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| Lighting | Musical Theatre | Playwriting | Set Design | Shakespeare |
| Category | Quote | Last | First | |
|---|---|---|---|---|
| Lighting | Lights are to drama what music is to the lyrics of a song. The greatest part of my success in the theatre I attribute to my feeling for colors, translated into effects of light. | Belasco | David | |
| Lighting | An effective lighting design is like a beautiful painting. Your medium is bringing someone to an emotional state he or she would not achieve at that moment without your art. This does not and can not happen by accident. | Cunningham | Glen | |
| Lighting | Lighting is not about function. It's much more about the mood and the emotion that the playwright and the director are trying to create. Our job is to support their poetic direction. | Fisher | Jules | |
| Lighting | Oftentimes the quality of the light tells the story: the time of day, the weather, whether sun is streaming through the window. It can also help you appreciate what the actor is feeling, what the playwright wants you to feel. Any engineer can put a spot on someone. | Fisher | Jules | |
| Lighting | If I am so insistent about the bright lights, both the stage and house lights, it is because I should in some way like both actors and audience to be caught up n the same illumination, and for there to be no place for them to hide, or even half-hide. | Genet | Jean | |
| Lighting | Lighting paperwork is a living thing, continually evolving throughout the production process until opening night. | McMills | Anne E. | |
| Lighting | Theatre is interesting because it's a very collaborative process. Typically I'm working with a director, a set designer, a costume designer and a sound designer too. That means that there are a number of perspectives that are brought into any particular script. Typically the director has the final say in where we go conceptually with a piece but we all have an opportunity to influence that direction and typically that direction is based on the script. As such, my studies in english and philosophy have enriched my ability to take a look at a text and react to it in my own way so that I can bring to the table what I consider to be an informed perspective. Then we negotiate the project's process and it's always quite enriching. Projects basically come out of a bond of trust that you have created. As I have progressed throughout my career I have gravitated to people who I feel a common bond with; who I seem to be able to communicate with. We establish a trust and then we go about our project. Very often I will work with someone for three or four years and we will have a particularly creative time and then, for whatever reasons, we will go our separate ways and new bonds will be established. It's an extremely communal approach to the arts. [Lighting designer Jock Munro] | Munro | Jock | |
| Lighting | I think that the first thing that I learned about lighting design was that there are no real rules involved and that as long as I remembered this then my lighting would remain fresh and interesting to me and hopefully to the audience and to the people that I collaborate with. | Munro | Jock | |
| Lighting | In a circle of light on the stage in the midst of darkness, you have the sensation of being entirely alone. . . . This is called solitude in public. . . . You can always enclose yourself in this circle, like a snail in its shell. | Stanislavsky | Konstantin | |
| Lighting | The lighting designer will never stop learning. Every production or project will present new challenges, new obstacles, new human dynamics and new problems to solve. There can and should be many failures along the way. This is part of the artistic process. The lighting designer shouldn't hesitate to make as many mistakes as possible - just don't make the same mistake twice. | Williams | Bill | |
| Lighting | Stage lighting is no longer a matter of simple illumination as it was less than 100 years ago. Today, the lighting designer is expected to be a master of art, science, history, psychology, communications, politics and sometimes even mind reading. | Williams | Bill | |
| Lighting | The stage designer quickly learns that things are not always what they appear to be. A director who asks for 'more light' on an actor, probably doesn't mean that at all. Instead he really just wants 'to see the actor better'. The designer might chose to reduce the lighting contrast around the actor, or simply ask the actor to tip his head up a bit. Both solutions solve the problem without 'adding more light'. So the lighting designer also has to be a good listener, a careful interpreter and a skilled crafts person. | Williams | Bill |