Theatre Lighting

Arizona Essential Standard: Apply technical knowledge and skills to safely create functional scenery, properties, lighting, sound, costumes and makeup.

Topic: The Ellipsoidal versus the Fresnel              Class: Beginning stagecraft
Materials: Diagram worksheets, flashlight, an ellipsoidal, a fresnel, a chalkboard & chalk

Activity #1: Introduction to the Instruments

Ask for a volunteer to work the flashlight and turn off the lights briefly. For the demonstration, have the students describe what kind of light the flashlight is projecting. Then have a student cup a notecard around the beam of light to show the difference. The light should be more directional, smaller, and more intense. Let them know that we will be talking about the two instruments that project in these different ways: the fresnel and the ellipsoidal.

Activity #2: Diagram Worksheets

Take the students through the parts of an ellipsoidal and then a fresnel. Have the students take notes on the worksheet in preparation for working with the lights in production work. Point out the differences in construction as it applies to reflection, focusing and projection. Also talk about the quality of light projected and terminology, associated with each instrument. Let the students touch and experiment with the instruments so they are not afraid to break them later.

Activity #3: Review

Use the original concentration (slap-clap-snap-snap) game to review the parts of the instrument. Establish a rhythm, point to a part of the instrument, and the class must call out the name in unison (and rhythm).

Activity #4: The Race

Divide the class into two groups, form two straight lines facing the chalkboard, and using the instruments, point to a part on the instrument. The first two students in line, closest to the chalkboard, must race to see who can write the name of the part on the board. Spelling and completeness count.

                                                                            Created by April Leilani Novak
 

ELLIPSOIDAL SPOTLIGHT
The ellipsoidal spotlight is the work horse of lighting.  It is primarily used for situations that require
precise control of the light, such as front light. The design of the ellipsoidal is such that the rays of
light coming out of the instrument travel relatively parallel. Ellipsoidals have very little flare. Flare is
the extra light that escapes from the cone of light. Because ellipsoidals are capable of producing a
very sharp edge, we use them to project patterns Patterns are also referred to as "gobos, cookies, or
templates". Ellipsoidals also has different names. One of the most common names is "Leko". Leko,
however, is a brand name like "Xerox or Kleenex". You might also hear them called ERS's, short for
ellipsoidal reflector spotlight. This describes the fact that the reflector in the instrument is elliptical in
shape.

Below is an illustration of an ellipsoidal. This is a generic view of the outside. The parts that are
labeled will be found on most ellipsoidals. Names may vary, so it is best to learn the function of each
part. Study the illustration so that you will be able to follow along during the demonstration in lab
class. It is important that you know the parts of an ellipsoidal. It will enable you to understand the
instructions you are given during lab.

AXIAL ELLIPSOIDAL SIDE VIEW

Below is an illustration of a ellipsoidal cut in half. As with the last illustration, this is a generic view.
Most ellipsoidals will look like this. Study this closely because it will help you when you work with
ellipsoidals.

AXIAL ELLIPSOIDAL CROSS SECTION
 

Ellipsoidals come in different sizes. The are referred to by their focal length of degrees of beam
spread. The most common focal length sizes are; 4.5"x6" 6"x9", 6"x 12", 6"x l6", 6"x22". The
focal length sizes compare to the degrees of beam spread.  In the same order, they are; 50 degree,
40 degree, 30 degree, 20 degree, and 10 degree. Notice the smaller the measurement of the focal
length the larger the degree of spread.

On most instruments that are referred to by their focal length, you can tell their size by looking at the
barrel of the instrument. The longer the focal length the longer the barrel.

There is one other type of ellipsoidal, the zoom. It is called a zoom because it has two movable lens
that change the focal length.  This change causes different size pools of light to be produced. The
zoom is very handy when you need flexibility in the size of the pools of light. Zooms also work well in
blending with other fixed focus instruments.
 

FRESNEL
The fresnel produces a diffused pool of light with a soft edge; Because a fresnel produces diffused
light it has a fair amount of flare. Flare is the extra light that escapes from outside the edge of the
cone of light. It is the amount of flare from fresnels that keeps them from being used for front light.
Fresnels are mainly used for back light, soft washes, or areas that do not require precise control
You can shape the beam of light from a fresnel with barn doors and top hats. The fresnel gets its
name from the fresnel lens that it uses.
 

This is a generic outside view of a fresnel. The parts are labeled. Study the illustration so that you will
be able to follow along during the demonstration in lab class.

FRESNEL SIDE VIEW

Below is an illustration of a fresnel cut in half. Study this closely because it will help you when you
work with fresnels in lab class.

FRESNEL CROSS SECTION

The fresnel is used in the theatre in two different sizes. They are 6" and 8". Of course, there are many
different sizes available.
 

Theatre Lighting Before Electricity Outline

Begining to 1600
Greeks - open theatre utilized sunlight play organization - course of a day
Renaissance - oil lamp, torch, candle Jtalians - first to manipulate light - new innovations
    Restoration to 1800
Court Theatre - money, continential advances
Commercial Theatre - candle burning chandeliers
Chandeliers - front stage concentration, forestage hazards - dripped hot grease, heat
Footlights - used as early as 1670
18th Century - Spermaceti and wax dipped candles
        - 1720 - molded candles
        - candle snuf fers - trim wicks, haggled
        - removal of chandelier by Garrick
        - lighting behind proscenium, across apron
        - float: dimming by lowering trough
        - 1780 - Argand burner
Gas in the Theatre
        1804 - Lyceum Theatre - exterior
        1815 - Covent Garden - exterior, Grand Hall, staircase
        1815 - Olympic - exterior, Saloon, interior
        1817-18 - Covent Garden, Drury Lane - immense central chandeliers
        Lesser Theatres - King's, Adelphi, Astley's Amphitheatre Benefits - cheaper, more
            control, no wicks or wax, darkening ability, illumination of specific areas, actors
            withdraw behind proscenium - create new atmosphere, enhanced scrim use
        Negative aspects - unbearably hot, offensive odor, make-up and acting styles had to be
            changed (which actually was a benefit)
        1820's - limelight - took awhile to catch on
             - moonlight effects, bright washes, spotlights follow spotting, general illumination
        Footlights - sunk into stage, angled, color changing
        Irving - first modern lighting designer
            - color, design on stage
            - control of co 

Transfer interupted