舞台灯光四化探索

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摘要：所谓“四化”是——自动化、智能化、系统化、国产化。 我为什么提出这个课题？并不是追求时尚，而是我长期从事艺术实践的深刻感悟，逐渐形成对舞台灯光发展的变革思考。 “四化

所谓“四化”是——自动化、智能化、系统化、国产化。 我为什么提出这个课题？并不是追求时尚，而是我长期从事艺术实践的深刻感悟，逐渐形成对舞台灯光发展的变革思考。 “四化”主要属于科技研究范畴，但我是科技门外汉，我的发言主要是从应用角度，对舞台灯光在发展观念方面与同行交流。我认为，只有观念更新，才谈得上科技创新！ 我简单谈三点。 1 反思传统 揭示影响舞台灯光发展的两个主要现象： （1）一种常见的应用现象——“固态照明”； （2）舞台灯光是戏剧生产程序中“最后一道工序”。 1.1 “固态照明” 1.1.1 什么叫“固态照明”？ 所谓“固态照明”，既是一盏灯装在某一位置上（灯位），灯具从这一点发射的光线，它的投射角度和被照对象的光斑，皆是以固定形式定位在舞台某一空间中（光位）。如果再想改变某项状态（调焦、调色、调投射角度等），必须再到该灯位做再一次手工操作，也就是说，在灯具应用中，“光位”与“灯位”只能是一次性定位。——我称之为“固态照明”。 这种运作方式，从有舞台灯光开始，剧场中“常规灯”的应用至今未变，已经形成一种凝固模式---我称之为“固态照明模式”。 1.1.2 “固态照明模式”在应用中存在哪些问题？ （1）灯数成倍增长 戏剧性演出灯光一般应用规律有两类布光——基本光与特殊光。 灯位与光位示意图 “基本光”就是舞台各灯位都要有一批灯满足对主舞台（或表演区范围内）的基本照明和必要的色光气氛。因此，各灯位灯数配置必须要满足两次以上的色光气氛变化。 “特殊光”根据演出需要——选灯种、灯数、灯位、色彩、光斑形态、投射角度局部照明某一对象。 （2）灯数多、供电回路多，配套系统也相应扩展。 （3）一次性定位、灯的利用率不高。 （4）布光（对光）手工操作，灯数多、工作量大，工作效率低且不安全，高空作业常有安全事故。 （5）剧场灯位传统模式限制“光”在演出中自由发挥。——如面光桥、耳光室、大框架假台口、侧光吊笼。固定顶光灯杆、灯桥等设计。原意想为应用提供方便，但由于种种因素，往往也限制“光”在演出中自由发挥。 特殊光运用 1.2 舞台灯光是戏剧生产程序中“最后一道工序” 戏剧是综合艺术，是由编剧、导演、音乐（作曲、配器、音响）、舞蹈、舞美（布景、道具、灯光、服装、化妆）等部门的组合。这是一个庞大的美学生产工程。 这些创作部门在一台新戏生产过程中，都有较长时间的准备和前期磨合。少则一两个月，多则一年半载，他们（除灯光设计外）都有预先准备好的“成品”或“半成品”进入剧场，参加全剧合成。唯有舞台灯光，只能等待它的被照对象呈现在剧场舞台上，才能进行布光和制作变化程序、参与全剧合成彩排。舞台灯光处于“最后一道工序”，这是戏剧生产长期形成的基本规律，因此也无形中产生了很多矛盾： （1）时间与质量的矛盾 一部新戏进剧场，从装台到首演一般只有三四天时间。舞台灯光在这有限时间内，要完成装台、对光、编程、合成、彩排等项内容，工作量很大，灯光设计很难精细处理。 （2）灯光效果“台上见” 舞台灯光在前期与导演、舞美设计通常是用语言交流设计意图，所传递的信息是模糊的，甚至是抽象的概念。剧场合成效果往往与导演、舞美设计设想产生差异，免不了要有一些修改。有些内容由于时间限制，想修改往往也为时晚矣。 （3）艺术质量与价值观认识的障碍 由于现场工作压力很大，甚至困难重重。灯光工作常常因客观现实条件不如人意，往往因陋就简、因地制宜，凑合演出。创作人员也是出于无奈，设计意图做减法多于做加法，遗憾地呈现给观众，也是常有的、不为人知的现象。“舞台光”的潜在功能和价值观很难被人理解。 1.3 小结 由于“固态照明模式”的影响，在人们观念中习以为常地接受。剧场工程设计也是如此模式的延续；艺术家（导演、舞美设计、灯光设计）也无奈地被动地接受。 由于“最后一道工序”灯光设计必须在很少的时间内完成任务，所有工作人员从装台到全剧合成，经历难熬的日日夜夜，已是常见现象。 虽然我国舞台灯光近一二十年发展很快，条件有所改善。但以上两种现象并没有得到根本性的改变。我们的艺术生产方式，实际上仍处在落后状态。 我从事舞台灯光工作六十多年，在漫长的戏剧生涯中，逐渐对舞台灯光传统的工作方法产生质疑，从而萌生变革思考。深刻感到在当今时代大发展中，我们的舞台灯光需要更新换代。也即是需要变革！ 2 需要变革！ 2.1 我对变革的基本思想 （1）变革理念——“创造自由的照明空间”(这仅是一句抽象口号)； （2）变革方向——使舞台灯光向自动化、智能化、系统化、国产化方向发展； （3）变革结果——创建新一代舞台灯光系统。 2.2 所谓“新一代” 灯具→剧场灯位→供电网络→控制方式→演出灯光编程等方面，向自动化、智能化、系统化、国产化方向发展，构成全新的舞台灯光照明系统（也含未来灯光教育的变革）。 新一代舞台灯光系统，是一个大课题，这是一个系统工程，是由若干子课题组成。 我们首先着手研究灯具。 2.3 研发新一代专业型自动化灯具 自动化灯具的研发是创建舞台灯光系统首要的子课题。只有灯具实现自动化，才能向系统推进延伸。 谈到“自动化灯具”，我们会自然联想到当今“电脑灯”已经是自动化灯具，而且普遍应用在演出中，为什么还要提“舞台灯具自动化”问题。如何回答？我想还是从电脑灯应用功能方面做点分析。 我们知道，“电脑灯”问世，早期是作为“娱乐灯饰”出现在娱乐场所，进而发展到用于歌舞演唱综艺演出，由于功能多样且能遥控运转，已是20世纪末演艺照明中的一种时尚灯具，并逐渐进入“剧场艺术”，为戏剧演出所用。 “电脑灯”虽然还谈不上是舞台灯光专业型灯具，但是它的多功能和自动化优越性，是“老常规聚光灯”无法比拟的（这里也涉及到对“老常规灯”的认识 ）。 什么是“老常规灯”？ 剧场和剧团常用的聚光灯的通称。从灯具功能特性认识，已经历了两代： 第一代是平凸透镜聚光灯、罗纹透镜聚光灯（亦称“柔光灯”）、凹面镜反射聚光灯（亦称“回光灯”）三类聚光灯种。由于光斑质量差、光效利用率低，已逐渐被淘汰。 第二代是成像聚光灯。由于光学与工艺结构的优越，其光的“可控性”与“可塑性”，皆优于第一代聚光灯种，现在已形成我国新建剧场常规灯种。从发展观念、成像灯的功能特性来看，对戏剧性灯光处理起到了一定的提升作用。但是，该灯种是非自动化灯具，其对光、调焦、换色，仍然处于落后的手工操作。从应用的发展观念，由于受“固态照明模式”的约束，只能视为第二代老常规灯。 由于电脑灯具有自动化、多功能优势，因此也就自然地将现在流行的电脑灯引进戏剧性照明，而且大有取代以上两代常规灯种的趋势。 但是，我们必须理性地认识电脑灯。 “电脑灯”是当代演艺自动化灯具的泛称，市场上电脑灯品种繁杂，功能各异。而我们需要的电脑灯，则是在吸收电脑灯自动化优势和多功能集成化特点，研发符合戏剧性演出要求的“专业型自动化聚光灯”。 戏剧性灯光非常重视人物照明，对演出空间的处理，布光要求严谨，重视细节刻画，灯光变化严格按剧情、表演、音乐等方面有分寸的表现，更重视光的“品质”要求。 我们研发专业型聚光灯，既要体现第一、二代聚光灯为戏剧性演出所需要的基本照明功能，同时又要吸收现代电脑灯自动化、多功能优势，创造第三代聚光灯种。这也是剧场和剧团未来的新一代常规灯。 我们在近两三年中，与广州市浩洋电子有限公司、北京星光影视设备股份有限公司两家企业合作研发四款灯具和一款轨道：【现场演示】 多功能轨道系统 这是为剧场常规灯考虑的配套设备。我们认为剧场常规灯种不一定很多，力求单纯、一灯多用、品质精良、以质取胜。让更多专业人士（包含导演、舞美设计）能便捷地驾驭舞台灯光。 2.4 “四化”是一个完整的变革链 创建新一代舞台灯光系统虽然是从研发自动化灯具开始。但我们需要认识，我们的追求不是简单几盏灯的自动化，也不是某一局部性的改革，而是若干子课题相关联的自动化、智能化研究，这是一个系统工程。 （1）灯具变革 我们研发第三代舞台自动化聚光灯，它的应用动能，超越第一、二代非自动化聚光灯，但这仅是“四化”的起步。 （2）灯位变革 如果我们再将舞台灯具水平和垂直移位，由固态照明模式转变为动态照明模式，不仅提高应用的自由度，更重要是释放艺术家的创作思维，使“舞台光”的价值观得到新的升华。同时也是对剧场灯位设计提出新的变革思考。 （3）供电变革 新一代灯具光源采用气体光源或LED光源，排除了“可控硅”供电方式。剧场工程设计是否还需要成百上千条供电回路？新的灯具自动化模式，供电系统能否作到单纯、便捷、安全、减少投资的变革思考？ （4）控制变革 控制技术方面我是外行，但从应用角度提点质疑？ 一是灯光总控台：现在剧场控台越做越大，当然功能也越来越多，越完善。究其设计思路，是否与我们剧场灯光工程设计与传统应用模式有关？似乎是“量变”的扩展势态。能否向“质变”方向作点研究，体现“新一代”的系统优势。 二是离线编程：这是灯光设计能否突破“最后一道工序”传统工作模式，克服演出灯光效果“台上见”的落后旧习，改变灯光设计生产方式很重要的技术手段。现在，很多灯光设计也开始应用相关软件进行“离线编程”，但到剧场能兑现多少？却出现不同程度差异，有的甚至差异很大。究其原因，不是“软件”不适用，而是“软件”为理想化状态，而我们的客观条件并非理想状态，这就说明，我们的离线编程还没有做到位，还有许多方面需要深入的研究。 控制的变革关系到整体变革系统是否能高效地实现灯光设计。“离线编程”的最大愿望，就是希望在进剧场全剧合成时快速便捷、准确地体现“预案”效果，这是至关重要的最后一个环节。也是检验整体系统能否有机配合的重要环节。 2.5 “变革”就是探索新路 我国舞台灯光发展，从电光源开始，舞台灯具和控制设备，基本上是依赖国外引进。即便自己生产，也是模仿国外产品。长期以来，模仿多于创新，基本上已成为我国舞台灯光设备的发展定势。我们需要学习国外先进经验，引进国外先进设备和人才。但我们还应该有自主创新意识，向着既“先进”又“实用”的观念，探索一条国产之路。 3 联合创新 走向“四化”、“创建新一代舞台灯光系统”这个大课题，要做的事还很多。目前，我们还仅是在灯具、轨道研发方面做了一点工作，已经觉得很吃力。实现舞台灯光“四化”的变革理想，深感靠一两个人、一两个单位做不成大事。 因为，它是一个由人的观念的改变、现代科技的支持、艺术品质的提高以及多方合作资源整合等，全方位地形成舞台灯光乃至剧场艺术不同以往的变革。这是一项大系统工程，需要联合创新。希望有更多有识之士，共同努力创建新一代舞台灯光照明系统。 我们的创新，如何评价它的深远意义，虽为时过早，但展望未来，我们围绕“四化”所作的努力，将是时代发展中新的跨越！ So-called 4 pursuits-automation, intelligence, systemization, domestic production Why I raise this topic? Not for fashion’s sake. This is the brainchild of my long-term art practice. I develop the idea of transforming stage lighting gradually. “Four pursuits” are related to scientif i c and technologic research. But I am a layman in this fi eld, so my speech is chief l y about application and I want to share my ideas about the development of stage lighting with all of you. I think updating ideas is the prerequisite for scientif i c innovation. I will talk about three points brief l y. 1 Reflecting on traditions Two phenomena inf l uencing the development of stage lighting: The fi rst is a popular application-----“solid state lighting” (SSL) What is SSL? Solid-state lighting refers to that a lamp is installed at a certain position (lamp position) and the angle of the light emitted from lighting fi xture and the light spot of lighted object are positioned at a fi xed spot on the stage (lighting position). If one wants to change certain characteristic (focusing, changing color, changing lightemitting angle), manual operation is needed at the lamp position. The one-off positioning of “lamp position”and “lighting position” is “SSL”. This operational technique has remained unchanged since the birth of stage lighting. This “conventional lighting fi xture” has become a fi xed option—I call this “SSL mode”. What are the problems “SSL model” face in application? The number of lamps doubles There are two kinds of lights used in theatrical productions----basic light and special light. “Basic light” means that every lamp position on the stage should have a set of lamps to satisfy basic lighting and necessary color and light atmosphere on main stage (or within performance area). Therefore, the installation of lamps at each lamp position should satisfy change of color and light atmosphere more than twice. “Special light” means that the types of lamps, number of lamps, lamp position, color and the shape and state of light spot and projection angle are chosen based on performance requirements to light a particular object. The large number of lamps means more power supply circuit. As a result, supporting systems increase. One-off positioning means that lamps’ utilization rate is low. Creating lighting effect requires manual operation. With lots of lamps involved, the workload is heavy, working eff i ciency is low and it isn’t safe for accidents always happen when workers working at heights. Theatre’s traditional lamp position model limits “light’s” free play in performances.-----fore stage lighting gallery, fore stage side lighting, false proscenium with big frame, side ladder, fi xed ceiling lamp pole, lamp bridge. They are supposed to be convenient. But they limit light’s free play due to many reasons. Stage lighting is the “concluding part” of theatrical production Drama is a comprehensive art and is made possible by script writer, director, music (composition, musical instruments and stereo), dance, stage design (scenic design, prop, lighting, costume, make-up) and so on, which is a giant aesthetic production. These departments have enough time to prepare and work with each other at an early stage in the production of a new drama. The time ranges from several month to several years. They have prepared “f i nished products” or “semi-f i nished products, which are ready for rehearsal”. Lighting is an exception. Only when the actors stand on stage can light control, change procedures and fi nal rehearsal begin. Stage lighting is the last part of a production and this is a basic law of theatrical production. Owing to this, a lot of problems arise: The contradiction of time and quality When a new play is going to be performed, there are only 3 to 4 days left after on-stage rehearsal is finished. So it is a daunting task for stage lighting staff to finish installation, light adjusting, programming, systemization and rehearsal in such as a short time. As a result, lighting design can’t be perfect in every detail. Lighting effect can only be shown “on stage” Stage lighting designer usually communicate with director and stage designer about their desired effect and the conveyed information is often vague and abstract. The actual effect usually isn’t what the director and stage designer have expected. Then, some adjustments need to be made. However, sometimes it’s too late because of content reasons or limited time. The barriers of art quality and values perception Since working pressure is heavy and there are many difficulties, available lighting technique and instruments can’t match play’s quality. As a rule, lighting workers have to give up many anticipated effects. Many people fi nd it hard to understand the potential function and values of “stage lighting”. In general: Due to the inf l uence of “SSL model”, people are used to this type of lighting. In the same vein, supporting theatre’s engineering design persist; artists (director, stage designer, lighting designer) have to accept it. Lighting design, the last part of theatrical production, must be fi nished in a short time. It is usual for staff to stay up light for several days on end during installation and play systemization. Although domestic stage lighting has witnessed rapid development in the late two decades and conditions have improved to some extent, but the abovementioned two phenomena haven’t been fundamentally transformed. Actually, our way of artistic production is still backward. I have taken up the career of stage lighting design for more than 60 years. During this time, I graduallygrow suspicious of traditional working method of stage lighting and then want change. I am deeply convinced that our stage lighting need to usher in a new era, which means it need to be transformed! 