Stage lighting is the traditional style lighting presentation on the opera stage

In the traditional style lighting presentation of the opera stage, light and shadow are symbiotics of "frozen ink and brush" and "flowing rhythm". They not only need to inherit the blank space philosophy of Eastern aesthetics but also activate the visual genes of the stylized performance of opera. Unlike the realistic lighting effects in Western drama, the lighting in traditional Chinese opera should take "the freehand expression of light" as its core. Through the interplay of reality and illusion in the language of light and shadow, it transforms stereotypical movements, costume patterns, and the charm of singing into stage poems that can be gazed upon. The following is developed from four dimensions: stylized light and shadow grammar, image-based space shaping, light and shadow translation of opera elements, and light and shadow dialogue in impromptu performances:

First, stylized light and shadow grammar: The thousand-year contract between light and play

The light and shadow topology of "One table and Two Chairs"

Reconstruct the stage time and space with light spot cutting: At the beginning of a traditional play, use top light (color temperature 2700K) to define the stage opening area as the "stage of light", and control the attenuation rate of the boundary light intensity at 20% per meter to form a natural visual barrier. When the scene changes, the "light screen" effect of the spotlight (projecting dynamic light curtains behind the actors) is used to replace the physical set. The speed of the light spot movement needs to be synchronized with the rhythm of the gongs and drums (for example, 0.5 meters per second for slow tempo and 2 meters per second for fast tempo), and the space-time dimension is defined by the speed of light and shadow.

Light and shadow annotations for program actions

Provide visual anchor points for virtual performances: In the martial artist's "rise to power" move, use side backlighting (at a 45° Angle) to enhance the contrast of light and dark in the muscle lines. The light and shadow will suddenly brighten for 0.3 seconds (the illuminance increases from 300lx to 800lx) as the appearance moves, simulating the visual effect of "golden armor shining". During the water sleeve performance, "ripples of light" are created at the cuffs through ground light (RGB value #FFD700), and the swinging speed of the water sleeves and the diffusion rate of light and shadow (0.8 meters per second) form quantum entanglement.

The light and shadow translation of the singing rhythm

Convert sound waves into light and shadow waveforms: At the moment when the old male lead "Xipi Guide Board" starts singing, use top light strobe (frequency synchronized with the board eye) in combination with illuminance pulses (peak illuminance 1000lx) to form "sound waves of light". When the Qingyi sings a slow tempo, a circular light surrounds the actor from bottom to top. The light intensity changes along with the rise and fall of the singing voice (for example, it drops to 150lx when "suppressed" and rises to 400lx when "uplifted"), simulating the rhythm of the singing voice through the breathing of light and shadow.

Second, the shaping of imagery space: The reconstruction of Oriental aesthetics through light and shadow

The "ethereal and freehand" light and shadow with blank Spaces

Control the narrative density with the area of the light spot: In the scene of the male and female duets, limit the area of the light spot within a radius of 1.5 meters around the actors' bodies, and keep the background illuminance below 50lx to form a "world of light for two". When the clear Angle appears, the light spot instantly expands to the entire front area of the stage (with a diameter of 5 meters), and the illuminance gradient decays from the center to the edge (80%→20%), using the tension of light and shadow to express the character's aura.

The color philosophy of "one color running through the entire play"

Constructing a dramatic universe with monochromatic light: In traditional historical dramas, amber light (with a color temperature of 2200K) is used throughout as the base, and scenes are distinguished through changes in illuminance (such as 800lx for court plays and 300lx for boudoir plays). In the mythological drama, a deep blue light (RGB value #1E90FF) runs through the entire play, with only red light spots (color temperature 3000K) superimposed on the martial arts scenes, using the contrast of warm and cool tones to intensify the dramatic conflicts.

The coexistence of reality and illusion in the "Light and shadow Installation"

Transforming traditional elements into light and shadow symbols: In "The Peony Pavilion", dynamic plum branches are projected onto the gauze screen with a laser (the projection speed is synchronized with the actor's circular step frequency), and the light and shadow sway with Du Liniang's water sleeves, creating the effect of "flowers dancing with people". In "Three Crossroads", through the "Footprints of Light" special effect of ground light spots (with a 0.2-second delay following the actor's movement), the dark fight is transformed into a visual game of light and shadow.

