to the

intemJity 0:1' £1v~ lIImdred foot oandle-B. The.L1~

bn~ a .mi.rl)' lar~ window would anounb to about

11 1igh'tod at niglrt

WOIlld bava an intcmd:ty tram abvot tcrtJr to e1t11t foot candles.

This retlact"ian of 11l".ht i8 one of the mcmt interesting

plllUlD8 Qt emge li~. ~r 11 'bean of light strikea an

ob.:toat iilioro i.8 a certain dot=:roe of ligbt absorbed and a oertain

The deaee a£ absorption o.nd refleotion d8'Ofml18

objoct. It stanis to reason

that bJ40.k will refloot ~:Lr:ht thUD lIhito. llomtver. 'thore

Page 51: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-44­

aNI 8<X38 blook8'l1rtacos that will re£~om. Dore libht than

ra. BJ.a.~ cllDbrio. which has a !lus surface reflects

two lD:mdredttE.poroent '0£ the lirJ'lt thrOlm on it while black

volvet reflects oniy four "'~hCAl.lPmithe 'PO!'c8Ilt. .i'his 1s due

entirely 'bo tho aurfaoo of the !:lnt:D-1"UU

There o.~o IOIlI". tnefJ of reflCl~itJD: regulo.r. ditf'u8ed.

spread and E1Ued. Regular reflecticm is produced b<J n besm of

light directod upon mrrorl!l or smooth pol:l.ehe4 cetal surf''''--­

It this surfaoe is .1iliiOOth ~tbe raf1eoted l~ leavo8' the re

or a1itl1G snmo e.naI.CJ:tl1ll' tam dil"CCtM li~ht Ittrikes upon it.

If the refleotOl" is 0lU"Ved. tbt ge-a:ID'tlr-ioal tang;Qnt of 'thO curve

forms the basis far the Def1S\l1"C1:18nt or tho anr;les. Th~e.

by shapirUt tho 'surface at the refleetor to bhe CAl

for tho reflection of the light it llIlY be directed in

desired. co~ted to 8CIJIB 8pobJ1•. 'II'8G.l:Imed in o'b!'lers. just

as the light 111g engiDeer may wish.

nif'f'us~ light rOffJ1"O to tho oharaotol" of

is 8oa:~Oroa 1)1"1:Il3m up aD1 re.

floctod in all direot:l.ono.. .. -is to bepe. 11 ~oa8 tin1.sh but a

poreoue one. 1 reflr 18 1Ihorl.od in order to

br-eak up tho light

Spread r_ the roi'lec'bion 18 o£ the

direct these broken ~

.ol'8.S that of rOtular reflootion. Sr.100th.

not 1Ue'hl;y polished al and ahDbmD retlcctoroG.rC of tbis nature.

Page 52: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-46­

th. blft 'bYDe ~ re.t~obion, resuli::a when the

ran.atop i8 IIUOh 'tha1: 'the ISjor po!"tr~n ot t.'le light

are b1"0bD up AD! 8oa~De1 am tho lll.1nor portion 18

eel aaoordiDg to the 1_ at the regu1a.r 1'G%'lGC't'lon.

PQper Ubior gasD BDJ.,1)02'c:03,Q.1n emmeld atoe~ re£

of this m'tm'e.

i theaiJr'e are either

1 or mirrohThe tl8tal , T.l8do of thin brass or

o()'m)er, highly ~olli]iOd 'WI:! ., ooated with a

silver. rrors oan to];':l~'-. i.

a a l!I'Dhere. a.ocostrical ol!m­

81noo t ,8 !"Gf1eotor at a

the 1" ...

source \:thus iTlll~e to the

0'1"3.£t3.%lI'.I; l iro:rb. 'J: T.J6nlbo~ic ~ 11=r cD.dO ~r ~1I

a1th it i8 somot and is a lector of a J:l6!'­

abolliuu.. 1 CRinilcir

the reflo0t04 raysJ are narc.lle1 to rpJ.j ................,,'lel

raye tom t\ third 1s .ran­

"'_LI'l.n. ti or

th of a lOdl3e. ~eo

arc. ide al'O 18 8il'lfeN1d Q ._WlG of the l"Of1.Ootion

t'!'-.e beam light i8 8tlHm....r:ocr than t of tho 1X\rBbolic re­

tl....~ • l:1at ~ U uea core lithts for

out . 10gltimnte t1'tBl.ltTO.'-'

in d ca::lI:.1dn

Page 53: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-46­

llOUl:ll.e oonvex lens or the objective lens. By ref!"action

these lens oon1:;rol aM direct of light

passing through it. It has been .'tied previoualy that BUb­

jective ligbt ia the effect gained by IlltJIt. Thi. et:feot is

viaual sensations of IJAn. It ha1's been establish­

ed that tM colorless more t.nno~ the

color sensatioriB• thus. vision i8d~cmt, 'Wb,1tea, gray

am blao!cs. The bri~lTtnel!l' of these aha, 18 detem.ined by

t;.lle intensity of the l1r)1t re£lect,d to the eye. The various

s reflect light in ,different intensities. the re. theY

may be .,aid to have 1£1'10i of 1"t'lT~Aft"!:'1.1

efl'ic!.en'b is 11ml by zoro. i4dch 18 black

light J ond unity which il lIhite and ref1eots all the light•

B~8n these tt'TO l1mitations aro tOO various .at1ons which

The table giTeIl below givoo the Q~d rar.ec:n:;­

ad light in rega%"d to the listed oaterial.

!aterlal coot£icient of Raflectlon

I!apoad'Ur.!. carbonate .96

Ti'hi1:e plaster .' ";nite Blott .85�

Heavy pure White .-ilk ..so�

ihite bond etnMonnry .16�

ITenpapor .50�

Dull c"'- .21�

ChOOllate. .05�

Blaol: osmbrio .02�

Bla.ok volvet .004- ~ . - - - - - - - - - - - - - - - ~~

staID Lightin,r; - Fucb - va ii

Page 54: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-47­

• &JUn..oe d8'P8J]d.S not only

OD. the~.ti reflection ''btrt: allo on the lnten8lty

lto 111UlJiJ:lRtion. Upon this depttms the degree ot lil!ht and.

