Gaslight in the theatre was revolutionary and this new technology influenced both the style and the aesthetics of theatrical lighting. Not only was gaslight very bright, it could also be controlled from a distance, using a system of valves which controlled the flow of gas into the various pipes - a primitive but effective dimming system . And for the first time light could be projected onto the
stage
from new angles, as different types of theatrical gaslighting instruments were developed: footlights, winglights, borderlights , groundrows, lengths, standards and bunch lights.
Limelights , although relying on a different technology, were regularly used concurrently with the lighting system .
Colored light was achieved by what was called a 'medium' - transparent colored cloth (cotton, wool, or silk), stretched over wire guards and placed in front of the naked gas jets. These mediums were made up into cylinders of
color media
which were rotated, gradually changing the color of the light. The general lighting of the
stage
was usually white, and two standard colors schemes were used for effects: orange or red for sunrise or sunset, and blue or green for a moonlit night. A moon effect was created by a lighting apparatus called a 'moon box'.
Control table made by Clemancon, France.
Gas border lights
The effective use of dimming and of color changing enabled the creation of impressive dramatic and atmospheric effects to enhance the action on stage. A prompt script of the Sadler's Wells company from 1852 includes instructions for operation of the lighting and descriptions of the intensity required for each scene. A description of the transition from moonlight to daylight specifies the colors that were used in front of the various lighting instruments.
These technological innovations opened endless new artistic possibilities for lighting, but also influenced other aspects of
stage
design. Scenic designers had to take into consideration the effect of strong illumination on painted elements, and accordingly to find new materials and develop new methods. The intensity and the whiter quality of gaslight also dictated a new style of makeup.
The bright side of the
stage
(left) is illuminiated by a Limelight or Arc. Late nineteenth century.
Improvements in gas-lighting technology in the late 19th century increased the possibilities of artistic
stage
lighting. Towards the close of the 19th century the new
Welsbach burner
was introduced. It had a wire mesh mantle over the open gas flame, and as the mesh incandesced it emitted an extremely powerful white light. The pilot light, which had remained burning even when the main gas flame was extinguished in order to enable relighting of the instrument, was replaced by an electric spark ignitor. This, for the first time, enabled the auditorium to be darkened completely during the show .
A typical arrangement of
stage
lighting instruments included gas burners protected by wire guards at both sides of the
stage
providing side lights, gas wings and ladders. In addition, gas battens, or border lights hung over the stage. Gas footlights was used at the front of the stage. All of these burners were controlled by a 'Gasman' at his 'gas table', who changed the lighting in accordance with instructions received from the
stage
manager.
The limelights were located on proscenium perches and on
stage
tower galleries, each with its own operator.
