佳吉列夫（Diaghilev）这位艺术家和俄罗斯芭蕾舞团（The Ballets Russes）在伦敦上演了细致而充满活力的舞台演出，在同样风格的舞台灯光下，同名的展览显示了其黄金时期的显著成就和辉煌的历史。
Diaghilev and the Golden Age of the Ballets Russes exhibition in London extensively display and celebrate the artist’sand the ballet company’s glorious history in the light that is created in a sensitive yet dynamic theatrical approach.
图1: “春之祭” 展室的空间设计使用了大胆的荧光绿色照明
Picture 1: “The Rite of Spring” room is a bold space painted in a fluorescent green
“佳吉列夫和俄罗斯芭蕾舞团的黄金时期”是在伦敦维多利亚和阿尔伯特博物馆（Victoria and Albert Museum）的展览。它展示了著名的艺术总监和演出承办人塞尔·佳吉列夫和20世纪俄罗斯最精彩的舞蹈团的成就。本次展览共展出300件物品，包括原始服饰，场景设计，乐谱，道具，海报和电影剪辑和艺术与设计庆祝佳吉列夫的持久的影响。照明设计是有着25年的行业经验的大卫·阿特金森灯光设计（DALD）。展览设计师蒂姆哈特利和迪恩（Tim Hatley & Drinkall Dean）对照明的要求是在展厅内建立一个细致而充满活力的氛围。
灯光设计
展厅主要氛围三个部分。为了配合该展览的艺术地位，“春之祭”展室的空间设计使用了大胆的荧光绿色照明（图1）。穿着各种不同演出服的人偶安置在不同的高度的舞台上，灯光从精准的角度在人偶头顶照下来，以凸显它的美丽的外形。空间中的动画来自于投射到墙上的被称为“羊毛云”影像。
为了创造运动中的服饰的理念，被称为“第一季”的展览包括一个旋转的圆形基座，上面放有各类演出服饰，服饰后面并设有镜面。为了加强动画效果，DALD 安装了反方向旋转的提示性的灯光。蓝光的洗墙灯光在严格的控制下分别照射在基座四周和底部，增加了视觉深度和戏剧效果（图2，3）。瑞贝卡·林姆，维多利亚和阿尔伯特博物馆展览部的负责人说到：“照明设计中是营造展览的戏剧性的氛围的重要部分，突出展示了令人惊艳的展品。”
图2, 3: “第一季”的展览中蓝光的洗墙灯光在严格的控制下分别照射在基座四周和底部，增加了视觉深度和戏剧效果
Picture 2, 3: In the ‘First Season’ section, carefully controlled washes of blue light are shone across the plinth to add depth
从道具展厅出来，映入参观者眼帘的是宏伟的“火鸟”背景布。其设计师是纳塔利娅·宫察洛娃，于1913年为舞剧“火鸟”的婚礼场景而设计。背景布是维多利亚和阿尔伯特博物馆最大的单件展品，尺寸为10× 16米。DALD 采用非对称洗墙方式，严格按照文物保护标准从布外一米的位置打亮背景布。灯光以从上到下的明暗交替，与周围大型的舞者的投影结合起来打造视觉上的整体舞台效果。
图4，5，6:各种演出服饰和道具在细腻而又具有戏剧性的灯光下展现出黄金时代的风貌
Picture 4, 5, 6: The garments and props are shed in subtle yet dramatic light, reminiscing the magnificent scenes in their Golden age
“火鸟”布的背面是“蓝色列车”的前景布，由毕加索于1922年设计，并由场景画家亚历山大完成。完成后，毕加索对结果非常满意，还在画上署了名，将它献给佳吉列夫。这块布被称为“世界上最大的毕加索的作品”，并应用了与“火鸟”布同样的照明技术。在相邻的墙壁显示的是毕加索的服装插图。这部分是由三个演出照明灯具打亮。两个立体派“曼格斯”再造服饰部分用浓烈的颜色的灯光来打亮，突出其规模的庞大（图7）。
图7: “蓝色列车”的前景布，由毕加索于1922年设计
Picture 7:Le Train Bleu front cloth, designed by Pablo Picasso in 1922
最后的展厅包含如纸上作品等对光线敏感的展品。设计师使用了光纤或严格控制的白炽灯光源和几种不同的照明技术，包括颜色，遮光挡板的运用和强度。
最后的展品是由伊夫圣罗兰制作的服装，灵感来自于俄罗斯芭蕾舞。角度精准和色彩强烈的灯光带给空间更深的层次感。
图片提供：Nick Wood 摄影
Photo courtesy: Nick Wood Photography
Diaghilev and the Golden Age of the Ballets Russes exhibition in the Victoria and Albert Museum in London explores the world of the influential artistic director and impresario Serge Diaghilev and the most exciting dance company of the 20th century, the Ballets Russes. The exhibition features 300 objects including original costumes, set designs, scores, props, posters and film clips and celebrates Diaghilev’s enduring influence on art and design. The lighting design is done by David Atkinson Lighting Design (DALD), which has 25 years experience in the industry. The exhibition designers Tim Hatley & Drinkall Dean briefed DALD that the lighting was to create a sensitive yet dynamic theatrical approach to the exhibition.
