Panel 3: Light as Material
Paper title: Parallel Decades: A personal comparison of the last ten years and the first ten years…
Abstract: This paper is about the changes in the aesthetics/techniques and relevance of lighting design from the late Sixties till now. The transition from analog to digital has been huge in its impact on what can be achieved in the use of light as a medium of expression, but how much have creative aspirations changed? Are there aspects of the early work and approaches that we can still learn from and re-apply in this digital age and are these early achievements somehow overlooked or forgotten? We have arrived at a stage where lighting design is taught at degree level. It is a much more defined subject, but are we in danger of over defining the art of light and in some ways restricting creativity when the new technologies should be expanding both possibilities and the imagination?
Biog: Peter Mumford trained as a stage designer at the Central School of Art in London, studying under Ralph Koltai, in the late Sixties. He works across drama, dance and opera as a set and lighting designer and occasional director. Recent work includes The Ring Cycle (Opera North and BBC Four); Manon Lescaut (Metropolitan Opera House); Ein Reigen (The Volksoper, Vienna); A Christmas Carol (Noel Coward Theatre); The Children (Royal Court Theatre); Mr Foote’s Other Leg (Haymarket Theatre); Love and Information (New York Theater Workshop); Stepping Out (Theatre Royal Bath); Wild (Hampstead Theatre); and King Kong Live On Stage (Global Creatures, Australia) for which he won Best Lighting Design at the Helpmann Awards 2013 in Sydney, Australia.