Lights in Theatre

The day began with a prayer and an extended warm-up session led by Anil, setting a lively and refreshing tone for the day. The warm-up was designed to prepare both mind and body for the theatre activities ahead. A well-rounded warm-up enhances focus, energy, and readiness for effective participation.

MG Naveen Sir began the session with a unique activity where participants introduced themselves in an "interesting" way. This exercise encouraged self-expression and built rapport within the group, setting a collaborative tone for the discussions to follow.

Sir introduced participants to the various departments involved in a play, emphasizing the importance of teamwork and the different roles required in a production. He then explained Aaharya, encompassing costumes, makeup, and stage settings, and elaborated on the classification of stage spaces through theoretical and practical demonstrations:

• Up Stage: Up right, Up center, Up left

• Center Stage: Center right, Center, Center left

• Down Stage: Down right, Down center, Down left

The session moved into an exploration of stage types and their features:

• Apron: The area of the stage extending beyond the proscenium arch, often used for intimate or audience-facing scenes.

• Front of House (FOH): The audience seating area, including the lobby and other public spaces, often housing lighting and sound controls.

• Brahmasthana (Center): The symbolic and practical center of the stage, regarded as the most powerful focal point for performances.

• Proscenium Stage: A traditional stage framed by an arch, offering a clear "window" view of the performance.

• Thrust Stage: A stage extending into the audience on three sides, fostering intimacy while retaining a backstage area.

• Black Box Stage: A versatile, adaptable performance space often used for experimental productions.

• Shift Stage: Movable sections that allow for seamless scene transitions.

• Open Stage: A minimalist space visible entirely to the audience, suitable for non-traditional or experimental performances.

The discussion then shifted to lighting techniques and their applications. Sir explained the roles of Front Light, Top Light, Back Light, and Side Light, as well as stage elements such as the Apron, Wings (1st to 4th), and Cyclorama. He emphasized the importance of the 45° Light in achieving optimal focus on stage and demonstrated lighting types, including general light, general wash, and spotlights. Participants practiced transitioning between light spots and working with light clusters to ensure effective stage presence.

Connecting lighting to Navarasa, Sir led an exercise where participants matched colors to each of the nine emotions. This activity helped participants understand how colors evoke emotions and enhance storytelling. Sir elaborated on these connections, providing deeper insights into how lighting complements performance.

The session also covered cross lighting techniques, focusing on avoiding shadows and light cuts, achieving full light coverage, and proper positioning under light for impactful performances. Participants practiced movements and light reception under Sir’s guidance, reinforcing key concepts through hands-on activities.

The day concluded with practical demonstrations that solidified participants’ understanding of stage zones, lighting techniques, and the integration of colors with Navarasa. MG Naveen Sir’s engaging style, combined with interactive Q&A and thoughtfully designed tasks, ensured participants left with a thorough understanding of stage lighting and its impact on theatre.