ABSTRACT
We have discussed possible aims in lighting. We have looked at the hardware available for the production of controlled light on the stage. We have considered how this equipment can be mounted and how it can be fed with electricity. We have debated the effect of the direction of the light hitting an actor and the consequences of subtracting part of the spectrum with colour filters. We now come to the crunch: how do we bring all this together in the process of lighting design? Just how does one start when faced with a bare stage?
