Stage lighting design: light scenes, light transmission

Not long ago, the "Zhou Zhengping Contemporary Lighting Art Workshop" sponsored by international stage organizations and other institutions was held in Hangzhou. Zhou Zhengping is a “model worker” in contemporary Chinese stage lighting design circles. In more than 20 years since 1986, he has served as a director of lighting design and design for over 240 operas in over 40 plays. He started from Yue Opera and his works involved Peking Opera, Kunqu Opera, Yue Opera, Sichuan Opera, Qin Qiang, Yu Opera, Pingju Opera, Xi Opera, Cantonese Opera, Huagu Opera, Shan Opera, Huangmei Opera, Qu Opera, Drama, Light Opera, Dance Drama, and Musical. Among its masterpieces, there are only 18 series of "national stage art exquisite projects", and it is a real winner.

Light is the soul of the stage. The Swiss stage artist Apiaia said: "Light is the visual equivalent of music. Only music and light can express the inner essence of all appearances." The "musicity" of light and the "sound of light" in light have caused widespread innumerable peers in recent years. The attention and rise to a rational understanding. Alepia also said: "Light is the palette of stage art. It is the soul of theatrical performance. Light and color are separated, and light essentially contains music." The sense of light and light movement is Light color produces two major elements of music. The design and operation of stage lighting, its knowledge and handling of musicality is the key to the sublimation of the works. In the lighting design, Zhou Zhengping pursued the expression of the inner emotions of the drama and the typical effects of three-dimensional lighting, breaking through the sense of space in the stage of the frame. In the process of theatrical performance, his lighting spectrum is like the music's score. With the development of theatrical movements and the change of characters' emotions, a space of mental modeling composed of light and color is created. He gave full play to the styling, lyrical, symbolic, and metaphorical functions of stage lighting. With light lyrical, light changed with emotion, he made light a "meaningful form." The light he controls also gives the neutral scene a personality; he focuses on the composition of the dynamic picture of the performance, creating the effect of “weaving on the drawing of time” for the theatrical performance, and injecting new life into the stage art.

The lighting design of Zhou Zhengping’s previous works has more color pursuits and more complicated light and color combinations. In the past ten years, in many works such as dramas and Kunqu Operas, the design style has become more calm, deep, and atmospheric, and more simple and simple. It is thought-provoking, but it does not include a lot of writing but contains profound ideas, and the spirit of innovation is particularly prominent. It shows that his lighting art is becoming mature. In the drama “The Field of Life and Death” directed by Tian Jixin, Zhou Zhengping explored a method of combining drama with drama and film. Using the montage technique of the film, he allowed the lights to participate in the structure of the drama, allowing the positioning and transformation of time and space to rely on The lights were dispatched and successfully met the director’s requirements for free and flexible flow of space and time. In 2004, the celebrity version of the drama "Thunderstorm" starred by Chen Huiyi, Pan Hong, and Zang Cunxi starred in the performance. The audience also left a deep impression on the unique stage lighting of the show. Zhou Zhengping made use of a ceiling fan in the stage device to skillfully play the projection effect of the fan blade on the ground. When the character's inner heart is full of contradictions and the dramatic conflict intensifies, the actors' performance areas are basically in the projection part of the ceiling fan. When the shadow of the ceiling fan on the stage began to rotate, the fierce struggle of the character was also highly externalized. In the drama “The Hulan River”, Zhou Zhengping used the light beam to create a stage lighting that was fully integrated with the stage equipment. The same canopy appeared on the stage with all kinds of light effects. The audience was amazed by the change in space and the level of clarity.

One of the most important features of Zhou Zhengping's lighting design is "One Scene." In Yue Opera's "The Cold Feelings", he used light to find the rhythm of light and music; he used the black-and-white bronze ware as the theme of the image, and expressed the Confucianism and chivalrousness of the King of Qin. In such a dramatic space environment, the ups and downs of theatrical rhythm, the rendering of theatrical light colors, the point of dramatic plots, theatrical atmosphere of the drama, the promotion of theatrical climax, and the lighting design accompany the whole process of drama. At the end of the show, the inverted triangle beam corresponds to the triangle composition of the stage platform, and Jing Ke is placed in the middle of the composition of the entity and the void of the sharp confrontation. The hero who will be “The wind is bleak, the water is cold, and the warriors are gone” Spirit and compassionate feelings, performed incisively and vividly. In "The West Chamber", he integrates the conversion of mental space and physical space. In The White Rabbit, he creates a circular dome lamp by means of a luminaire. The symbolic meaning of “living”; “Lu You and Tang Yin”, “The Southern Tang Dynasty's Remains”, “Xiao Ji”, “Xishe Breaking the Cable”, “The Jing Ke Ji”... A Department of Yue Opera Classic Works established Zhou Zhengping “ With light scenes and light transmission, the light design art style.

The preciousness of Zhou Zhengping is to understand the marriage of light and art. His consistent goal is to achieve a highly integrated drama, strictly obeying the actors' performances. Zhou Zhengping believes that lighting designers should think about how to use their resources lightly and rationally, instead of simply seizing the right to speak of the performance; create an overall image, promote overall harmony, and highlight the art noumenon, so as to achieve an overall realm of beauty. This view of him improved the role and understanding of lighting design to an aesthetic level.