. -can be achlft'fJd 1n stage lighting. In the old type

st:a.t"8craft. th, liglrt1nr. of the .staI:e. ·1I8.S =de as unitorm. &S

po8s1blo. 'l'he lha4aws tlult wore IIIOClDBUsry were llGinted. unon the

scenery. 'l'hie praotice il now ended 11M it is well for the thea­

tzoe, fo'1" it 1nUJ eeld<J:l that the shadow c(iwided with the one

_ naturnlly would 1)[1'178 been tll!"aIm tram the naturnl light

.-ouroes. ,auch as w1DdQlrll and 400rs. In the p1"Mlent dq stae;e­

c:ra.:rt ihad(Jft are Dad. in the r:l8mlOr that nature 11'011

Tho bCMt1dlnter1or realistio sot 10 liet&ted in SUch a -.n­

ner 'AS the ,natural light souroea would light it. '!'he,rofore,

the llhadon aro J:18d. and thrown Qarreotl;y. Thill method is called

ot tbree-d!meIiiiQna1 liGhting. In thill three-4hKmBioml

·1Bt1A.d.ution there nre lil:ht and shade, and tharo hava been vcry

1ntare.stinl!: exp8rhtentll t18de with it. one, of these is tha oast­

big Qt shadon by proper IJtD..go l.!gh'ting. Thi8. '\7e shall ooneMer

1n4-:... The ,u.s. of the hlghlicnt on the sta,o i6 also & v:ery in­

11Jl.gn.11glni is the area of high brl

io the re£llIotua 1J'Jage Of 'thO 11JUrt; souroe.

All objeats are visible because Qf the light they reflect

to the eyeI bu.t the eye identities them by the n&nner 1D which

light. !he'!"e oro certain taoiiors whioh govem

8 reaom1m.OL IU'. Fuchs 1n hiB book all "Itage Lighting" gives

the toll~ table for tho factors, Wluenoing the appearanoe

of an ob.1ect. It is divided into t"::tree groups.

Page 55: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-48­

Pertaining to il1ur:dns.tion.

7. Preclca!nant; direction.

8. De dlf'.fwsion

9• Col

10. .~1't7

Perta!rdnl!: to tIle observel".�

11. Position

12. Previous viwaJ. exper

13.

14. Visual ,enaiblity.

Subjective light has five relat10nahipe to stage 11ght­

~. They are !,llum1nntlon, realilJm, oQlapoaition and design..

plastic tctprerU5 ion, . ~lInion.

Tho prmary f'unotion ote1::o.." 11gh ~ is to 111uc1nat.

the actors. It 1s not well to use muoh d1ff'wled light as it will

destroy the shadows· and it is throuP'..h Ii and s.hade that the oye

is able to diet! 8h. the prGda:l1n!lt

han'ftml t 80 does. the .t CCDe

the sta]..;.v"

Page 56: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-49­

e are' IS ece playa tL prloarily realistio ~.

thorefore I. d , that treat=mt in light As the sun forJriJl

818 for 1:l.lIbt1nl 4rth it ill 'rnll'lln oonsideration

in eat'torior IOta in the theatre. Ie IUD casts

by the .hodOWB tlllt al~ cast the light­

+'ftfthnician can cleverly a~8t " time of day at the •

of ,lay. ILt noon the 8Un is prnctically overhead o.nd zoe­

sultant shad are vary ,CUlOrt. +.,'mo,.. 10M hol't.­

to,zoDtal shadows lwm:lin ~ __ich dopend of dlLY-.

The 1!'lQdOWS oastby the W\Oon are I' t~ in the ec.me 'manner.

There is also 1 . reflected trom the sq and if it il 8. oleaI'

day th is 11.r,:.1ort 1.. bright and U' a ol~y liltht ls lesa• ,t am moro dti'tuaodln qua.l.!.ty. Tho tiIilo ot year t1a)' also

bo 1Dd1ontad by th8 limlt. In vintor lklIb 1s not as intense

1S it is in ~.r. This • ple DUSt be l'O~rded 1n the

lightin« of an indoor set tho exterior.

ever'. as the d 001"11 IUld Vl'iIl4aa N"Q the of lirht. 1n

e. rocc. and t'hBJe are at the baaK' or l'1dOa, at a I'~. rOl!l11a1ll CUlt

givo way to prQo1doabilit"/. If there are Windon y in the back

the a'ctar c&Umot stand, with hi'l raco in a. deep, shadow juet beoauae .

ro,all.m 8.c.,Ya the winddllS in the '-ok at the, set are tho only light

8ources. HDnVOr. this can be mrorolfte it the light plAced out­~r. _

.1419 tho window is/per toot co.Ddle than tbat. inside the window.

Indoor Brti.f'ical lirthting is easy to achievo becauso light

oones f"rClJl O'V'erhead f!.xtureo, wall bra 8, table l8J:1pa and tlool'

in lity. thoroforo. tmking it a smple

I:18.tter.

Page 57: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-00­

Campoeition end delllgn 1n sta~e lighting act in the

very 2.mpOttwdl poeiticm. 0: unUyinr; the .ettinC. properties and

a01J1:nJmo1J. 'lJuI.-tage cl_igner dc.DdIl tha.t 11&bt oontr1bute 1;0

his tlGlJicn 8.S a p1~ture. the stage deslgnar }l.as cmly bemm to na­

lise how important light i. in his emgo picture. The full B1J:IIS,

th1'. aDd o:t lildlt to .dove 1)1a.:tio apres-.ioh will be dis-

ad w.

_ _ ~ _ liGht is 80 BUbble that

only roafJ1l'bly baa the lita~ deligne!' 'PO.QomnlMd ttl! full VQlue.

,n out of the thntre :I.e its force felt. It i8 much more

fi0l11t to be balmY on • cool gloom;y daY than on one When ~ sun

igbtl;y. T1mB it 1i11 that'bhe qual:i.ty ot light etfeata

t1nd it is on1)" through the use ~ the psychological

effect ot 1idlt that nlA':vl of J:lOod can be' suocesrsfully produced.