2 Need change! My views on change: Transformation philosophy-----“create free lighting space” (only an abstract slogan) Transformation direction---automation, intelligence, systemization and domestic production. Result---create a new generation of stage lighting system. New generation Four pursuits in Lighting instrumentlamp position power supply circuitcontrol method lighting programming. Only in this way can new stage lighting system comes into being (including lighting education reform) New generation stage lighting system is a big subject and a systematic project including a couple of subsubjects. Let’s look at lighting instrument fi rst. Develop new generation specialized automated lighting instrument Development of automated lighting instrument is the most important sub-subject in creating stage lighting system. Only this is realized can systematic progress be made. When it comes to “automated lighting instrument”, we naturally associate it with “moving light”. It is automated and is widely applied in performances. So why I put this topic forward? How to answer this question? I would like to analyze the application function of moving light: We know that “moving light” made its debut as “entertainment lighting fi xture” in entertainment settings and then it was used in live events like singing and dancing. Since it is multi-functional and can be operated by remote control, it became popular in late 20th century and was used in theatrical performances. Although it isn’t specialized lighting instrument, “old conventional spotlight” pales before it because it is multi-functional and automated. (Related to perception of “old conventional light” What is “old conventional light”? It is a general term for the spotlight frequently used by theatres and theatrical troupes. In terms of lighting instrument’s functional characteristic, it has experienced two iterations: The fi rst generation is lens spotlight, Fresnel spotlight (also called “soft light lamp”) and spotlight with concave mirror (also called reflector spotlight). Due to poor light spot, low light utilization efficiency, they became obsolete. The second generation is imaging spotlight. Due to excellent optical and engineering structure and better“controllability” and “machinability”, they have become conventional spotlights in newly-built theatre in China. Despite the fact that imaging spotlight can improve theatrical light, it is not automated and needs manual operation to focus, zoom or change color, which is backward. Because they are constrained by “SSL model”, they can only be seen as the second generation old conventional lamp. Since moving light is automated and multi-functional, it is introduced in theatrical lighting. It seems that it can replace the two generations of conventional lamp in an unstoppable way. But we should develop a sensible understanding of moving light. “Moving light” is a general term for automated lighting instrument used in entertainment scene. There are many kinds of moving light with different functions in market. But what we need is “specialized and automated spotlight” possessing both automation and multi-functional compactness, which can meet the requirements of theatrical performance. Plays attach great importance to lighting people, designing acting space. Its lighting conf i guration is strictand stresses detail. Lighting changes when plot, performance, music change. In general, it requires “quality”lighting. The specialized spotlight we want to develop should have the basic lighting function of the previous two generations of spotlights and should be automated and multi-functional as modern moving light. We hope this third generation spotlight can become a new generation of conventional lamp used by theatre and troupes. We have developed 4 lighting instruments and 1 track with “Goldensea” (professional lighting provider based in Guangzhou) and “Beijing Xingguang Film & TV Equipment Technologies Co.,Ltd”:[live demo] They are the supporting equipment of theatres’ conventional lamps. We believe that too many types of conventional lamps are unnecessary. We strive for simple, multi-functional, quality lighting instruments so that more professionals (including director and stage designer) can control stage lighting more easily. 4 pursuits belong to a complete transformation chain Although creating a new generation stage lighting system starts from developing automated lighting instrument. But we should also realize that the automation of several lamps or partial reform isn’t our ultimate pursuit because automation and intelligence research linking sub-subjects together is a systematic project. Transform lighting instrument The application function of our third generation automated stage spotlight can overperform the previous generations, but this is only the foundation for four pursuits to be realized. Transform lamp position If we can move stage lighting instruments horizontally and vertically and shift from SSL model to dynamic lighting model, the application can be freer and artists’ creative ideas can be unleased. The latter is more important because the values of “stage