New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-04-23
ELECTRIC LIGHTS FOR STAGE PURPOSEs
HOW SOME MARVELLOUS AND BEAUTIFUL Ep.
FECTS ARE ACCOMPLISHED.

HOW SOME MARVELLOUS AND BEAUTIFUL Ep.
FECTS ARE ACCOMPLISHED.
Samuel B. vanrans an electrical engineer CON-
neced with the United Electric Light and Power
Company OF this city. sailed for Europe the Ches
to take charge OF the construction OF the cectt.
cal equipment Of Augustn Days new theatre In
Leicester Square, London. Mr.. NanraIst has had
charge OF the lighting of Mr.. Days theatre In this
city electric lights used in 1t. and has been
identified also in other theatres with the application
OF electricity accessory to the scenic art. He
Is the originator Of OF the best systems OF stage
lighting now in use, and has, perhaps had more ex.
perience than any other man In this particular field.
His views on the subject, therefore, of peculiar
value and Interest not only TO scenic artists and
managers. but also to the public to whom the results
ultimately submitted. They apply directly to
amateur theatricas and tableaus, and not with
out suggestion in the way Of artistic lighting In The
home.
Electric lighting for stage PURPOSES said Mr.
Vananst to the writer few days before his depart
ure has been developed within the last ten geau
The principal theatres Of NewYork and other iarge
cities now use electricity almost exclusively. OF
course the older theatres have a gas outfit besides
and most of the supplied with both
means Of lighting The scenic artists and managers
rs a rule opposed the Introduction of electricity on
the stage, and many still oppose It, saying that they
can get better effects with gas. / do agree with
Them Of course, but not surprised at their oppo
siton for the electric lights have been and still are
more often mslIsed than used properly, and msused
they are an utter failure. The principal trouble has
been believe, that scenic artists tried to use
electric lights In the same way that they ac-
customed TO gas Lights. This cannot be done. as
the two are OF different color and change differently
when turned up or down.
"My first experience with stage lighting was at
Days Theatre In the season OF 1oS71oe5. and be.
nj r.t.o, IL
lights for stage purposes In the production there
OF "A Midsummer Nights Dream Several theatres,
the Standard, Miners, and, think, the Bijou and
Lyceum had been equipped with electric lights before
this, but the lights had not proved successful "A
Midsummer Nights Dream was play In which light
played an extensive part In the scenic effect. par
ticularly in the changes which We're made In sight
OF the audience. 1t proved successful, and Mr.. DAILY
Immediately made arrangements to Use electricity al
together Shortly afterward Palmers the Casino and
the Academy OF Music received an electric equipment
and now as have said nearly al frst-cass theatres
supplied with 1t.
"For a full stage equipment from 500 to ZOO ligsts
are required 1t is absolutely necessary that these he
arranged In small sections, each controlled separately
In this way you can get much or little Tight YOU
please at any particular point. When gas was used
the border lights and footghts played the principal
part Colored globes were used with the footnghs
to give changes Of color. and frame filed with Gea
tine paper lowered In front Of the border lights,
TIE color Of the paper being thus thrown upon the
stage This arrangement was cumbersome, and 1t was
not manageable enough to permit the timer tints and
tones OF color 10 be produced.
The electric lights are put In three colors every.
where, red, white and blue, the colors Of the globes
Turn down white electric light and 1t becomes vel:
i by COMPILING .t them properly You any
you wish, or may graduate the light through an tas
S Set Of "A Midsummer s Sighs Dream The curtain
rises upon "a dark stage II Is night Inc blue hgnt
burns low Gradually o LITTLE s yellow Sat r Is ' dawn
The yellow is raised tribe and the red Is gradually
p,o Gs ths rsns % n " n2 ls
of and the Waite daTs sSpphs s as sns
light come the orange tints, then deeper oranse ~,
little blue Of various shades added bn s. out all the
orange is withdrawn and the blue burns low the night
n nS ssn aha ene Of d Ns Dream
OF the most beautiful have ever seen haere
action on the stage for ten or twelve minutes
centred in the representation of the dawning day.
The orchestratIon followed the changes In Ashtins,
of 10 Hear the the Gentle Lark
In using colored lights the prevailing colors Of
the scenery and costumes should be taken into con-
slderation In "a MOONLIGHT scene, Tor nstance. the
S ans C colder Soops freely but the red LINT
must be used sparingly you will produce an ashy
colo, sa Will WARMER iS sr e r h
browns are prominent. There the blues must be used
sparingly. The same considerations holf with regard
10 costumes.
The great advantages OF electric light In produc
Ing these effects are that You get any shade or
any tone OF color you wish by properly bending me
primary coors. and You can use exactly the quaniy
OF light that you require. II Is, believe. largey
because scenic artists and managers. and perhaps
electricians have not understood how ~ use the cleo
trtc lights that they have been opposed. As fule
too much Night has been used, giving hashy ;alldv
effect rppulsive good taste. Then the art or blend
ing the coors properly OF graduating from one effect
10 another almost imperceptby. OF constantly chang
ing the tints and revealing new beauties, has not
been half exploited.
1T must be kept constantly in mind that the
lighting is only accessory. not the principal part
Of the performance The effects produced by the
lighting should not he SO striking as to draw atten.
ton from the action. TIE most artistic lighting IS
one OF which the audience takes note. being made
To forget that artificial lights are being used.
An Interesting though totally different field Is
what Is called trick nghtingtha Is. special eNecls
for special scenesand here the opportunities for IN
cenuitv are almost boundless. In the anvil scene
In .Siegfrcd' wires stretched across the anvils
which emit sparks as the hammers strike them. The
fencing scene IN Faust where the SPARKS hy from
the swords Is similarly arrnnged. The spectral Effects
I'm the seven Ravens n Niblos some time ago. am
The Sparkling fingers OF the devil In The BACK Crook
are also well known instances Of this trick ichng
Dances also In which electrical effects are lntroduced
becoming popular. ,.,. MI.
Roth In the way Of trick and Of legitimate light
ing the possibilities which electricity offers are eror
nous The half has not vet been thought. mlch less
attempted. I believe. however. that me m'tn no.
Of witch I have spoken sound and pra,nIl,oIe
and II carried out will yield magnificent results