Hawver, tl'.e psyahol0ltY of light depends 'to a great extent

the oolor, tor mm. 1s aL1"'iLlelyaeu-ltlve to oolor Without being

iWare Df it.

~. EIbr!n APEmlP t-.as the etat.timint in hls b

lJ'nlay Pl"oduot1on in America""

:riPeroaption or l~UZnL ~ ~ ..... n.thol", intl»­

o£ li~t UVOll the audianoe is lo.r y n pyuchological,

a spiritual. t~l raattor."

This stntament Applies lor J"D.'l:llftro than to

white lil!ht. Same hold that or is care1y a sensation and

in .. vnw this ls very t is callod "ao1or" JIlWIt be trans­

lOoted into uer'9'8 cells ore it he J'OOorded on the visual con­

Page 58: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-51­

8ciouanos8. There are oertAin properties tha.t give rise to color

lIenaatione aM these '!Jay be .poken of u the Objeotive lWlao of

lir;h"t. Colored 1ipt. 11.8 well 11.8 white light, my be oonaidezoecl

objeotiw am i'Ve. The subjective e of oolor t. up

of. col IilYBiologioal and psy­

ohologioal reaottona that they bring about.

It hata been said that light .il a ..vo of radiant energy.

the length whioh nmges frOl;.l 0.35 micron to O.'1S ~cron_ Thb

range 18 e wnvo ,na which conatlt\lte

• hue. Under OJ"C1!na.r;roOllditiona the lmI:w.n eye

about t'mlllty-t'ive or .rty huell, hOW8Yer. under oareful1y arranged

oonclitlODl an eye is a8naitive to oolors can distingulah over

a hundred oolors. Bach baM at mcmodlfGrltio lleh>t foms 0­

tral •

The lIpt'ot "' 1 rango of light.

It was first studied b~r Iss 'Rton in 1668 l'Ihen he deoCSlpolied the

lpeetrum into ,ponent pirte by projeoting a beam of white

light through B. glus prime GO oomponent parts e f to be

violet, b1ue.blue-green_ gz"89n. yellO'J'l, or~6 ana red_

The tollmriug ta']31eJ gives the color and t~ ran~es of

wav~). length.

:

~\J,.vi 'fH­ ~it)VI.~" BL.uE Q1'\~E~ ..ow OM~~!~'''i~

I

I I I I I I I I I II I I I T I I I I 1 I .I J , , ,-I-.~,•• I l I • ! I

~C) I.\S liS" loo loti 10'tl .sP£.CTR,\H"\ D,,,c..t\,.,,~

- ~ . - - . - - - - - - - .~ ~ ~ ~

S~age Lighting - 107

Page 59: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

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a SUl"1'!fl.O'G that it! r4 the de.ired

CO!Ol-. 00' absorpa the undesirnble light rayw. and ratloots only thQ'. 1lIO.nted.

HoWevor. by abovo neth04 c:m1y e colors are maiDed

USet1 in tho color tmdia. otherwise tho will

nedia. "'-11 not cmpletely nbaorb 0.11 tbD other rays but the effeot

ieved will M"Ve a f\aminant hun. .As in this caSQ; a c~ial

red color Dedia will not only reflect red. but also lossor amount.

llow hu~.tI. but the <locinant hue wi11 be rgd. It

Page 60: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-53­

ianao8S8D.ZOY to !,rQduoe any hue that the hue be pre.em: to an

appre.ciable du~.

Therefore the oolor of the light mood.uaed donends on the

e li'l!ht source. Tho old carbon light gave

llallieh light. tmt of tho present day tungeten-vaauum

(Maida B) has leas of the yellow out tum the ltU-filled ~

(Mag_ c) l- nearer white than the others.

'L_~ __ __ •.•. ---- 'h b&o-m:mn longer and the ltU:lpll~_.L. .~ - 'L

ohanttt'J fr.<n 1811011' to orangt'I and f'r<D'orange to I"'ed. on the

• aD the CUl"rent inOJ:"e&8es the light color worl:s in

just the· _ito directipn_ b:t pres~nt there is no 1mp that

c:m.te .itel:lght and·'that Is because the fllaZ:1:m1'CB can-

note '- ­ !.

gh t~'taroa 'that aro nocesonry to moduoe

it.

The oo~or DOdia ia uaed in produat or by

orpt!on, usinc th methOd, of oolectivo tranJm:\esion,

_ ill I!lOIll"QO Eovea.r ~ J>OQ"t'on. uo m1.mulI.ctora hi.

<\188 and bD.:s at lo.et .succoeded in m1dm: lOCO s.hados of £.1­

ntinG and c;la:;s in pl.\re colore. rthlle. the Cl1181l is. l"lOre expensive

it is &1' moro dtU'l\.blo atIl. ,18 hic;hly tre.nslucent. It is now

in three abA4~a, red. blue, ana l!r811!11ILi.

lootive d6Ve1opecl

by Dlrino Fatuny, 3D Italian. Do.vld Belasco in this cauntZ7_

F~ in his oxperlcmumts arc 1:1Jtht exolusively beoauali

its liC;ht AtJr1ran=telJ that of sun oloaer tlan ttat of any

l.BtlIJ. This J.1~h't 1ftlS of cloth

Page 61: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-54­

dUfuled" are· aampo.ed ot •

mlmber otstrips of oloth. whi ch '88rv8 tor the pftlDlrn;_

ion Of oolor and others tor' the !tioation of the 11gh~ by an

ac1mixture of black and white. ThO apparatwi 110 arl'lU1ge4 that

it Q ,.·rolled far ot the thn:br' of simple

IW1tohed.