lighting” will be taken to a new level as a result. This is a new transformation ref l ection regarding theatres’ lamp position. Transform power supply New generation lighting instruments use gas or LED as their light sources and “controllable silicone” is eliminated. Are hundreds and even thousands of power supply circuits needed in theatres’ engineering design? Can power supply system be simple, convenient, safe and require less investment under the new model? Transform controlling I don’t know much about controlling techniques, but I can raise questions from the perspective of application. One point I want to talk about is lighting control panel: control panel is bigger now with more functions. Does the panel’s design has something to do with the engineering design of lighting in theatres and traditional application model? It seems like an expansion trend of “quantitative change”. Can we do some research in the direction of “qualitative change” so that “the new generation” can have a systematic advantage. The second point is off l ine programming: this is the key to getting rid of the traditional working model of“lighting being the last part in artistic production”, to overcoming the backward practice that lighting effects can only be shown “on stage” and to changing the design and production method of lighting. Many lighting design have done “off l ine programming” through relevant software. However, the effect is not always desirable. The software is suitable, but we lack ideal “software” and the objective conditions aren’t ideal, which demonstrates that our off l ine programming technique is not there yet and research on many aspects is needed. Transforming controlling renders whether the whole transformation can realize high-eff i ciency lighting design at stake. The biggest goal of “off l ine programming” is that expected lighting effect can be presented quickly, easily and accurately when the troupe is undergoing fi nal rehearsal. The fi nal rehearsal is a critical and is an important link testing whether different components in an artistic production can work out together. “Transformation” is exploring new fi elds. The development of domestic stage lighting depends on foreign equipment basically in many aspects such as electrical light source, stage lighting instruments and controlling equipment. Even if they are manufactured inChina, they are imitating foreign products. Imitation is more than innovation is a predominant trend in domestic stage lighting development. We need to learn from advanced experiences of foreign countries and introduce advanced foreign equipment and talents. Besides, we need to be innovative and set “making outstanding and practical products” as our goal to explore a new road for domestic production. 3 Joint innovation There is loads of things to be done before 4 pursuits can be realized. We have only done some research on lighting instrument and track, but we have already felt that it is a formidable task. Our dream won’t come true if only a few people or enterprises are involved. Why? It can only come true by transforming people’s old-fashioned ideas, getting the support of model science and technology, improving art quality and pooling different partners’ resources. So this huge systematic project needs joint innovation. We hope that more visionaries can join hands to build new generation stage lighting system It is too early to comment on what far-reaching inf l uence our pursuits will bring about. But as we look into the future, our four pursuits will be a new breakthrough in Chinese development. JIN Chang-lie: Retired Professor from Shanghai Theatre Academy. Graduated from Shanghai Theatre Academy, he expertises in stage lighting design, theatre technology planning and process design. After graduated from Art Department of Shanghai Theatre Academy in 1954, he teaches in his school as a director of lighting office. He become as a professor in 1988. he once served as the Managing Director of China Institue of stage arts, Vice President of Shanghai choreography, Member of the Shanghai lighting Society of the stage, film and television, and a judge for impeovement prize of science and technology of Chinese Ministry of culture. He has participated in theater design planning, consulting, assessment and design of lighting technology for many times. His main projects are the Shanghai Theatre Academy’s experimental theater, Xingtan theater in Qufu, Shandong Province, Xiaobaihua Arts Center in Zhejiang Province and the future of the world in Hangzhou, etc. In 2013 he publishes monograph On the Lighting of the Space Creating Freedom. He wins cultural Choreography Award by the Ministry of culture three times, China Drama Festival award for outstanding scenic design twice award of the second Dance of the Lotus Award for best lighting design, and China Institute of stage arts society Award of 1999. his book Stage Lighting won the "higher Award for outstanding achievements in humanities and social sciences research" first award in 2006 by the Chinese Ministry of Education and the outstanding drama worker title at 100th anniversary of drama. He also got special Government allowances from the State Council in 1992. 