Dark is as important as the light

The lights used in the theater come in various forms. What are the concepts or particular ideas that motivated you to design these different lights? And will there be any changes after the test performance?

Andreu: What I wanted with the light was not to use too much; but very peculiar in shape, for example, the mushroom. I see stars in the sky – not too strong. You have to pay attention to them. They shine, but they don't burst. It's not like a club. Everything should be like this.

When we speak of the quality of light, we always speak also of the quality of the shadow. The dark is as important as the light. We use dark not because of economy or sustainability, just because of this correspondence. And compatibility of darkness and light is always in a kind of balance.


Paul Andreu, chief designer of China's National Grand Theater
We won't change the mushroom lights on the roof. What will change is the entrance. The entrance is too bright.

I watched a test performance at the opera house. I found that the main actor didn't need a microphone. Other performers still had to; other wise their voices will not reach the last row of seats. Therefore, does this suggest the sound doesn't create the desired effect?

Andreu: No. Everything has been designed and studied so that one voice can be heard anywhere. That is why you can not go an opera where you want to see and hear correctly. And of course with such a capacity, which is the capacity of many modern operas like that of Tokyo, and Paris, you must spend a lot of time with the artistic engineers to ensure that you don't absorb the voice or make echoes, but reflect properly. We spent a steady two years or more with this.


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