.au.JmtUn.

time ana aea!:n. All the eftoots udal In a nelase'o pr-oduation are

fir,st 1tOrked aut in the laboratory' ana I:'..any il1Vent:lone are made

there. lIe f'ound through experiments tl"lor. that silver laoquered

retleotors "ould C;ive Q diffUSed i-lluninat1on. ca-.ble Qf' 0

lli~.ation ,em an area without $pillandW1thOU'b the crmtor a£ 11­

lum.iJm.t!on that cHreot 11mtalfty& givec. ne also found that 1 -.� thl:ough hi. method" oou1l:d be cast ovel" an objoot !n ali1 fOl'l\ ired

suoh ..' 1;)-anda. c:b-cl~8. 'erocoent". But he vnmtod his 1!~~te to

._0 for the lao­

colnp4 In acienti~

fll was oode. A mooth 'Ul"f"!i.CllI D"18 Q plane

refleo-bilon. but a tmmmool;y eurface reero8sed the rays anew. el1m­

inatin.t pJ"Qctioally the last viat.age of i11umimtion. Tho action

of tho long rays in ao~ to the ahort ODU DJ1 the various sur­

t"acos and the absDrption of oolor by the objoot 111wainated. fol"lled

~~ ba.~!1 for thi. nel1Isysi'::c. A table of f'QCUsine and ref'lQct~

in order to prOduce tiDta o~ oolor 'Was worked out aftor long months

Page 62: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-55­

o£ labot. varied intensities '0£ "Color are

this e foous or 1tUllp within th

pr'oje hood enab1 aoe qual!ty and quan1t"J of light

to thronn all 'the .~nY tl ireetly bo!'O" the 1

or 0. d htmdred

atepa s UD:1or con • It haD been said that white light is LlAde up of oqual

perte of tho speotrum. Remover. it is aloo true It ,te light

will eQUal uarto of ors ere foo-

used 'the 8G1D8 DOi.nt. If ih••DdO'tnm 1. .....~- m.

are spaoed equally aroum it with apaoe being left , the hue re­

sultinc tram the ocnbimtion ot the -two eM the 001- dia.

ioal1y opposite are oaapl8Qentary to --­ • PUIU'L( ~

!t~lIl I Y I O~""""i

BLe' ·c.."ilf'.i

"It fiG. t.I

With the exoeption of ple hues. any . in ez­

1stanee oan be Emletly aatohed hue at in tM

Bneotl."ulie ,S 9 mhture ot the vio­

let 8 am BOOatrum and are the only emes

not found in the range vie_ a'POO'b"u'R.

- - . - - ~ - -. - ­,ita!;_ L1~ 1ng ~ T. Fucha - 112

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-56­

00101' haa three abaraoterist i08' by which that color

1s known., They are hue. 8,a.turatio.n 8Ild bri~itiOI1B' 'the Boat oan­

tem used for its description is hue, its spectral hue or its

e:mot po8ition within the range ar the spoatrml, or it it be purple.

ition within tho spe~nm ot" ii:s ozpleutmtary hu••

RUe is tho name applied to Q _va le~ of a ce!'ttlin length. suoh

as gold 18 ~ a yellow of wave length 0.591 nicroNl. The degree

of saturation of a color 1s its degree of !'roedS). tT~ admi8ture

uith \"hlitej '\"lhem a hue l'B 17\lHl ltD aturnt10n is 8aid to be one

hundroo nerotmt. :rihfm 'Whi~1 l!.aht is addocl the hue beacnea faint­

,r a n 18 le88, it 18 teftted t1l1DD.tura't04

and b known as a tint.

oforo. tho ot D. gold is a yellow of tmVl) length

-591 tlicron nt 'Oer«mt ao.tumtion. !lhe third ohQl'Q.otoristic

18 brinrbDcss ~ch is designated

• Jonu briv.htnosB or gold ia .21. Wtnto#lf!~",. Gold i8 knDwn by

three characte~i8tia8; ite ~ lenRt11 ot .591 its satu­

th1rtY-81x perctmtand Its coef.f'1c1r of refleotion at

.21.

,y be said ~t ~l\o FimDr,r oolots Ilfdlt aro blue f

r;reen ,and red. By n1x1D, lors in

tho proper proportiQ!l8, liGht or atr:I color may be cede Also.

in equal Dl'OJ)Or'tiOJW 1drlte lirlrt is oduced. It'

equal pl"Oporti0D8 Of the light primQri08 are mixod irs the

11 result. Thus. blue ana ~roen t01"m blue.green.

and r04 fo2"J:l ~l101fam r,od ani blue torm. purple. at oourse. with

1Zft?'V1nll' monport;iona or tho throe ,dtlIlrles f light of Qny COlor cay

»roduCDd. This is callod tho additive mJ-thod o£ color mixturo.

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-51­

colored 1 •

The othor n8'6hod. of oolor tUxturOI 18 lmawn a8 the sub­

"tractive nethod. In this nethod theluJcondaries of tho additive

nrtmaJtles. 81J.1:rl::raotive hod is Illy

be. -­ - e additive od., TIawevor. a mixture thethro

P1~ primaries. blue-green. yellow and purplo. alwnys tend· to

the production of black.

oolor cixture ~or .1 -1~nt8

are 4--+ant in tho th.eatre a8 a lmowledge at helps

the stabe detl1FnVn" urxlorstand how l' of.' various colors will

... .. - -- - .. _ing - or. 1:I1WUIS 118

n .. II2. " , " 119

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-68­

e &1mOI.1"&D.oe of 0. 8n ~ coll'tmf.:]Cs and colored object••

_ iun tor tho creation ot &UlJl!IIIU".

t 1)088018 l!I.l)'pe8.l. that a!"e osthot.ica11y pleasing and ex­

pressive, and ~ot1ve in their action on tha bulDan ~_..._u.vDIl'.

18 color. The peyohologioal ..root o£ 00101" is a4D1tted but 1Iby

8j'8 i.ab1e tto lIoe and c1istingu1ab variOWJ colera has not yet

been Idefinitely settled. '!'here are various theories 8S to 1I1V aDIl

haw the human visual syatm aocCE!Plishas tha porception of color.

ot these are plausible but none are completely I!IUGceaaf'ul in

~la1n1ng the phencnena ot sight.