所谓“四化”是——自动化、智能化、系统化、国产化。 我为什么提出这个课题？并不是追求时尚，而是我长期从事艺术实践的深刻感悟，逐渐形成对舞台灯光发展的变革思考。 “四化”主要属于科技研究范畴，但我是科技门外汉，我的发言主要是从应用角度，对舞台灯光在发展观念方面与同行交流。我认为，只有观念更新，才谈得上科技创新！ 我简单谈三点。 1 反思传统 揭示影响舞台灯光发展的两个主要现象： （1）一种常见的应用现象——“固态照明”； （2）舞台灯光是戏剧生产程序中“最后一道工序”。 1.1 “固态照明” 1.1.1 什么叫“固态照明”？ 所谓“固态照明”，既是一盏灯装在某一位置上（灯位），灯具从这一点发射的光线，它的投射角度和被照对象的光斑，皆是以固定形式定位在舞台某一空间中（光位）。如果再想改变某项状态（调焦、调色、调投射角度等），必须再到该灯位做再一次手工操作，也就是说，在灯具应用中，“光位”与“灯位”只能是一次性定位。——我称之为“固态照明”。 这种运作方式，从有舞台灯光开始，剧场中“常规灯”的应用至今未变，已经形成一种凝固模式---我称之为“固态照明模式”。 1.1.2 “固态照明模式”在应用中存在哪些问题？ （1）灯数成倍增长 戏剧性演出灯光一般应用规律有两类布光——基本光与特殊光。 灯位与光位示意图 “基本光”就是舞台各灯位都要有一批灯满足对主舞台（或表演区范围内）的基本照明和必要的色光气氛。因此，各灯位灯数配置必须要满足两次以上的色光气氛变化。 “特殊光”根据演出需要——选灯种、灯数、灯位、色彩、光斑形态、投射角度局部照明某一对象。 （2）灯数多、供电回路多，配套系统也相应扩展。 （3）一次性定位、灯的利用率不高。 （4）布光（对光）手工操作，灯数多、工作量大，工作效率低且不安全，高空作业常有安全事故。 （5）剧场灯位传统模式限制“光”在演出中自由发挥。——如面光桥、耳光室、大框架假台口、侧光吊笼。固定顶光灯杆、灯桥等设计。原意想为应用提供方便，但由于种种因素，往往也限制“光”在演出中自由发挥。 特殊光运用 1.2 舞台灯光是戏剧生产程序中“最后一道工序” 戏剧是综合艺术，是由编剧、导演、音乐（作曲、配器、音响）、舞蹈、舞美（布景、道具、灯光、服装、化妆）等部门的组合。这是一个庞大的美学生产工程。 这些创作部门在一台新戏生产过程中，都有较长时间的准备和前期磨合。少则一两个月，多则一年半载，他们（除灯光设计外）都有预先准备好的“成品”或“半成品”进入剧场，参加全剧合成。唯有舞台灯光，只能等待它的被照对象呈现在剧场舞台上，才能进行布光和制作变化程序、参与全剧合成彩排。舞台灯光处于“最后一道工序”，这是戏剧生产长期形成的基本规律，因此也无形中产生了很多矛盾： （1）时间与质量的矛盾 一部新戏进剧场，从装台到首演一般只有三四天时间。舞台灯光在这有限时间内，要完成装台、对光、编程、合成、彩排等项内容，工作量很大，灯光设计很难精细处理。 （2）灯光效果“台上见” 舞台灯光在前期与导演、舞美设计通常是用语言交流设计意图，所传递的信息是模糊的，甚至是抽象的概念。剧场合成效果往往与导演、舞美设计设想产生差异，免不了要有一些修改。有些内容由于时间限制，想修改往往也为时晚矣。 （3）艺术质量与价值观认识的障碍 由于现场工作压力很大，甚至困难重重。灯光工作常常因客观现实条件不如人意，往往因陋就简、因地制宜，凑合演出。创作人员也是出于无奈，设计意图做减法多于做加法，遗憾地呈现给观众，也是常有的、不为人知的现象。“舞台光”的潜在功能和价值观很难被人理解。 1.3 小结 由于“固态照明模式”的影响，在人们观念中习以为常地接受。剧场工程设计也是如此模式的延续；艺术家（导演、舞美设计、灯光设计）也无奈地被动地接受。 由于“最后一道工序”灯光设计必须在很少的时间内完成任务，所有工作人员从装台到全剧合成，经历难熬的日日夜夜，已是常见现象。 虽然我国舞台灯光近一二十年发展很快，条件有所改善。但以上两种现象并没有得到根本性的改变。我们的艺术生产方式，实际上仍处在落后状态。 我从事舞台灯光工作六十多年，在漫长的戏剧生涯中，逐渐对舞台灯光传统的工作方法产生质疑，从而萌生变革思考。深刻感到在当今时代大发展中，我们的舞台灯光需要更新换代。也即是需要变革！ 2 需要变革！ 2.1 我对变革的基本思想 （1）变革理念——“创造自由的照明空间”(这仅是一句抽象口号)； （2）变革方向——使舞台灯光向自动化、智能化、系统化、国产化方向发展； （3）变革结果——创建新一代舞台灯光系统。 2.2 所谓“新一代” 灯具→剧场灯位→供电网络→控制方式→演出灯光编程等方面，向自动化、智能化、系统化、国产化方向发展，构成全新的舞台灯光照明系统（也含未来灯光教育的变革）。 新一代舞台灯光系统，是一个大课题，这是一个系统工程，是由若干子课题组成。 我们首先着手研究灯具。 2.3 研发新一代专业型自动化灯具 自动化灯具的研发是创建舞台灯光系统首要的子课题。只有灯具实现自动化，才能向系统推进延伸。 谈到“自动化灯具”，我们会自然联想到当今“电脑灯”已经是自动化灯具，而且普遍应用在演出中，为什么还要提“舞台灯具自动化”问题。如何回答？我想还是从电脑灯应用功能方面做点分析。 我们知道，“电脑灯”问世，早期是作为“娱乐灯饰”出现在娱乐场所，进而发展到用于歌舞演唱综艺演出，由于功能多样且能遥控运转，已是20世纪末演艺照明中的一种时尚灯具，并逐渐进入“剧场艺术”，为戏剧演出所用。 “电脑灯”虽然还谈不上是舞台灯光专业型灯具，但是它的多功能和自动化优越性，是“老常规聚光灯”无法比拟的（这里也涉及到对“老常规灯”的认识 ）。 什么是“老常规灯”？ 剧场和剧团常用的聚光灯的通称。从灯具功能特性认识，已经历了两代： 第一代是平凸透镜聚光灯、罗纹透镜聚光灯（亦称“柔光灯”）、凹面镜反射聚光灯（亦称“回光灯”）三类聚光灯种。由于光斑质量差、光效利用率低，已逐渐被淘汰。 第二代是成像聚光灯。由于光学与工艺结构的优越，其光的“可控性”与“可塑性”，皆优于第一代聚光灯种，现在已形成我国新建剧场常规灯种。从发展观念、成像灯的功能特性来看，对戏剧性灯光处理起到了一定的提升作用。但是，该灯种是非自动化灯具，其对光、调焦、换色，仍然处于落后的手工操作。从应用的发展观念，由于受“固态照明模式”的约束，只能视为第二代老常规灯。 由于电脑灯具有自动化、多功能优势，因此也就自然地将现在流行的电脑灯引进戏剧性照明，而且大有取代以上两代常规灯种的趋势。 但是，我们必须理性地认识电脑灯。 “电脑灯”是当代演艺自动化灯具的泛称，市场上电脑灯品种繁杂，功能各异。而我们需要的电脑灯，则是在吸收电脑灯自动化优势和多功能集成化特点，研发符合戏剧性演出要求的“专业型自动化聚光灯”。 戏剧性灯光非常重视人物照明，对演出空间的处理，布光要求严谨，重视细节刻画，灯光变化严格按剧情、表演、音乐等方面有分寸的表现，更重视光的“品质”要求。 我们研发专业型聚光灯，既要体现第一、二代聚光灯为戏剧性演出所需要的基本照明功能，同时又要吸收现代电脑灯自动化、多功能优势，创造第三代聚光灯种。这也是剧场和剧团未来的新一代常规灯。 我们在近两三年中，与广州市浩洋电子有限公司、北京星光影视设备股份有限公司两家企业合作研发四款灯具和一款轨道：【现场演示】 多功能轨道系统 这是为剧场常规灯考虑的配套设备。我们认为剧场常规灯种不一定很多，力求单纯、一灯多用、品质精良、以质取胜。让更多专业人士（包含导演、舞美设计）能便捷地驾驭舞台灯光。 2.4 “四化”是一个完整的变革链 创建新一代舞台灯光系统虽然是从研发自动化灯具开始。但我们需要认识，我们的追求不是简单几盏灯的自动化，也不是某一局部性的改革，而是若干子课题相关联的自动化、智能化研究，这是一个系统工程。 （1）灯具变革 我们研发第三代舞台自动化聚光灯，它的应用动能，超越第一、二代非自动化聚光灯，但这仅是“四化”的起步。 （2）灯位变革 如果我们再将舞台灯具水平和垂直移位，由固态照明模式转变为动态照明模式，不仅提高应用的自由度，更重要是释放艺术家的创作思维，使“舞台光”的价值观得到新的升华。同时也是对剧场灯位设计提出新的变革思考。 （3）供电变革 新一代灯具光源采用气体光源或LED光源，排除了“可控硅”供电方式。剧场工程设计是否还需要成百上千条供电回路？新的灯具自动化模式，供电系统能否作到单纯、便捷、安全、减少投资的变革思考？ （4）控制变革 控制技术方面我是外行，但从应用角度提点质疑？ 一是灯光总控台：现在剧场控台越做越大，当然功能也越来越多，越完善。究其设计思路，是否与我们剧场灯光工程设计与传统应用模式有关？似乎是“量变”的扩展势态。能否向“质变”方向作点研究，体现“新一代”的系统优势。 二是离线编程：这是灯光设计能否突破“最后一道工序”传统工作模式，克服演出灯光效果“台上见”的落后旧习，改变灯光设计生产方式很重要的技术手段。现在，很多灯光设计也开始应用相关软件进行“离线编程”，但到剧场能兑现多少？却出现不同程度差异，有的甚至差异很大。究其原因，不是“软件”不适用，而是“软件”为理想化状态，而我们的客观条件并非理想状态，这就说明，我们的离线编程还没有做到位，还有许多方面需要深入的研究。 控制的变革关系到整体变革系统是否能高效地实现灯光设计。“离线编程”的最大愿望，就是希望在进剧场全剧合成时快速便捷、准确地体现“预案”效果，这是至关重要的最后一个环节。也是检验整体系统能否有机配合的重要环节。 2.5 “变革”就是探索新路 我国舞台灯光发展，从电光源开始，舞台灯具和控制设备，基本上是依赖国外引进。即便自己生产，也是模仿国外产品。长期以来，模仿多于创新，基本上已成为我国舞台灯光设备的发展定势。我们需要学习国外先进经验，引进国外先进设备和人才。但我们还应该有自主创新意识，向着既“先进”又“实用”的观念，探索一条国产之路。 3 联合创新 走向“四化”、“创建新一代舞台灯光系统”这个大课题，要做的事还很多。目前，我们还仅是在灯具、轨道研发方面做了一点工作，已经觉得很吃力。实现舞台灯光“四化”的变革理想，深感靠一两个人、一两个单位做不成大事。 因为，它是一个由人的观念的改变、现代科技的支持、艺术品质的提高以及多方合作资源整合等，全方位地形成舞台灯光乃至剧场艺术不同以往的变革。这是一项大系统工程，需要联合创新。希望有更多有识之士，共同努力创建新一代舞台灯光照明系统。 我们的创新，如何评价它的深远意义，虽为时过早，但展望未来，我们围绕“四化”所作的努力，将是时代发展中新的跨越！ So-called 4 pursuits-automation, intelligence, systemization, domestic production Why I raise this topic? Not for fashion’s sake. This is the brainchild of my long-term art practice. I develop the idea of transforming stage lighting gradually. “Four pursuits” are related to scientif i c and technologic research. But I am a layman in this fi eld, so my speech is chief l y about application and I want to share my ideas about the development of stage lighting with all of you. I think updating ideas is the prerequisite for scientif i c innovation. I will talk about three points brief l y. 1 Reflecting on traditions Two phenomena inf l uencing the development of stage lighting: The fi rst is a popular application-----“solid state lighting” (SSL) What is SSL? Solid-state lighting refers to that a lamp is installed at a certain position (lamp position) and the angle of the light emitted from lighting fi xture and the light spot of lighted object are positioned at a fi xed spot on the stage (lighting position). If one wants to change certain characteristic (focusing, changing color, changing lightemitting angle), manual operation is needed at the lamp position. The one-off positioning of “lamp position”and “lighting position” is “SSL”. This operational technique has remained unchanged since the birth of stage lighting. This “conventional lighting fi xture” has become a fi xed option—I call this “SSL mode”. What are the problems “SSL model” face in application? The number of lamps doubles There are two kinds of lights used in theatrical productions----basic light and special light. “Basic light” means that every lamp position on the stage should have a set of lamps to satisfy basic lighting and necessary color and light atmosphere on main stage (or within performance area). Therefore, the installation of lamps at each lamp position should satisfy change of color and light atmosphere more than twice. “Special light” means that the types of lamps, number of lamps, lamp position, color and the shape and state of light spot and projection angle are chosen based on performance requirements to light a particular object. The large number of lamps means more power supply circuit. As a result, supporting systems increase. One-off positioning means that lamps’ utilization rate is low. Creating lighting effect requires manual operation. With lots of lamps involved, the workload is heavy, working eff i ciency is low and it isn’t safe for accidents always happen when workers working at heights. Theatre’s traditional lamp position model limits “light’s” free play in performances.-----fore stage lighting gallery, fore stage side lighting, false proscenium with big frame, side ladder, fi xed ceiling lamp pole, lamp bridge. They are supposed to be convenient. But they limit light’s free play due to many reasons. Stage lighting is the “concluding part” of theatrical production Drama is a comprehensive art and is made possible by script writer, director, music (composition, musical instruments and stereo), dance, stage design (scenic design, prop, lighting, costume, make-up) and so on, which is a giant aesthetic production. These departments have enough time to prepare and work with each other at an early stage in the production of a new drama. The time ranges from several month to several years. They have prepared “f i nished products” or “semi-f i nished products, which are ready for rehearsal”. Lighting is an exception. Only when the actors stand on stage can light control, change procedures and fi nal rehearsal begin. Stage lighting is the last part of a production and this is a basic law of theatrical production. Owing to this, a lot of problems arise: The contradiction of time and quality When a new play is going to be performed, there are only 3 to 4 days left after on-stage rehearsal is finished. So it is a daunting task for stage lighting staff to finish installation, light adjusting, programming, systemization and rehearsal in such as a short time. As a result, lighting design can’t be perfect in every detail. Lighting effect can only be shown “on stage” Stage lighting designer usually communicate with director and stage designer about their desired effect and the conveyed information is often vague and abstract. The actual effect usually isn’t what the director and stage designer have expected. Then, some adjustments need to be made. However, sometimes it’s too late because of content reasons or limited time. The barriers of art quality and values perception Since working pressure is heavy and there are many difficulties, available lighting technique and instruments can’t match play’s quality. As a rule, lighting workers have to give up many anticipated effects. Many people fi nd it hard to understand the potential function and values of “stage lighting”. In general: Due to the inf l uence of “SSL model”, people are used to this type of lighting. In the same vein, supporting theatre’s engineering design persist; artists (director, stage designer, lighting designer) have to accept it. Lighting design, the last part of theatrical production, must be fi nished in a short time. It is usual for staff to stay up light for several days on end during installation and play systemization. Although domestic stage lighting has witnessed rapid development in the late two decades and conditions have improved to some extent, but the abovementioned two phenomena haven’t been fundamentally transformed. Actually, our way of artistic production is still backward. I have taken up the career of stage lighting design for more than 60 years. During this time, I graduallygrow suspicious of traditional working method of stage lighting and then want change. I am deeply convinced that our stage lighting need to usher in a new era, which means it need to be transformed! 