photo © Paul Beumer
Telling new languages
Light in cinema , on stage , for a show
Among the characteristics that made Luce establish itself as a reference magazine for the lighting world is its ability to deal critically and openly with change . An approach that stems from the authors ' personalities – who make this magazine – and , above all , from the intuition and curiosity of Silvano Oldani , Luce ' s historic Editor-in-Chief , who passed away just when this special issue was about to get printed . During our first meeting in 2017 , he proposed that I run a new column , which we will have called Showtime , dedicated to the world of music festivals and concerts . Oldani wanted the magazine to investigate unexplored aspects of light , belonging to worlds other than architecture or lighting in the traditional sense . After all , since its foundation in 1962 , one of the magazine ' s missions has been to contribute to spreading the " culture of light ". A commitment already interpreted by other columns born in previous years , such as Magic Lantern and Light Art . We added Showtime to these , offering readers insights and interviews on a rapidly expanding sector : recent studies estimate that the value of the global events market live will exceed two billion dollars by 2028 . A growing business means more room for investments , innovation , and creativity . Music festivals have become complex events , involving many professionals in the technical and artistic fields : over the years , figures such as lighting designers , stage designers , show producers and creative directors have become increasingly central to the production and organization of an event . Showtime was born precisely to describe this complexity , to tell how combining technique and creativity has given impetus to new creative languages , expressed through light and scenography and appreciated by generations of young and old audiences . Today more than in the past , professionals hired to work at a festival are called upon to create unique and spectacular experiences . They design stages tens of meters high and decorate them with impressive sets with the most varied cultural references ; they design systems with hundreds of spotlights , strobes , and lasers ; they prepare shows with fireworks and confetti . They are always looking for new solutions to bring the music together to the show and make these events the dream destination for millions of fans . This phenomenon primarily involves electronic music , but recently also bands and singers playing other genres have raised their bar , giving rise to increasingly ambitious tours . In recent years , the voices featured on Showtime have described all this through their experience . They explained to us how light is a powerful way to tell stories and create emotions . They talked about the importance of technology as a tool for creativity and offered insights into the future of the events market . With Showtime , we have tried to keep pace with a world that evolves fast , showing readers how the culture of light is rife with every aspect of this professional sector , showing itself to be able to influence our society . Showtime stopped when the COVID-19 pandemic cancelled entire seasons of indoor and outdoor concerts and events . At that time , in the spring of 2020 , Silvano Oldani – again – suggested that I continue to explore other worlds where light is the protagonist , inviting me to follow my interests to decide what to talk about . My contribution to Magic Lantern , a column of interviews with lighting professionals often run by Paolo Calafiore , began like this . Today , Magic Lantern speaks of cinema , and theatre but also of books , museums and culture . Light is always at the centre of the answers of the people interviewed , sometimes because it is the founding element of their work ( as in the case of cinematographers or theatrical lighting designers ), others as a topic for discussion and reflection . Nobody ever talks about it with rhetoric or recourse to redundant symbolisms or cumbersome metaphors : the pages of Magic Lantern contribute to a narration of light as something to be handled with sensitivity and care , but without trivializing its role . " Spreading the culture of light ", in fact . In his editorial published in this issue , the Editor-in-Chief retraces and celebrates sixty years of Luce . He highlights this goal , yet already looking to what is to come , once again with curiosity and openness . He points the way . His words are a manifesto that reminds us where this magazine comes from and where it wants to go . A broad editorial proposal which allows readers to deal with points of view , ideas , and stories . In Showtime and Magic Lantern – as in all the other magazine sections – light is the starting point to talk about the world and its changes . These columns try to speak to everyone , professionals and non-professionals , giving context to the stories and unpacking the more technical aspects . They will continue to move in this direction .
LUCE 60 / LUCE 342 29