Old IlaYUlG 'tlUL1i ontI. lanD believo nothing that is heard

and only 1lll1f that is s.,en 1s a v-ery apt ono. Tha fty'8 1s aott sen­

sitive to 00101'. b'I1t is eaal1y inf'luonoed by it. Atter looking at

color for & period at tiM the nervo 111 1;hi) .e:ve tha't I"ftOa-pw

nizell that lme Yill beoCi:llD t1:t'Od, aM ,..ill tail to recognize

hue or tho full omaunt ot it tl.f'iJer t1 'DOl-lad jmst follar.i

i'lr.ot. AlBO. it' o.n un8Q.tura:tod hue is Pu.oed with 8. group oi? 8at­

urntExi hues the ref'leotlon ot the second Will offect tha.t or 'the

tiro.t I:U\'d it will appe,al' ditfoNnt to 'tho eyo.

It is st1muluting,

spoakt.D~j bUt it ill true t colore do cert en

oting W1u virtue of cal et1'cct. the

m:lOt-1~'TO use of <ro10rs rQJl&tlB on lating at tho red

end of and oppoaito end.

This will 8. VD.I7 various CCDl'Oslt­

are WSvu..

Page 66: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

...�

A8 L was rded &8 smbolio by tive man 80

datl'11 thr6ugh the ages have oolore 1x)eCD) 8y.Bbolioal. They have

oa:te to bear a diBtinot re n tJ"tLits am moods ~ I:I&.D.

It is ~rue that to CB

anini; as it d008 8e. yellow 11 tho col­�

or denoting royalty. ,1e purple is the ambol�

oyalty. The!reme thing :i.e t black and 'Whito. '1'0 the�

Chinese white i8 nourninr: and black is symbo1io of death !:lourn­

mgt l1duntal. o.

d1tiona havo br· t about. lie r:toaning h0.8 il­

oped about oolora.

e has pln,yod an hmoPt:n.n· in this devolop:1ent.

The col dilplayed by r..ature .t vartous seasons of hnve

lue is cn11eda " oolor.

doe8 01 t Gf'i"oct.

b~ue 11 a180 oalled "oold". 'feet given by the shad­

in an aututm sk7. Yellow is said to oheorfulU and it is

is

lovr. "'Redo ls th~ of' 0.8 "

color or Glowing ecbers.

gost"sB'mrity" nnd "turbul

• also. 'tltPCJW1'h ill ra­

.!A"1m~IUUp b41'bmftn :~lor has been attncmed

t@ them. In the follONin~ lis __11 be noticod.

D1 111 really the ab of 1i 8 to•�

Page 67: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-60­

daote g • witchcra.f't. <tqBteP1. inf'inity. dea'th. d$8p8.ir"

'ae" terror. wic'rnnd.DODiI lorma. It :1& dem-esaiDr:: and sub­

duing in QA..I.-'II.

~~lt. is ~g Ll'ld c_leani22g. I't shan hUlidlity"

iDtegr:l '&rln;fi., lig.l)t. peace" parity" tlOdeaty" chastity. sac­" rif'ice

Gray 8"v,- nel411C:OIy. BBdne8S~ ,ecm1ty"" secrecy. ooolness" wL"'lter severity~ ~1i;ignl and a.ge.

_,,, considering the color circle:

1e is emblematic ot royalty" riches. effluence. pcDP­

n_"+on-" atateliness aDd dignity. It nay giVe the ef'fect of being

'either warm or cool." us 'Whe'tbDr rod or

blue 18 predcm.:iDant.

no1et-.sumeats ~jiidncum" ,e~J• cering. paaaicn.

• Emt'mentality.

Bluo. 'bacawse it the 'to

..~ spirituality. div1n1i;y. ay'IIiicPy" d1gn1ty" " hope,

f'idelity. Its dar1:er flh84es are dftnl"fUlSing.

Dlue~ colors

it up. It l~ rt-n"',t aDd lous.

Green is a neutral color 'to a great Btmrt LLJ",I.KCI'If~r. it•

does sugzest f'r~. nnd it h&8 a yell is

quite cheertnl.

Ye is color in the spectJ"um.

is 1;!l1nly due to t association 'llith 1)"UD.L1DJt1. bright­

8. brilliance. luste-r riclmDsa ~ted by it. n

groomsh-;yellCR1 sycboUzes youtll. pGace am faith. lfhile the

Page 68: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

• •

-61­

dingy .BadQII ~ft, faic1:nou. indoce.naY. 00IIt1t"d.1ce nnd !neon.

is ~l1o • ~088 0.00 :c01Annholy.

is of Autm:m

are- Ol"D.Dmt. :t 'th& ha.rvoc pl~.co~.

lcw.lthtm"• • is Bl1m..vs thonibt color.

blood: fire.

war, !:IrlrtYl!aJ.. dangor-., dora'bruat~<m.

~ 1'16&'6~CD. am lust. PiIik. an UDSn't­

~tae1 00101.'. ~ts 1 ~h. bealIty. ;htulnoos and henlthe

,1 dIn 'crlnson

is beII.1ItY,. t«m8l'OtIity,

to

Colo-r brln::t.<m,y uur.rt be fldliO"lCd 1£ 115 to teel fit

This DAD bo do~ tl1r-ougb ccmmst in ~it.1Dn color

And its ClG:::I..... "-"U,. of

ith tho-- . color circ.lo. h:armmI;y is &ainod by use

of only t;

the .dOKree 01' l:J1"1r'..l1m10SS

a color is in bri lea8

hils a. 1088

bl-i[th.tne.as

Page 69: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-62­

'to fi fu:Dations .gbtlng: 1l1lllrl.m.iiion,

rea..u.m_ _ do c azmoooo:1on, nnd psy­

cholocicolozpro8sion. It 1: t oolor does not

• It is 'to_rue. though that by 8C111O C<Il1­

b tis to distort objocts to such an

color ~ (\ cli8OdVUDto.ge. imn _ li~t:.­

18 .. DDD't'.odaumJtian. ro o.re iDpoU!ble to

labor.

