Techniques du Spectacle et de l ’ Evénement ( 25th edition , Paris , November 23rd-24th , 2021 ), where a whole stand dedicated to scenic lighting was present . Some manufacturers , such as Robert Juliat , request the involvement of a lighting expert in the design , development and testing of their products . UCL also organises its own initiatives : the next conference , open to an audience of experts and non-experts , will propose a reflection on the synergy between light and scenography in the context of contemporary creation . “ Lumière et scénographie : passer au XXIe siècle ”, originally planned for June 2021 and postponed due to the Covid-19 pandemic , will take place on June 24th , 2022 , at ENSATT ( École Nationale Supérieure des Arts et Techniques du Théâtre ) in Lyon . All these aspects demonstrate how the profession has developed into one of the key elements in the interaction between theatrical creation , training , research and technological development . The Union des Créateurs Lumière was founded in 2009 thanks to the initiative of Fabrice Kebour 5 , its creator , driving force and first president . Assisted by other colleagues such as Marie Nicolas , Stéphanie Daniel and Laurent Béal , the core of the team has been balanced in its composition right from the start . Reviewing the motivations that led to the constitution of the UCL is particularly interesting when one considers the French context , where the Association des Concepteurs |
Lumière et Eclairagistes 6 had already been present since 1995 . This important association counts among its members professionals from the world of entertainment , but above all from architecture and urban design . Kebour ’ s original idea was to create a space specifically dedicated to lighting professionals in theatre , opera and show business . It is no coincidence that the founder and first president of UCL trained as a lighting designer in New York at the United Scenic Artist 7 , participating in Broadway and Off Broadway shows . In fact , the Anglo-Saxon model moved quite rapidly towards an organisation and regulatory protection of the profession , in response to a need for social and salary protection that was more strongly felt than in other countries : the Association for Lighting Production and Design 8 , the English equivalent of the UCL , is well established and its first meetings date back to the 1960s . In a recent interview , Fabrice Kebour explains that “ as far as the creative process of lighting is concerned , the American method is very structured . The lighting designer is required to submit in advance a whole series of documents that are essential for the realisation of each artistic project . It is true that , over time , I have distanced myself from the American aesthetic . However , I have kept its method and organisational skills . The idea of founding the UCL was triggered by disputes I had with the administration , which from time to time challenged my status as an |
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Macbeth , Teatro alla Scala , 2013 Regia di / Directed by Giorgio Barberio Corsetti , luci di luci di / lights by Fabrice Kebour
Frères ennemis , di / by Jean Racine , Théâtre L ’ Oriental ( Vevey ), 2015 Regia di / Directed by Cédric Dorier , luci di / lights by Christophe Forey ( UCL )
Soapera , Théâtre des 13 Vents , 2010 Coreografia di / Choreography by Mathilde Monnier , luci di / lights by Eric Wurtz
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