theater chapter 11

Visibility is the most obvious function of stage lighting. Which of the following is also a primary function of lighting?

1) reveal shapes and forms 2) assist in creating mood and reinforcing style 3) provide a selective focus and an artistic visual composition

Which of the following responses places these theatrical lighting practices in the proper chronological order?

the sun, candles and oil lamps, gaslight, limelight, incandescent lights, LEDs.

Through the use of color, shadow, and intensity, lighting can suggest

1) a time of day. 2) a season of the year. 3) a place. 4) All these answers are correct.

A conventional spotlight that produces a soft-edged beam and allows for variable beam spread is called a(n)

Fresnel spotlight.

A harsh red light from below an actor's face can create a disturbing mood, but you would only find that kind of light in a nonrealistic production.

True

Sound effects in the theatre can be produced effectively with either advanced technology or with age-old manual theatrical mechanics, depending on the style of the production.

True

Sounds that are called for in the script are called

motivated sounds

In order to meet the aesthetic demands of a lighting design, the stage manager must

call all cues with an understanding of the pace and rhythm integral to the production.

When a beam of light is aimed at a particular area on the stage, it is said to be

focused

Digital sound technology will allows musical instruments to be connected through a theatrical sound system, but at this time it cannot yet interface with lighting or projection technology.

False

The technical rehearsal is the time to establish

All these answers are correct

To this day the most common form of sound reproduction technology in the theatre is reel-to-reel tape

False

Sound travels more slowly than light.

True

Split cross-fades are quite difficult to make consistent on a manual lighting console, but computerized light boards make this complicated timing easy to accomplish.

True

The lighting designer can only use the following four controllable properties of light—intensity, color, distribution, and movement/change—in setting the lights for any cue in the theatre.

True

A light that is typically used to light the large cyclorama all the way upstage is

a strip light or flood light

When one set of lights comes down at the same time that another set of lights come up, this is known as a

cross-fade.

Lighting changes typically programmed in a computerized control system are referred to as

cues.

The sound designer's primary collaborator on any theatrical production is the

director.

The amplification of sounds produced by a performer or musical instrument is called

sound reinforcement

When light from one area falls into an adjacent area, it is said to

spill

Fresnel lighting instruments are most often used for

top lighting.

High-tech lights often used by rock musicians move up and down and from side to side, change colors, and change the sharpness and width of a beam of light and allow for numerous decorative or atmospheric patterns, are now used industry-wide. Such lights are called

automated lights.

A wireless microphone attached to a performer is called a ________ mike.

body

When sound effects are recorded and arranged in the order of their appearance in the script, the process is called

editing.

A conventional spotlight that throws a sharp, concentrated light and allows for the shaping of the beam with shutters is called a(n)

ellipsoidal reflector spotlight.

Sound that recreates the noises of everyday life and help create the verisimilitude of a play, but s are not specifically called for by the script, are called

environmental sounds.

A light plot does NOT include the

length of light clues

Which of the following is a critical member of the lighting design team?

master electrician