If light is to be used as an accompaniment to music, it must be given an opportunity to supply “atmosphere.”  This it cannot do if confined to an insignificant spot; it must be given extensity.  Furthermore, by the use of diaphanous hangings, form will be minimized and the evanescent effects surely can be charming.  But finally the lighting effects must fill the field of vision just as the music “fills the field of audition” in order to be effective.  There are fundamental objections to the use of mobile light as an accompaniment to music and therefore the future of the art of mobile light must not be allowed to rest upon its success with music.  If it progresses through its relation with music, so much is gained; if not, the relation may be broken for music is quite capable of standing alone.

There is a tendency on the part of some revolutionary stage artists to give to lighting an emotional part in the play, or, in other words, to utilize lighting in obtaining the proper mood for the action of the play.  Color and purely pictorial effect are the dominant notes of some of them.  All of these modern stage-artists are abandoning the intricately realistic setting, and, as a consequence, light is enjoying a greater opportunity.  In the more common and shallow theatrical production, lighting and color effects have many times saved the day, and, although these effects are not of the deeper emotional type, they may add a spectacular beauty which brings applause where the singing is mediocre and the comedy isn’t comedy.  The potentiality of lighting effects for the stage has been barely drawn upon, but as the expressiveness of light is more and more utilized on the stage, the art of mobile light will be advanced just so much more.  Light, color, and darkness have many emotional suggestions which are easily understood and utilized, but the blending of mobile light with the action is difficult because its language is only faintly understood.

It is futile to attempt to describe a future composition of mobile light.  Certainly there is an extensive variety of possibilities.  A sunset may be compressed into minutes or an opalescent sky may be a motif.  Varying intensities of a single hue or of allied hues may serve as a gentle melody.  Realistic effects may be introduced.  The expressiveness of individual colors may be taken as a basis for constructing the various motifs.  These may be woven into melody in which rhythm both in time and in intensity may be introduced.  Action may be easily suggested and the number of different colors, in a broad sense, which are visible is comparable to the audible tones.  Shading is as easily accomplished as in music and the development of this art need not be inhibited by a lack of mechanical devices and light-sources.  The tools will be forthcoming if the conscientious artist requests them.

Whatever the future of the art of mobile light may be, it is certain that the utilization of the expressiveness of light has barely begun.  It may be that light-music must pass through the “ragtime” stage of fireworks and musical-revue color-effects.  If so, it is gratifying to know that it is on its way.  Certainly it has already served on a higher level in some of the artistic lighting effects in which mobility has featured to some extent.