Well into the 18th century the lighting methods of the European theatre basically resembled the methods of 17th century theatre. The few lighting effects seen in the theatre were those painted on the scenery.
In England David Garrick, upon his return from Paris in 1765, introduced numerous
stage reforms at the Drury Lane Theatre including the removal of the chandeliers from
the stage and a strong emphasis on lights located beyond the proscenium arch.
These included winglights and an improved version of footlights called ‘floats’.
Philippe Jacques de Loutherbourg, who joined the Drury Lane Theatre in 1771 as
Garrick’s scenic designer, employed lighting to create spectacular scenic effects.
He used color media and light changes for atmospheric effects such as moonlight,
fire, dawn, and so on. De Loutherbourg also used the most advanced light source
of the period, the Argand burner, invented in 1782, in order to achieve brighter and
more effective illumination.
Well into the 18th century the lighting methods of the European theatre basically resembled the methods of 17th century theatre. The few lighting effects seen in the theatre were those painted on the scenery.
In England David Garrick, upon his return from Paris in 1765, introduced numerous
stage reforms at the Drury Lane Theatre including the removal of the chandeliers from
the stage and a strong emphasis on lights located beyond the proscenium arch.
These included winglights and an improved version of footlights called ‘floats’.
Philippe Jacques de Loutherbourg, who joined the Drury Lane Theatre in 1771 as
Garrick’s scenic designer, employed lighting to create spectacular scenic effects.
He used color media and light changes for atmospheric effects such as moonlight,
fire, dawn, and so on. De Loutherbourg also used the most advanced light source
of the period, the Argand burner, invented in 1782, in order to achieve brighter and
more effective illumination.
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