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Different types of theatre

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Anna Brown
Anna Brown

This document provides information on lighting designs for different stage configurations: - Thrust, Traverse, Theatre in the Round, and End On stages. For each configuration, key features of an effective lighting design are outlined, such as appropriate lighting instruments, stage sectioning, and light positioning. Diagrams and production stills are referenced to further illustrate lighting techniques. The document emphasizes creating well-blended general light coverage and considering the audience perspective for each stage type.

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Thrust Theatre: Key Features: Each lighting design must have a key. This is to ensure that when the plotting/rigging takes place the crew are able to work efficiently and have a clear understanding of the plan. This could also be useful hen plans become very complex and hard to read clearly. General light cover extends only as far as the action. The front and back cover is angled at 45 degrees. Depending on the height of the stage backlight is variable. For example if the stage was more than half a metre off the ground you would need to steepen the back Thrust is a combination of End on and theatre in The Round. This staging is commonly used for fashion shows so you will have to consider the fact that the performers will turn round on the stage at the end and walk back the way they came. You can overcome this obstacle by lighting the walk was as it was theatre in The Round, so there is light from all angles and the performers are constantly lit. Here are some additional images/guides I found in the book: Phaidon Theatre manual - Lighting and Sound (Neil Fraser) These images are for a production of Macbeth, which shows how this type of staging would be lit for a theatre piece.
Traverse Theatre: Key Features: Use any type of Fresnel for the front light (excluding 1K)However remember that they will all have to be the same make/type of Fresnel as every light has a different intensity of light, mixing them could result in patchiness on stage which would in turn become noticeable to the audience and ruin the illusion you are trying to create. Split your stage into areas (ignore any bars as this can limit you. Light the area.) For the purpose of this diagram I have split the stage into 8 sections from A to H. Use 1K Fresnel’s for back light as this will give a very deep tone of light and give depth to the stage and will also give shape to the performers form. Each light in each area is 60 120 degrees from the centre of each area. This can be achieved on the plan by using a protractor. Repeat the process for each area 3 times so you create a triangle of light. This triangular pattern will create an overlap over each area so you are able to create a smooth general cover with an even spread of light. To further illustrate my point please refer to the images below taken from the book I previously mentioned. In these images you can see a bird’s eye view and a side elevation of the stage. The first image outlines the effect the lighting type will have on the performer as well as the stage.
Theatre In The Round: Key Features: Because in-the-round theatre has seating all the way around the edge of the stage it is important to consider the fact you will not want to light the audience. (Unless stated otherwise in the script). To do this you could use profiles as you can adjust the shutters to the edge of the stage. (Make sure to make a note of this in the focus notes). Similar to traverse theatre you will need to position the lights at a 45 degree angle in each corner of the area you are lighting so that the performers can be lit from each side no matter where they turn on the stage. Unless stated otherwise for a specific effect there is usually no backlight used in theatre-in-the-round.
With 3 angles in use one person’s backlight with become another’s front light. Added lanterns to highlight the actors may be unnecessary as it could end up creating unwanted shadows on set or performers. The action on stage will also look different from each seat in the auditorium so take time to make sure you’re happy with each lighting state from each angle. You will also have to consider the fact that with each act the staging may change considerably so bare that in mind when creating your lighting states. Multipurpose lighting states may be useful. Also when adding specials to your lighting plan consider how it will look to each audience member. For example if you have a physical window that is lit from behind this effect will not work for the person behind the window. So you will have to consider alternative options such as a projection on the floor. You may have to work with the set designer to achieve this. I have also added some more images to help illustrate my point. These are some images of a lighting design for a production of ‘The Crucible’. In the first picture you can see the three staging sets for all of the acts. In the second picture you can see how the entire stage could be put into areas and lit so it will cater for all of the stage settings. End On Theatre:
Key Features: When creating a general cover for this type of stage you will need both front and back light so you’re able to bring the performers off the curtain and give their entire body form. Use 1K Fresnel’s for back light as this will give a very deep tone of light and give depth to the stage and will also give shape to the performers form. Use CCT MinuetteFresnels for the front light as they have a ridged lens which will give a diffused effect. This will enable you to blend the light better on the stage so you can get an even spread of light. You can also use the barn doors to take the light off the back and sides of the stage so you can make the cover of light very precise around the edges of the stage. (This information will go in your focus notes.) Once you have sectioned your stage into areas you will then need to start with your backlight. Going from this in each area position a front light 45 degrees to the right and left of where you have put your backlight. You should have created a triangular formation with 3 lights. Repeat the process until you have covered the entire stage. (It is good to take the front light one bar away from the stages edge to ensure that you achieve this. )

