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light is the love of his life

by:Marslite     2019-09-22
By LEAH D. FRANKNOV.
1978 this is a digital version of an article from The Times Print Archive, before it starts online in 1996.
To keep these articles as they appear initially, the Times will not change, edit, or update them.
There are occasional copywriting errors or other problems during the digitization process.
Please send a report of such issues to archid_feedback @ nytimes. com.
We live in a world where the movement of light makes us calm.
If the rotation of the Earth around the sun suddenly stops, we will panic.
This is the movement of light in nature, giving us some satisfaction, some sense of calm, \"Jules Fisher said recently. Mr.
Of course, Fisher is the recipient of Antoinette Perry (Tony)
Award for best lighting in recognition of his work in the Broadway musical dance. ” Mr.
Fisher was also nominated for making the dance.
His latest Tony joins the \"Pippin\" best lighting equipment he already has (1973)
Ulysses of night City (1974).
At the age of 40, sir.
Fisher is at the top of his career.
When he spoke, it was hard to notice the Sun changing behind the seagreen curtains in his small office, shuffling and reshuffling the curtains. Mr.
Fisher became a lighting designer through Magic: At the age of 8, he became a magician and performed semi-professional performances in clubs and hospitals during high school.
In the first summer after graduating from high school, he continued to perform his business career at the Valley Forge Music Fair in Pa Devon.
Not far from his house.
During his apprenticeship at this stage, he looked at the lights and said, \"Hey, I think I can do that.
When he graduated from Carnegie University of Science and Technology
Carnegie Mellon University now
During his college years, he made lighting for three students. Leah D.
Frank is a theater critic at WNYC radio. way shows.
Although he still regards magic as a hobby, he has been hooked on the lights since then. Mr. advertising
Fisher is eager to learn something about his little-known art and craft.
\"One axiom of theater lighting is that lights should not be seen,\" he said with a smile . \".
\"The audience should not be aware of the lights, just as the audience should not be aware of the costumes.
It is said that you will not notice the lighting if it is really good.
It looks natural.
When I see the theater, the design side should not let you give up your involvement in the drama.
They may be beautiful beyond the requirements of the visual environment.
Although the show requires an ugly, degraded or poor environment, good design will still delight the mind.
If it is not beautiful, it will also distract.
Anything that you think is so flashy or so flashy, or anything that is too smart or too tricky, will disappear from mainstream ads and pause for a moment.
\"People would think I was a hypocrite because I said none of this should be noticed because I have done some very flashy shows.
He quoted \"hair\", \"Jesus Christ Superstar\", \"Beatles\", \"dancing \".
\"I \'ve done some shows that need this kind of lighting, so my name is connected to it.
But I \'ve also done shows like Uncle Wanya by Mike Nichols.
\"His best work, Sir.
\"Did you hear the Waltz? \" said Fisher ? \"
He received little mention of it.
What is important to Mr.
Fisher believes that the lights are completely correct for every moment of the drama, which enhances the meaning of the playwright and clarifies the drama.
\"Lighting is not used to provide visibility.
Although visibility is a very important factor in lighting, visibility is the least important in terms of aesthetics.
We light up the office building or the lobby of this room so that we can complete a task.
We need some light to write, sew, type or something.
This is illuminated for visibility.
You can put the lights on the stage to see the performers.
If it\'s too dark, the audience can\'t see the actor\'s lips, they can\'t hear it very well.
Anyone can put the lights on.
The light bulb on the stage, but the lighting design is to choose what the audience will see at every moment.
Good lighting design gives the audience an emotional input into the show.
This separation from visibility to stage lighting is its beauty.
He explained that the process of lighting up a play starts with reading and rereading the script or listening to music over and over to understand the basis of the material to master the emotional content of each moment.
The next step is to meet the director to determine the director\'s concept of the work.
A subsequent meeting with other designers during which all the design elements of the exhibition were formed, \"with \'dance\',\" Mr.
\"The designers will meet [with],\" Fisher said.
Director/Choreographer
Bob forth, and try to get to know the content of each dance.
What should it look like?
What should it feel like?
For example, \"Sir.
Bojangles is a very soft memory that evokes an old dancer\'s view of himself when he is young and you can see old dancers and young dancers.
People on the stage at the same time.
Very low profile.
This is done with mottled light, and there are small light spots everywhere on the stage --
It evokes a memory, a feeling of the past, a past that may have been lost.
On the other hand, the \"Dancing Man\" is done on a full, bright stage.
It\'s white, clean and crisp and you can see everything. ‘Mr.
Bojangles is the opposite.
You can\'t see everything, you can\'t see the shadow behind the shadow.
There are corners on the stage that you can\'t find.
This is pretty \"I\'m trying to find the emotional content of every piece of work --
The main movement is small or large in the hips or other parts.
I had to watch Bob Forth\'s dance, take the time to be with him and get a close idea of what he wants from every moment.
Bob\'s dance is often made up of small body movements.
Movements of the wrist.
Movement of the pelvis.
Movements of fingers
So, I have to find a way to show the details.
If you have a little light, you can see someone skip the stage.
But if you want to see this person bend a little bit of your finger, you have to have a lot of light or very specific light.
In \"dancing\" there is a light source from multiple directions just to show arm movement or hand movement.
\"Once he understood the requirements of the show,
Fisher sat in front of a drawing board in his studio with a pencil and straight edge in his hand, and every light he planned to use was painted on a piece of paper.
Then he ordered the equipment.
\"At this point, I know what each dance is about,\" he said . \".
\"I know what the costume will look like, the question is, how can I best express this mood?
\"After the design is drawn and the equipment is ordered, the lights are installed on the pipes and installed in the theater by the electrician.
Then, together with Mr.
Fisher stood on stage and told the electrician where everyone should aim.
Then start playing the lights.
\"I sat down with the director and we turned on the light and it lit up in the first moment.
An actor is standing here. he is going to talk.
It is recommended to use a light, and the director may say, \"not bad, but what if it comes from there ? \"?
We tried it, maybe we liked it, so we recorded it.
We wrote the first tip on a piece of paper: this light on the third tube will hit the performer and it will appear in three seconds.
Both the electrician and I recorded this prompt. And I say, O. K.
What is the next moment that light needs to change?
This is a slow, cumulative process through which we decide every moment what each light will do.
\"Although the technical aspects of dramatic lighting seem complicated, what makes him different is that
Fisher of other lighting designers is not his ability to focus on lighting or explain the director and choreographer\'s vision;
Instead, it is his personal relationship to the quality of the light around him, and the impact of that quality on his world.
He wrote, \"understand the disciplines of optics, electrical, physical and psychological sciences and their relationships --
When trying to use painting, sculpture, dance, architecture and music art to express ideas, feelings, emotions, close to the creation, this is the stage lighting.
For me, understanding how these elements come together and become plays has always been a fight and a love affair. ”Mr.
Fisher was surprised by the light and spent most of his life analyzing it.
He took the camera with him.
He recorded and experimented with what he had seen, and his office walls kept pictures of the effect of \"different light sources.
Under the Sun, some trees are black, and the same trees are strangely disappearing into the light source.
There is also a photo where three orange skins are lit and look like strange objects in the mind of sci-fi writers.
\"Reveal the changing emotional context in the performer\'s language and movements,\" Mr.
\"The lights must be constantly changing, synchronized, subtle, and harmonious,\" Fisher said.
\"If we believe that the action we see on the stage is true, then the light must follow.
It has to be brighter, it has to be darker, it has to change the color, it has to change the value, it has to breathe.
■ A version of this file was printed on page D8 of The New York edition in November 12, 1978 with the title: the love of his life alone.
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