'1\fm-f r1' no1o.Dco ld e. 8un80t for one p • re was &.J), ow.ay of fivo thouaand dollars on 1.

used. ,4't.....ft'M on of 1 is

to BUraNdt. .--- (l atntaDen't of tho fUn­

etion of all t1lDo.t!'e, 11gbt-1J:\g, ,DB

foll

is a 1H1P1"twI' :lo.ce wbI:.11"VUtxm 1D.rRO th!nz:e are

lm2'sst.edj 1t oazmot CEllUoY of

out rodnolnC'~ in it, cbllrnctlH"B ineludod. tl"G

10 £01' nnTft7'tllVint' 1tlp!"eanionD~ a.a long are prrdactod

qnosnon on of

QI;;l"D.liDYUfl-. It

Page 70: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

- - - - - - -

-6S­

ha.a one tJiMW"£ul factor which TIll

of oolored • ~ts; it is e ~n~tod.

us-cd vi-;;h

cQS'tm:!f)o of tadnv are dyed wi

00 cloth. .1

n-ll lvet if Tll"tmm"1"11'

,stn!!O daG1{;lmr I:lUl3t not

be d in hie book

,-..tho

are to TirT ~o proouco l'

or attain Q. cOl"i"eltltiTO ,ty. To 00 thD bomlty of Q sun­

-Q tho-b=uty of rolSY 1 -. It ~. tho 1J!Iroa.1ity of

in the ,'11 or aT Bppr8c-iatlQ1l ot the l"On11ty of • beauty of red nc cUlollta1, and ,not t

It ld not h&vo _ avoided, f'orlf; 1s at, 'bui;

ct 'r"«JI)im , tl18- artist nobi.cvGll al:l:1Gf.hbg did

sot (7Ve. It- Tmbld bettartoeo for red

aD1 to attain it If

1 11 tU'ld good. I't is bOillUt1f'..t1 itsolt

o.nd 11 at the c~ m..th lI'h!.ch wo have

n~ivcd on oftoot. a nico.... noom-loc ~ 01- 0.-i"Ii~ .IIL'........:Ifi­j1r:g.u,ng »

t: hobb1aB, ttGDdod, to its clooo. n

u. _ _~ ...

!!odol'D. 'ID1.lXltres - .1P'Il"1.In!

Page 71: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-64­

Color not add _ of on objeot for

that is l"wealed by the .L:l.gm;.. S1DQO lit!htB and ahadOl'lB

ra-eva11 C1V'f1r' its 8U1"faoo.

e to tho JilAa'Uolty of

atat:O it is in 'DI!I'Wholol!ioalGJ)I"881Ilcm.

is notblD& 111 11 eEpreH

the mood, al3d rein.1'ol'c-o the imler t1Oftn'n g a play. It

1s bocBWJB tI6YChologioo.1 exprossion ~11c usc of

1 _ ~ is tn try to fo1­• low rea1istio lil!'Jtt!.nLt +},- e~ to ~liah he

aaau:ce 't118• t-itude thD.t hi. aud1enco will __ 'ec1tltlve of

anal Q!'PO&l Gf 1 go l'nr bewml t..'lo 1m1ts s,ot

In "LillC1:l" b.8 it IntliIlDatol

:t!'G tll8l'8 ~ iDtoI'&sttng EIXOtlples of thls.

.first ooOUTGd at end of tim second act. LiliCEl" died

O'Ot'lO for l'tl_fl soW.. ~s _ to

Oourt, Q nd1ibc;u, thrown S'trIliEht d

t: ws�

:way by until cqloto17 Mt�• othor was the sccme i.&ntc:trl in , SUioide

Dl"aIICh. [j it

• tltanod for was~

the soul wns burnt

it't'lll.s ,ory red light, surzelit1n.R the heat.

10

Page 72: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

R~or, it is poII~siblo to ~o 1i&hting Giving psy­

GbnJ.Og1cnl _pIoulOJi. GDZlllJle of this. It

mtitaddct

in lDll,.

UIn in tho palace of

I~i vmmlh he -00. over the

fr<:In whJot. buriwn: tiiienao. the

Crolml""lt 1&

br~in leo4on bluo. lDdtoaM.VD or

8p1ri~ ~; for the vcmtb.~'ms ~m",,'\'

of t.ho pgDalty, 18

'JlIP nrlArh's troasuro

far hor nl

• 'I:D"OI'Ul"dm

d lrur-J.0U8 8hitw:itn:.e In 1:1GD1DG.

0. t~lI the

It a [;!'eU't ap.l4Bh or red otribu,the' roOUCbont

,groat amderin as be 1108 oor of 0,'

'nati

n• f!odonro11 ,tre o£ 1

~1DR nnd•.:Bet'ting

embolic ~

~IO color

wao ~1"dn 1n lll"Oduction of' A'Anmmdo'o pIny. "La Pi8lmellcll •

Pm"baJJB D8V'or botOr-c in ~o£ DXlorn lItar;o hnve tJw prin­........... - .. __ ..� ... - .....

1. 'PP.......nft+ion in :lUr Edu1n�

2. ~odnv - .. tr.oa.orrll1o - fJ7

Page 73: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-GG­

olp 100 des­• erlptlon oolor 8ohaoos vi11 ~D't USO o£ color in

.1ca:IdnD.tlvo vorli:i.

J.:I.~ll half'. 1; ·out euc­

1.ng c1eacml all colOre)

aDd always 1:1 vieW of l.mJl'T.Am was 1>0­audionoa.. d.mm

it. Tlrl..c ;t?8.1 8~ti ll'Ymntine ~..-

it Wh1 l~eUcmt

:urann .hnnging 100ae.a..v• l.folds o.:n ~i) was •

- prbloguo und the three acts 1ftIJre conoe!~ each

Q. d ....M _ IlI .;.",. • .Pm for _ _8 a 1a1 curtain revool­

cd I!lCllO two I:dnnte8 boforo tho ol'T'l!'jJGMCliUmil

ml'+~ln.

dl'Qma p.w:vtX1, crtJDad_. :8n

all 01vil.lza'tiontJ EDftmoaoo B.~~. BYmnti:no..