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Different types of theatre

  • 1. Thrust Theatre: Key Features: Each lighting design must have a key. This is to ensure that when the plotting/rigging takes place the crew are able to work efficiently and have a clear understanding of the plan. This could also be useful hen plans become very complex and hard to read clearly. General light cover extends only as far as the action. The front and back cover is angled at 45 degrees. Depending on the height of the stage backlight is variable. For example if the stage was more than half a metre off the ground you would need to steepen the back Thrust is a combination of End on and theatre in The Round. This staging is commonly used for fashion shows so you will have to consider the fact that the performers will turn round on the stage at the end and walk back the way they came. You can overcome this obstacle by lighting the walk was as it was theatre in The Round, so there is light from all angles and the performers are constantly lit. Here are some additional images/guides I found in the book: Phaidon Theatre manual - Lighting and Sound (Neil Fraser) These images are for a production of Macbeth, which shows how this type of staging would be lit for a theatre piece.
  • 2. Traverse Theatre: Key Features: Use any type of Fresnel for the front light (excluding 1K)However remember that they will all have to be the same make/type of Fresnel as every light has a different intensity of light, mixing them could result in patchiness on stage which would in turn become noticeable to the audience and ruin the illusion you are trying to create. Split your stage into areas (ignore any bars as this can limit you. Light the area.) For the purpose of this diagram I have split the stage into 8 sections from A to H. Use 1K Fresnel’s for back light as this will give a very deep tone of light and give depth to the stage and will also give shape to the performers form. Each light in each area is 60 120 degrees from the centre of each area. This can be achieved on the plan by using a protractor. Repeat the process for each area 3 times so you create a triangle of light. This triangular pattern will create an overlap over each area so you are able to create a smooth general cover with an even spread of light. To further illustrate my point please refer to the images below taken from the book I previously mentioned. In these images you can see a bird’s eye view and a side elevation of the stage. The first image outlines the effect the lighting type will have on the performer as well as the stage.
  • 3. Theatre In The Round: Key Features: Because in-the-round theatre has seating all the way around the edge of the stage it is important to consider the fact you will not want to light the audience. (Unless stated otherwise in the script). To do this you could use profiles as you can adjust the shutters to the edge of the stage. (Make sure to make a note of this in the focus notes). Similar to traverse theatre you will need to position the lights at a 45 degree angle in each corner of the area you are lighting so that the performers can be lit from each side no matter where they turn on the stage. Unless stated otherwise for a specific effect there is usually no backlight used in theatre-in-the-round.
  • 4. With 3 angles in use one person’s backlight with become another’s front light. Added lanterns to highlight the actors may be unnecessary as it could end up creating unwanted shadows on set or performers. The action on stage will also look different from each seat in the auditorium so take time to make sure you’re happy with each lighting state from each angle. You will also have to consider the fact that with each act the staging may change considerably so bare that in mind when creating your lighting states. Multipurpose lighting states may be useful. Also when adding specials to your lighting plan consider how it will look to each audience member. For example if you have a physical window that is lit from behind this effect will not work for the person behind the window. So you will have to consider alternative options such as a projection on the floor. You may have to work with the set designer to achieve this. I have also added some more images to help illustrate my point. These are some images of a lighting design for a production of ‘The Crucible’. In the first picture you can see the three staging sets for all of the acts. In the second picture you can see how the entire stage could be put into areas and lit so it will cater for all of the stage settings. End On Theatre:
  • 5. Key Features: When creating a general cover for this type of stage you will need both front and back light so you’re able to bring the performers off the curtain and give their entire body form. Use 1K Fresnel’s for back light as this will give a very deep tone of light and give depth to the stage and will also give shape to the performers form. Use CCT MinuetteFresnels for the front light as they have a ridged lens which will give a diffused effect. This will enable you to blend the light better on the stage so you can get an even spread of light. You can also use the barn doors to take the light off the back and sides of the stage so you can make the cover of light very precise around the edges of the stage. (This information will go in your focus notes.) Once you have sectioned your stage into areas you will then need to start with your backlight. Going from this in each area position a front light 45 degrees to the right and left of where you have put your backlight. You should have created a triangular formation with 3 lights. Repeat the process until you have covered the entire stage. (It is good to take the front light one bar away from the stages edge to ensure that you achieve this. )
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