2 Need change! My views on change: Transformation philosophy-----“create free lighting space” (only an abstract slogan) Transformation direction---automation, intelligence, systemization and domestic production. Result---create a new generation of stage lighting system. New generation Four pursuits in Lighting instrumentlamp position power supply circuitcontrol method lighting programming. Only in this way can new stage lighting system comes into being (including lighting education reform) New generation stage lighting system is a big subject and a systematic project including a couple of subsubjects. Let’s look at lighting instrument fi rst. Develop new generation specialized automated lighting instrument Development of automated lighting instrument is the most important sub-subject in creating stage lighting system. Only this is realized can systematic progress be made. When it comes to “automated lighting instrument”, we naturally associate it with “moving light”. It is automated and is widely applied in performances. So why I put this topic forward? How to answer this question? I would like to analyze the application function of moving light: We know that “moving light” made its debut as “entertainment lighting fi xture” in entertainment settings and then it was used in live events like singing and dancing. Since it is multi-functional and can be operated by remote control, it became popular in late 20th century and was used in theatrical performances. Although it isn’t specialized lighting instrument, “old conventional spotlight” pales before it because it is multi-functional and automated. (Related to perception of “old conventional light” What is “old conventional light”? It is a general term for the spotlight frequently used by theatres and theatrical troupes. In terms of lighting instrument’s functional characteristic, it has experienced two iterations: The fi rst generation is lens spotlight, Fresnel spotlight (also called “soft light lamp”) and spotlight with concave mirror (also called reflector spotlight). Due to poor light spot, low light utilization efficiency, they became obsolete. The second generation is imaging spotlight. Due to excellent optical and engineering structure and better“controllability” and “machinability”, they have become conventional spotlights in newly-built theatre in China. Despite the fact that imaging spotlight can improve theatrical light, it is not automated and needs manual operation to focus, zoom or change color, which is backward. Because they are constrained by “SSL model”, they can only be seen as the second generation old conventional lamp. Since moving light is automated and multi-functional, it is introduced in theatrical lighting. It seems that it can replace the two generations of conventional lamp in an unstoppable way. But we should develop a sensible understanding of moving light. “Moving light” is a general term for automated lighting instrument used in entertainment scene. There are many kinds of moving light with different functions in market. But what we need is “specialized and automated spotlight” possessing both automation and multi-functional compactness, which can meet the requirements of theatrical performance. Plays attach great importance to lighting people, designing acting space. Its lighting conf i guration is strictand stresses detail. Lighting changes when plot, performance, music change. In general, it requires “quality”lighting. The specialized spotlight we want to develop should have the basic lighting function of the previous two generations of spotlights and should be automated and multi-functional as modern moving light. We hope this third generation spotlight can become a new generation of conventional lamp used by theatre and troupes. We have developed 4 lighting instruments and 1 track with “Goldensea” (professional lighting provider based in Guangzhou) and “Beijing Xingguang Film & TV Equipment Technologies Co.,Ltd”:[live demo] They are the supporting equipment of theatres’ conventional lamps. We believe that too many types of conventional lamps are unnecessary. We strive for simple, multi-functional, quality lighting instruments so that more professionals (including director and stage designer) can control stage lighting more easily. 4 pursuits belong to a complete transformation chain Although creating a new generation stage lighting system starts from developing automated lighting instrument. But we should also realize that the automation of several lamps or partial reform isn’t our ultimate pursuit because automation and intelligence research linking sub-subjects together is a systematic project. Transform lighting instrument The application function of our third generation automated stage spotlight can overperform the previous generations, but this is only the foundation for four pursuits to be realized. Transform lamp position If we can move stage lighting instruments horizontally and vertically and shift from SSL model to dynamic lighting model, the application can be freer and artists’ creative ideas can be unleased. The latter is more important because the values of “stage lighting” will be taken to a new level as a result. This is a new transformation ref l ection regarding