Third, the light and shadow translation of traditional opera elements: The modern manifestation of traditional genes

The activation of light and shadow in clothing patterns

Let the embroidery "awaken" in the light: When displaying the python robe, use the "light needle" effect of the spotlight (the light spot scans the pattern at a frequency of 0.5Hz) to create a visual dynamic effect of "dazzling and colorful" for the gold thread embroidery. In the pleated play, the dark texture of the plain silk is enhanced by changing the Angle of the side light (30°→60°), and the light and shadow move along with the stage steps, presenting a flowing effect of "ripples on the fabric surface".

The deconstruction of light and shadow in facial makeup colors

Reconstruct the character's soul with light color: In the Guan Yu play, adjust the top light to ververion (color temperature 2500K) and superimpose a 10% golden light spot to enhance the visual symbol of "face as heavy as a jujube". When presenting Cao Cao's facial makeup, cold white light (color temperature 6500K) is used in combination with shadow cutting (the light intensity difference on both sides of the nose is greater than 300lx) to create a cold and stern aura of a "treacherous hero". When the clown makes his appearance, his face is wrapped with jumping green light spots (RGB value #228B22), and the frequency of light and shadow is synchronized with the rhythm of the recitation.

Program weapon light and shadow grammar

Endow virtual weapons with physical light and shadow: When the Dama Dan dances the spear, use a laser to create "sword Qi of light" at the tip of the spear (the length varies with the rotational speed, extending up to 2 meters at most), and the color of the light and shadow changes with the move (blue for the opening move and gold for the closing move). In "Changbanpo", a "War Horse of Light" is generated behind Zhao Yun through ground projection (the projection speed matches the frequency of the circular field), and the light and shadow sway with the flag, creating a visual effect of "a horse's tail in the wind".

Fourth, the dialogue of light and Shadow in impromptu performance: The quantum entanglement of light and play

The emergency rule of "light changes with the play"

When the actor improvise, activate "Tai Chi of Light" : When the martial artist suddenly increases the somersaulting movement, the light chaser needs to split the light spot into double light spots (achieved through a beam splitting prism) to create the "Guardian of Light" effect. When Qingyi temporarily added the hair-swinging technique, she immediately swept the tips of her hair from bottom to top with circular light, creating a dramatic tension of a "waterfall of light" in her hair.

The light and shadow redemption of "Unexpected Mistakes"

Transform stage accidents into artistic moments: When an actor forgets their lines, use top light stroboscopic (3Hz) in coordination with the beats of gongs and drums to create a "light dream shock" effect, buying the actor time to remember. When the prop drops, use the "Light Gravity" effect of the light spot (with the center of the light spot shifted 15° towards the prop) to guide the audience's line of sight, transforming the mistake into "light and shadow arrangement".

The theatrical ceremony of "Light and Shadow Return"

Reconstructing the time and space of the curtain call with lighting: During the traditional curtain call, the top light is gradually dimming to 50lx, leaving only the light spots on the actors' faces. Combined with the "Echo of Light" special effect in the backstage (projecting the classic light and shadow segments of the day at 0.5 times the speed onto the gauze screen), a time and space folding of "light within the play and play within the light" is formed. When the audience requests an encore, the "Light Easter Egg" mode is activated - laser is used to paint key images from the play of the day (such as the sword shadow in 霸王别姬) in the audience seats, transforming theater memories into portable visual symbols.

The traditional style lighting presentation on the stage of traditional Chinese opera is essentially a "stylized expression of light and shadow" - through the interplay of the virtual and real of light and the resonance of the genes of traditional Chinese opera, the performance paradigm accumulated over a thousand years is transformed into the language of contemporary theater. The core challenge lies in balancing "inheritance" and "creativity" : it is necessary to reproduce the classical artistic conception of "one table and two chairs" through the grammar of light and shadow, and at the same time activate the visual potential of "singing, reciting, acting and martial arts" with modern technology. It is necessary to adhere to the color philosophy of "one color running through the entire play", while also breaking through the framework of conventions to create "unexpected light and shadow". This design philosophy demands that lighting technicians possess both the spirit of historical research and the experimental courage of avant-garde artists, completing the "manifestation project of traditional genes" in the play of light and shadow, and ultimately achieving the Oriental theatrical aesthetic of "continuing the spring and autumn of the pear garden with light as the rhythm".