.D~ (k) n'1~gUJQ IXJll!:Jol:.

In t.ho orol.~ J:t:L~ b 0 GU.LJLOQ.

civi1i UIlglLDOO.. 1m8

far fraa a '" 01:2 't71th

their C3ml14l::1cmt.S. a..~ 1ID.I'tlth of ~ oenl;m-od dawn­

·pt of 'k 1'lJJ;loo. cemuro.1 ....~ I~·

BCboce of t (calln­

pleoouts~ ..Ild). Just th

reT5r'oaented not 0 • but the e1':f&Ct

1mB thnt o£ a rl1.ob1'1 docomted intarior. aannnwa a sort of

Page 74: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-fj7·

t)ColGlf1ant1.cnl mood. A br1gbt f:I1Jomm trcm the side OCl!l­

1?- - - . - -' COB Li:&z».s• re

ly fill oolors. dCrlimted. ecmtralrt

ing with oo1dDocs boh!D3. ety in the

it _ for praduaer to flI:::ldlDilO ctoriallyany

inno'PtAnt drm:n"t!.c effect gr~ ,,""-.on cost­

• At the e of liot W8.8

betwtMiln

B ~o effoot.

tno di-gortIQ -aitor l1£e

Q£~ eoana -.s £tc~()P rat:h9r crudoly

Inck lin0s.

with ~ OUI"taU (quite at

vnr1nDoo uiof=url) as snromBil ritha.s "'mJft1 though law-toDed

Ibit of =tm- 'ah1.011 1inlS

I. l1OV'OCOnt of

of '8.

r:e.a lave _ •

• ohaBtoly 0.8 s<Dl!rtiting holp•

Page 75: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

ddtD and t

aeooPtoa hm as a "bride l1l1riDt" t\t tho.t 1'Xjjmxt.

n'Pm'lnchl:mgwd. ,he was oover­

o£f tho

to .l.Wl"DO

"The eooond act e. CtfivutIt

'B8

b8c1Q:rotmB:.. I"6thor o:'n-

YW&lU-UlllLLq pd."ltod. DmJtIoQ.l bl~. 'b of

red-oraJ:l.&O ( oaIlJP.1m'tent) -conter. in puro

blue _·,te. IA P1.Da.hella 'IJ&S olad

camrcnt 1:IQG violAtod 'b-,f the ont1'"fll1ftft of -loch

cou.rton~. brill d m-a1'cmo color hPlloft in

• ·+.him. act W8 - of

is to die thzcw!b

an 1trtmJse green rdth

tho

,~ n l:UIIU! of flCJVr­

NlX8tec1ly't~t

low verging

in\1Bi~ in the

cl~. DODOmI:lont fl,~D.

808'11e. iJItoDDe ond l:1ore pn-pliah.

flCJW'Oru of• int_ -violet. hoI' l7'adunl

Page 76: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-69­

Page 77: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

1

-TO­

•� 1a siano'P to the

p.m~ in the 11&~• is sunk in tl' liLo of the cyo­

lorama. 18 tl":o h01"!.zmt ~4~ the aye­

101'C.IiCt:t.. ro»J)(mSible for all the ef­

<~.

t

and

colO'!'e rQ.LIIW'~ ,otBf::a\;arib:

~ri\ll ~ona~ ap­

str~·"lnt01"1h~'M.vo nmmr is

and or not for

re odonnemt, to ealNoY .a !1Q8Bt\go

a:I"UIJtl•n

L~ODD a 1.t:I.bor3.t...­,-- -" li,(!lif:mg.

<tilt vorkBlmp.

c1s~,.

ru-e

the sciontific l:nOrrlod~.

it. do not I'.IOmlOlIS 'the Qstimt!c sensibility.

Sc1.anoC ~ 1:1� s 1 -io "~~t.

- -� - - 1- _ _�~ ~ ~ ~ ~ ~

'l'lll".lIIil 1

Page 78: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

·OlJrua1l •

- ... .. ... ... .....

'. 'n

o

. o~ p... ~....,,,..oq nc;­

.".,-,.,..,.._,"1'

-tJ.­

Page 79: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal
Page 80: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

..

App;JD.1 .f'r' 01' tho Pre:J~

Al7D1IL d(.1V01riwd his

to th"a.tt.mpt

reo.li8m.

1!J'tam, viaiblp :mhft'l'lB 'bfJ ~,' intonaa as

a.LW.cul .t

the 1

.t~ dD?C1op:m1t ImJconi01"UtlK.

be accacpl1alitd re­

.....i.llt in llIDJ.C1fl or tlO'tQ~jp1nt1n&. setting and

dafini't;oly canbJrollod

by D1lD:LC.

w _ _ 1_ _ _ _ _ ,_ ~ _ ~ ~ •

Proclu-ction

Page 81: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

( :( ( I

:(\�

:(� TIl<' t<LiJoml ( TOO. ~of tbet>�

:(� Qr :(

:( :( out of :(

ol«JG1:l't; mw ( ( ( of ( ( :(

( '70 be ~OJUUlL~U u::J:rUUJ:;U

or

Ineoen1o

l\ t!'I".tn" is

tho Dta~ in 8(E&

,t light 18 no'

the a.oto:m. V"1 'I'm I a 'thlnR

~. tl18 'Ifhole

in tmCOO. a:prQ!lB~ J:IW11O .is c:praoaing in • of lighting, ing EU1Cl tI\1nt11lg aro united with the living

Page 82: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal
Page 83: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

t light will be d.mlmt dn electric current

far many :van. yet the tungsten .ti1.ament lanp DaY bee

'lete. ~ _VWlUoI"" ~....uAUG ~ I\I~,

])01ntillage tI)'8taIn tbD.t wu ~~

14Mb and introduced mtothis eountry by J oe8P't

',1!i'bnn. The surface ~8 spot'ted with a.ll the colo"

play 800 r«ru1red by

a llarly tODOd 11 ~ :n'BteD a red lie

the red on the I!IUrtaee. ".8 eoene

• This was eamparatlv6ly 8 colors were

used:. but ..hen n os.bination of nixtul"es e li~lt1ng

bee-au t:ZUOAJ:JOI"f) difficult,

~, tomes the buis for 'the experl~

aoenery nay be on one set.

