enwe want the torch to be thrown on the stage, the pot will be rapidly lifted,and the resin will come out of the holeswhich were made in the paper D, and catching fire will result in a big flame. Thus, the other men will do the same thing from time to time while the trap is open."Earls 8Sabbattini was responsible for many early developments. He was also credited with being the first to place a doctor's basin behind a light source, creating the first reflector-spotlight. A similar design was later used with electric light (Rosenthal & Wertenbaker 1972). Another creative master, Drummond,discovered that by heating a piece oflime to a high temperature with ahydrogen and oxygen flame it becameincandescent and produced an intensewhite light (Sellman 1984). The nature of the light required constant attention of an operator making it useable only is specialized applications. The intense light was a realistic representation of sunlight through a window or the moon in the dead of night. By 1860 the limelight was commonly used as a follow-spot. These gadgets were impressive for their time. It's only natural that we should be producing equally impressive apparatus for the 21st century.Earls 9Illumination today Luc Lafortune is a lighting technician and designer for Cirque du Soleil. Lafortune adapted the original lighting configurations for Dralion, Cirque's most recent show, for their North American tour. He describes the complex assortment of instruments used to invoke each element of the show.Audience members surround the stage on three sides; a massive tent supported by four towers covers the entire arena. Lighting instruments are mounted on the towers and the scaffolding between them. Some instruments are operated traditionally during the show by a technician at a computerized lightboard. These are stationary lamps focused to particular areas of the stage as well as robotic lamps. Robotic instruments are capable ...
