Lighting Goals & Vocab
This is the primary goal of theatrical lighting — deciding what the audience can and cannot do this.
See
These traditional theatrical lights run very hot and use a gel to change their single fixed color.
Halogen lights
This type of microphone hangs from the battens above the stage and picks up ambient sounds and the overall blend.
Overhead mic
Shows use this document to record all necessary cues throughout a performance, used alongside the script.
Sound cue sheet
In music, this term refers to volume changes, matched in lighting by bright or dim looks.
Dynamics
A general fill of light and color across the entire stage is called this.
A wash
These lights cost more upfront but last longer, use less energy, and can switch colors mid-performance.
The element, cable, and pack are all parts of this type of microphone used to amplify individual performers.
Body mic
Sound design helps establish this — giving the audience clues about how to feel and where/when they are.
Mood, tone, and location/time
This part of a song is the high-energy or emotional peak — cue the major lighting changes.
The Chorus
A pre-programmed light look saved into the computer's cue list is called this.
A Cue
A stencil or template placed in front of a light source to control the shape of the emitted light.
A gobo
This software system, used at CPMA, builds all sound and video cues and runs on a laptop.
QLab
In the A Wrinkle in Time example, this was the very first sound cue.
Wind blowing
This part of a song contrasts with the rest and calls for dramatic lighting shifts.
The bridge
This vocabulary term describes when all stage and house lights are completely off.
Blackout
At CPMA, the lighting console used is this brand and model.
ETC ION
Using the soundboard to adjust how high or low parts of a sound are is called this.
EQ (equalization)
These four goals of sound design include ensuring performers can be heard, defining mood, establishing location, and this fourth thing.
Giving the audience clues on how to feel
The primary colors of light (not paint) are these three.
Red, green, and blue
This is the slide control on a light board used to adjust intensity.
A fader
Dimmers vary the electrical power to the lights under the control of this.
The light board
Wireless handheld mics transmit a signal to this device in the sound booth.
A receiver
Corded mics are plugged into sound ports on the stage through this process.
Patching
Fast songs might use quick-moving lights; slow songs might use these.
Smooth fades