U.gh'ts thrOllD. em it.

are e

t oblitm-nto in two of th'IIU~

of ao1oPs to bo OIled in 'thODO sbtcboa is V8.1'Y 'lc_ 'ille "hole

priflC'iple i. to seeure true hamcmy betften 1 ~r am de­

aign,_ 'rho p&1nts used nr9 enal7Ud cheEdeally CJl«11-cal8

influcmco eoloTo under l".h..... rnnimIlarly

is :_ This op8n8 aD

CUJd it all h ie light.•

.DoSthod. 1ntI'od.ttcoa t ro in

Page 84: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-70­

1920. that; opens e.nother largo field 81oatr1c light.

It is ':tl:a~ of pro:)eot:adlOGnery. ord has cads great­

01" 1I'tn4e8 With thia Iso. In 1928 the

first play staged to . -., r:umner was

"V1ldngo QfHelD14D4" Pl'uented at ­Cl.rl.oano• ll~tmg equ!.JIllSD't by

lir. TIilford am was 1moIm as Clavilux units.

OD &'teel towers or in a aem.1-eiroulAr &o:ttory in 'thO E'1.r'eplace

on the floor. The oCIIItMl of all theso 1Tn"LT.:n

.-cmaole abou1: & foot 'ride hav1:og k.'eyes oc:mtrol.l1nR: the various

units no 1uI!.er tbIm· the bead o£ a lDBd 'OBllOil. This 1mS plnoed

in tlle 'OI'Cbastrn p!.t whm.. be­

g1nn1ng at the performance. This 1s by lW:&

for the m-oductiOll.

,ct I ­ DnrJa:te"as out mointrl.r'le�

isual Datif'. DW:"••�UaIIoVY

(lea to zoigbf;) reveal Jdt:'l""tic pines.

te. all abDdos or gray, 'With IU'bHtiple

fading into darImess..

~1)t II - night. Gunner's IIall, 11 lIimp1e fJoa:r;Drord of

'boatuI fJtIB3aunt«1 by az: sl:nlls. !l ttr'Otlt amtral boa1"tb. .t'r<!:l whioh. - .. ,.

t1rol1Ph~ f'ollon tllO &CJt1011, forovf!JJ' alumgSnr; in 1ntemJity 811d

1JDIrB!'d fiioker1n1't red-orlUJl!!) iI&I'1UD 0"IrQ1' thDt>layer.

,~ ~ ~ ~ ~ ~ ~ -- ...... - - - .

Page 85: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

br:ind:ng out ~he o.rOO8 of iaportnnoe, whilo subduing 0.11 olso-e

Of tw;rlm1:um violence dur1:ng iIjordi_e-i'horolf' ll1'temtlQD aD3. ro­

~ into a static 'D!'OjoO'tor

'light

OOCIlIliaDally ~ .f'1!'cmlaoe.

Act IV .. Bo-(tlD as .Attt; I. lli%ftl! 'and drifting of

S'U..-t am cloud motivoD . 8:"!.1bcta.ec1 tor n'" tooli."'lg.

IM:M~ nP red~ boat1:wwJo £alling

daatb8 IUhetruct t, ria'8. -lcJ"(l.tod drift­

+"'-.. ,darkening as sound thG eleoents inmoImIIA. St

i"laahes - - white for mm1"'t.nP second. -- doad w.t\rnors.

~l1no. .fOUF~iOlULloaaonce of blo.clmoao: 1­

loping~ D~.&. a.nd b1

loft ,tiro scoro.) ~ uri' and cloud ivos

after VJl:!n{f'o exit. Principal If' fading darlmous .Wi

SinoG the 1D'nmtlon production of 1 ..

1

into nt; 11

littlo 1 • ~.Aftn thowsa.:m,

is t"TJO .do11o.r8 pol" lineal foot and eo.ch

eries. -fI.ll"lftPl"l?moe. rott tho GIltire oys-tm.

or c1acagod. ~ is no TIny of dirning the

-'i'eehed. [~

-----­.. 81

Page 86: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

-"T3­

boI'hftft are 110 dDlicate. in 1't8 ~ stat. 1IUUl4 be

i!:n7raCJtioa.l in the .tre. is • l:Ii.7mtlr wi~l mrtor

eu.:umt of

tbe61:re

.t <~le1:te is pIUll\'l8l' :

is poeaiblo it.!'

H.~ for

liVi

1­ • dynamic 1 IU:I..ImJ. U'ying.. clar1-'

f:VlnJ:. emoh!anali ~ 1icht ,u:a.m."

Page 87: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

CQIICLUS IOu •

It ha. been ahOlm in l'art One tbllt electrlo1tv ha.

met thJ!' der'fiU'Jd of t'"\e modem theatre !'or a liRht whioh "'HI

clean. cool, eonatant in GUallty and could be controlled.

Part Two haa been devoted to e.tabUah1ng, the et­

teotivene•• ot modern eleotrioal eqaip~ent of the

,.hen oorreotly uaed.

Alao it haa been ahown in Part three that ~le

the tunrraton flla!:lent l~" may pan out of uae 1

theatre 01' the fu. ...ure. 'the meana of produoinft 11r.ht roill

probably de ,on electrioal ourrent•

..

Page 88: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal

- ,- DV\'nD

'l'honiiric.'1l In ant 1905

~11.A~

lOJDODt o£ ~"he ~tre ( ) 1927

Pichel, lPU"'tttlP

,onel.

ig1l'tiiM 1

ler, uuyo!' hiJiDbnrdt

Page 89: Electricity in the Modern Theatre · that eleot:rlo1ty in the modern theatre 1. & uaeful and neoel.ary oOlJnOdlty. Allo that the effeots £'nined through the developr.'lent of eleotrioal