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Stage in the Spotlight and Paradoxes of the Profession Artist, Light, Theatre L&E 28 (2) 2020

Light & Engineering 28 (2)

Volume 28
Date of publication 04/13/2020
Pages 17–27

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Stage in the Spotlight and Paradoxes of the Profession Artist, Light, Theatre L&E 28 (2) 2020
Articles authors:
Elena A. Zaeva-Burdonskaya

Elena A. Zaeva-Burdonskaya, Prof., Ph.D. in Science of Art, graduated from Moscow State Stroganov School of Design and Applied Arts in 1987. At present, she is the Acting Head of the department of Environmental Design in Moscow State Stroganov Academy of Design and Applied Arts, Member of Russian Designers Association and the Union of Artists of Russia, Laureate of Moscow City Award

Nowadays, the lighting designer is becoming one of the leading figures in forming of the concept of theatrical scene design. Lighting technologies with great potential of illumination, colour and graphic capabilities allowed the profession to occupy the leading positions in the space of any object. Today’s orientation of the whole visual culture to staginess alongside with avant-garde inventions of stage designers in the early 20th century have formed the main artistic trends of this art. Nowadays, the modernistic findings of the past are supplemented by innovative multimedia technologies. Visual techniques worked out in stage shows have  seriously affected the people’s attitude towards the  stage space. They have made theatrical performance very dynamic by using lighting and media effects,  sufficiently widened the scope of visual and expressive abilities of an artist.
The new paradigm of light as an active tool of form-making allowed modelling the space by means of lighting technologies. Stage light has become a form possessing great emotional power inseparably associated with the dramatic composition of performance. At the same time, the goal of a lighting designer cooperating with theatre designers and costume designers should permanently lead the audience to catharsis and innovative light engineering techniques play a great role in it. Naturally, such innovations in theatre art made it necessary to correct the programmes of training of universal specialists required in this area. Professional education of a theatre lighting designer, apart from knowledge of technology and basics of scenography, requires serious artistic training.
The methodological experience obtained in scenography training of future designers in the Environment Design sub-department of S.G. Stroganov MGHPA may provide an example of new design approaches to solving of comprehensive problems of scenography. Design training techniques used in the  sub-department include the method of environmental approach, the method of script modelling using a virtual design model and the method of conceptual design.
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