Lighting design
The installation is set out in three main galleries. To match the artistic status of the show, the Rite of Spring room is designed to be a bold space and painted in fluorescent green lighting (picture 1). Costumed mannequins positioned at different heights on a graded stage are top lit from acute angles, to accentuate their beauty and form. Animation to the space comes from a projected ‘Fleecy Cloud’.
To evoke the idea of costumes in motion, the ‘First Season’ section features a motorised circular plinth with a revolving display of costumes backed by large mirrors. To enhance the effect of animation DALD installed a counter rotating projected spiral that throws hints of light across the costumes. Carefully controlled washes of blue light are shone across the plinth to add depth and dimmed period light fixtures are positioned on the plinth for theatrical effect (picture 2, 3). Rebecca Lim, V&A’s Head of South Kensington Exhibitions, said: “The lighting design played a critical part in creating drama in the exhibition and highlighting the incredible objects on display.”
Emerging out of the ‘prop store’, visitors come across the magnificent Firebird backcloth designed by Natalia Goncharova for the wedding scene in the 1913 production of The Firebird. The cloth is the largest single object in the V&A’s collection, measuring 10 x 16 metres. DALD illuminated it (to strict conservation levels) from asymmetric flood fixtures and wash lights positioned one meter out from the top of the cloth. The lighting to the Backcloth was sequenced to fade up & down in conjunction with large scale digital video projections of dancers within the space.
On the reverse side of the Firebird Cloth is Le Train Bleu front cloth, designed by Pablo Picasso in 1922 and painted by scene painter, Alexandre Shervashidze. Apparently, Picasso was so pleased with the results that he signed the cloth, dedicating it to Diaghilev. The cloth has been called ‘the largest Picasso in the world.’ The same lighting technique as used on the Firebird cloth was applied. Displayed on the adjacent wall are Picasso costume illustrations. These are part illuminated by three suspended period acting lights. Two recreations of the cubist ‘Mangers’ costumes are lit in intense colour to highlight their enormous scale (picture 7).
The last Gallery contains light sensitive materials such as works on paper, which were illuminated by fibre optics or carefully controlled incandescent light sources. A number of different lighting techniques were used including colour, shuttering and intensity.
The final objects on display are garments by Yves Saint Laurent inspired by the Ballets Russes, which are tightly lit from acute angles. Strong colours and carefully controlled lighting give perspective depth to the space.
项目信息 Project Information
项目名称 Project Name:
“佳吉列夫和俄罗斯芭蕾舞团的黄金时期” 展览，伦敦维多利亚和阿尔伯特博物馆（V&A）
Diaghilev and the Golden Age of the Ballets Russes exhibition, Victoria & Albert Museum, London 2010
展示物设计师 Exhibit Designers:
蒂姆哈特利和迪恩 Tim Hatley & Drinkall Dean
灯光设计 Lighting Design:
大卫·阿特金森灯光设计 David Atkinson Lighting Design (DALD),www.dald.co.uk
灯具提供商 Lighting Suppliers:
ETC, Light Projects, Enliten, Spotlight, UFO, AC Special Projects
