The intention of this paper is to describe the development of stage lighting equipment (dimmers and control excluded) in Britain during the past 25 years, and to indicate the forces which have been and are at work to produce this development. The effects of stage design and economics are considered. The great difference between British and German practice, and the lesser difference between British and the United States practice, are outlined. The post-war influence of the New York theatre on lighting layouts in London's West End is described (without enthusiasm) and contrasted with the happy isolation which financial stringency has ensured to the amateur and little theatre movements.
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