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A investigação científica no campo da iluminação cénica é escassa a nível nacional e internacional. Em Portugal, pelo menos em termos académicos, o desenho de luz não está afirmado como uma disciplina autónoma, a oferta formativa a nível de ensino superior é escassa e não existe investigação académica avançada. Embora seja amplamente reconhecido como parte integrante do processo de produção teatral, o desenho de luz é frequentemente subestimado. Um sinal evidente dessa subestimação pode ser observado na defesa presente na maioria dos trabalhos de investigação contemporâneos da importância da agencialidade da luz no processo de criação teatral, argumentando a importância do papel da luz cénica. Contudo, estes investigadores adotam uma metodologia baseada na análise de situações reais e recorrem à observação auto-etnográfica sujeita a enviesamentos provenientes da subjetividade interpretativa do observador, decorrente da natureza polissémica da luz. Argumentamos que a falta de reconhecimento do desenho de luz como uma disciplina autónoma deve-se à escassez de conteúdo teórico sistematizado e cientificamente fundamentado, capaz de fornecer argumentos sólidos aos profissionais para defenderem as suas ideias e, especialmente, para se expressarem verbalmente sobre um assunto intrinsecamente visual e subjetivo. Defendemos ainda, que com o intuito de alcançar a autonomia poética do Desenhador de Luz (DL), é imperativo que este se afirme artisticamente ao identificar e definir as características que compõem a sua identidade artística. Nesta tese, visamos combater estas lacunas, sistematizando o processo criativo do desenhador de luz ao encontro dos princípios subjacentes à construção de um desenho de luz e identificando características que definem a identidade artista dos DLs, classificando estilos. A originalidade da nossa proposta reside na recolha de dados provenientes dos próprios profissionais, em detrimento de uma abordagem auto-etnográfica. Para atingir os nossos objetivos realizamos dois estudos empíricos. O primeiro consistiu na realização de grupos focais envolvendo 13 DLs, e o segundo, no preenchimento de um questionário de autoavaliação, por parte de 10 DLs, sobre uma das suas criações. Através de uma análise essencialmente qualitativa realizamos uma taxonomia do processo criativo, que por sua vez, levou-nos ao encontro dos princípios subjacentes às tomadas de decisão dos DLs, e a uma classificação de estilos dramatúrgicos.
Scientific research in the field of stage lighting is scarce both nationally and internationally. In Portugal, particularly in academic contexts, lighting design is not established as an autonomous discipline, and there is a lack of educational offerings at the higher education level. Furthermore, advanced academic research in this area is non-existent. Despite being widely recognized as an integral part of the theatrical production process, lighting design is often undervalued. An evident indication of this underestimation can be observed in the prevailing discourse of contemporary research works emphasizing the importance of the agency of light in the theatrical creation process and arguing for the significance of stage lighting. However, these researchers adopt a methodology based on the analysis of real situations and rely on self-ethnographic observation, subject to biases stemming from the interpretative subjectivity of the observer, inherent in the polysemic nature of light. We argue that the lack of recognition of lighting design as an autonomous discipline is due to the scarcity of systematically structured and scientifically grounded theoretical content that can provide solid arguments for professionals to defend their ideas and, particularly, to express themselves verbally on a subject that is inherently visual and subjective. Furthermore, we contend that in order to achieve the poetic autonomy of the lighting designer, it is imperative for them to assert themselves artistically by identifying and defining the characteristics that compose their artistic identity. In this thesis, our aim is to address these gaps by systematizing the creative process of the lighting designer, aligning it with the underlying principles of constructing a lighting design, and identifying characteristics that define the artistic identity of Lighting Designers (LDs), thereby classifying styles. The originality of our approach lies in gathering data directly from professionals, rather than adopting a self ethnographic approach. To achieve our objectives, we conducted two empirical studies. The first involved conducting focus groups with 13 LDs, while the second involved administering a self-assessment questionnaire to 10 LDs regarding one of their creations. Through primarily qualitative analysis, we developed a taxonomy of the creative process, which, in turn, led us to the underlying principles behind LDs' decision making and a classification of dramaturgical styles.
Scientific research in the field of stage lighting is scarce both nationally and internationally. In Portugal, particularly in academic contexts, lighting design is not established as an autonomous discipline, and there is a lack of educational offerings at the higher education level. Furthermore, advanced academic research in this area is non-existent. Despite being widely recognized as an integral part of the theatrical production process, lighting design is often undervalued. An evident indication of this underestimation can be observed in the prevailing discourse of contemporary research works emphasizing the importance of the agency of light in the theatrical creation process and arguing for the significance of stage lighting. However, these researchers adopt a methodology based on the analysis of real situations and rely on self-ethnographic observation, subject to biases stemming from the interpretative subjectivity of the observer, inherent in the polysemic nature of light. We argue that the lack of recognition of lighting design as an autonomous discipline is due to the scarcity of systematically structured and scientifically grounded theoretical content that can provide solid arguments for professionals to defend their ideas and, particularly, to express themselves verbally on a subject that is inherently visual and subjective. Furthermore, we contend that in order to achieve the poetic autonomy of the lighting designer, it is imperative for them to assert themselves artistically by identifying and defining the characteristics that compose their artistic identity. In this thesis, our aim is to address these gaps by systematizing the creative process of the lighting designer, aligning it with the underlying principles of constructing a lighting design, and identifying characteristics that define the artistic identity of Lighting Designers (LDs), thereby classifying styles. The originality of our approach lies in gathering data directly from professionals, rather than adopting a self ethnographic approach. To achieve our objectives, we conducted two empirical studies. The first involved conducting focus groups with 13 LDs, while the second involved administering a self-assessment questionnaire to 10 LDs regarding one of their creations. Through primarily qualitative analysis, we developed a taxonomy of the creative process, which, in turn, led us to the underlying principles behind LDs' decision making and a classification of dramaturgical styles.
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Keywords
Processo criativo do desenhador de luz Poética da luz teatral Estilos dramatúrgicos de luz Metodologia qualitativa Creative process of the lighting designer Poetics of theatrical light Dramaturgical lighting styles Qualitative methodology