theatres’ lamp position. Transform power supply New generation lighting instruments use gas or LED as their light sources and “controllable silicone” is eliminated. Are hundreds and even thousands of power supply circuits needed in theatres’ engineering design? Can power supply system be simple, convenient, safe and require less investment under the new model? Transform controlling I don’t know much about controlling techniques, but I can raise questions from the perspective of application. One point I want to talk about is lighting control panel: control panel is bigger now with more functions. Does the panel’s design has something to do with the engineering design of lighting in theatres and traditional application model? It seems like an expansion trend of “quantitative change”. Can we do some research in the direction of “qualitative change” so that “the new generation” can have a systematic advantage. The second point is off l ine programming: this is the key to getting rid of the traditional working model of“lighting being the last part in artistic production”, to overcoming the backward practice that lighting effects can only be shown “on stage” and to changing the design and production method of lighting. Many lighting design have done “off l ine programming” through relevant software. However, the effect is not always desirable. The software is suitable, but we lack ideal “software” and the objective conditions aren’t ideal, which demonstrates that our off l ine programming technique is not there yet and research on many aspects is needed. Transforming controlling renders whether the whole transformation can realize high-eff i ciency lighting design at stake. The biggest goal of “off l ine programming” is that expected lighting effect can be presented quickly, easily and accurately when the troupe is undergoing fi nal rehearsal. The fi nal rehearsal is a critical and is an important link testing whether different components in an artistic production can work out together. “Transformation” is exploring new fi elds. The development of domestic stage lighting depends on foreign equipment basically in many aspects such as electrical light source, stage lighting instruments and controlling equipment. Even if they are manufactured inChina, they are imitating foreign products. Imitation is more than innovation is a predominant trend in domestic stage lighting development. We need to learn from advanced experiences of foreign countries and introduce advanced foreign equipment and talents. Besides, we need to be innovative and set “making outstanding and practical products” as our goal to explore a new road for domestic production. 3 Joint innovation There is loads of things to be done before 4 pursuits can be realized. We have only done some research on lighting instrument and track, but we have already felt that it is a formidable task. Our dream won’t come true if only a few people or enterprises are involved. Why? It can only come true by transforming people’s old-fashioned ideas, getting the support of model science and technology, improving art quality and pooling different partners’ resources. So this huge systematic project needs joint innovation. We hope that more visionaries can join hands to build new generation stage lighting system It is too early to comment on what far-reaching inf l uence our pursuits will bring about. But as we look into the future, our four pursuits will be a new breakthrough in Chinese development. JIN Chang-lie: Retired Professor from Shanghai Theatre Academy. Graduated from Shanghai Theatre Academy, he expertises in stage lighting design, theatre technology planning and process design. After graduated from Art Department of Shanghai Theatre Academy in 1954, he teaches in his school as a director of lighting office. He become as a professor in 1988. he once served as the Managing Director of China Institue of stage arts, Vice President of Shanghai choreography, Member of the Shanghai lighting Society of the stage, film and television, and a judge for impeovement prize of science and technology of Chinese Ministry of culture. He has participated in theater design planning, consulting, assessment and design of lighting technology for many times. His main projects are the Shanghai Theatre Academy’s experimental theater, Xingtan theater in Qufu, Shandong Province, Xiaobaihua Arts Center in Zhejiang Province and the future of the world in Hangzhou, etc. In 2013 he publishes monograph On the Lighting of the Space Creating Freedom. He wins cultural Choreography Award by the Ministry of culture three times, China Drama Festival award for outstanding scenic design twice award of the second Dance of the Lotus Award for best lighting design, and China Institute of stage arts society Award of 1999. his book Stage Lighting won the "higher Award for outstanding achievements in humanities and social sciences research" first award in 2006 by the Chinese Ministry of Education and the outstanding drama worker title at 100th anniversary of drama. He also got special Government allowances from the State Council in 1992.

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