Since last year's show, the set has been rebuilt from scratch: the theme is a port, with boats, piers, lifejackets, ropes and jetties, covering a stage of 150sq.m. To illuminate the set, a Clay Paky lighting system has been chosen (supplied by Xenon), which uses 20 Stage Color 1200s, 20 Stage Zooms 1200s and 16 Super Scan Zooms.
The scanners and moving body luminaires are placed geometrically on the truss system above the stage and auditorium, whilst other Stage Color and Stage Zoom appliances are placed on the ground for the lateral beams and for back-projections. Lastly, a scanner is positioned in the lighthouse on the set, to simulate the characteristic "revolving light" of a lighthouse.
Massimiliano Cavenaghi, Zelig's director of photography, explains that two methods of lighting are mainly used: "diffused" lighting - used for the groups of cabaret artists or for those that include movement in their performance on stage, and more "concentrated" lighting on the artist, further marked by the spotlights - used for the authors of monologues who require a more intimate atmosphere.
Andrea Mantovani, lighting programmer, underlines the efficiency of the Clay Paky projectors: "The scanners and moving body luminaires are proving once again that they are perfectly reliable and they have never given us problems of any kind. Above all, their colours are very 'full', which can also be appreciated through the television recording, whilst the optical precision and the effects are truly at top level."
(Lee Baldock)
