Live Stage Design
Tags
Summary
Editor's review
The core reading value of this book lies in its "live" perspective. It moves beyond the static scenery thinking of traditional stage design and guides readers to consider how temporality, contingency, and audience presence become core elements of design. The discussion of technical means (such as projection mapping and real-time generated visuals) is always closely tied to the purposes of artistic expression and emotional impact, avoiding the dryness of a purely technical manual. For practitioners, it provides a systematic methodology and workable workflows; for students and researchers, it opens a window onto the creative logic of contemporary live art. The writing is clear and rigorous, the illustrations are well chosen, and the overall book design echoes the theme, making it a professional volume that combines academic depth with practical guidance.
Who it's for
A good fit for
- Students and faculty in theater, stage art, and performing arts technology programs
- Professional designers and artists working in stage design, lighting design, and multimedia design
- Researchers and curators interested in contemporary theater art, immersive experience, and live art creation
- Industry practitioners with some practical experience who wish to systematically improve their design thinking and integration skills
Not a good fit for
- Readers seeking only quick software tutorials or purely technical operation manuals
- General leisure readers with no interest in theater or live art who merely want a broad introduction to the arts
Reading tips
- It is recommended to first read the theoretical overview in the first two chapters to establish the core conceptual framework of "live design," then select subsequent case-study chapters for deeper reading according to interest.
- While reading, compare the book's cases with your own theater-going experience or projects you have participated in, and try to analyze their design intentions and implementation methods.
- The bibliography and further reading list at the end of the book are valuable academic resources that can serve as leads for further in-depth research.
About the publisher
Communication University of China Press focuses on broadcasting and hosting, journalism and communication, film and television arts, and media management, while also covering language and writing, applied psychology, social sciences, and exam preparation books. Representative titles in the library include Research Methods in Communication (2nd Edition), Communication and Society: Political Economy and Cultural Analysis, Empire and Communication, and The Structure and Function of Social Communication, as well as The Network State: Telecommunications as Institutional Legacy, Models of Mental Disorder: Critical Reflections of a Psychiatry Professor, and News and Public Opinion: Selected Papers of Robert E. Park. Its author resources include Richard R. John, Peter Taylor, Ke Huixin, Jin Gengxing, Sun Li, Zhang Tian, Qiu Jianyin, and Wu Yanru, combining translated classics in communication studies with original Chinese research.
Contents
- 版权信息
- FOREWORD | 编者有序
- PREFACE | 技术总监序
- ABOUT THE PHOTOGRAPHER | 摄影师简历
- Genesis
- U2
- Pink
- The Fantastic Four
- DJ BoBo
- Kylie Minogue
- Peter Fox
- Tina Turner
- Eurovision Song Contest
- The Light Concert Jerusalem
FAQ
Does this book require a strong technical or fine arts background?
Are the cases in the book mainly domestic or foreign?
What is the main difference between this book and traditional Stage Art Design textbooks?
Comments
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About the author
Huang Qi'en: publicly available information is limited. The only known work is Stage Live Design, classified under film and television. Judging from the title, the book likely addresses the design of live stage performance, covering practical aspects such as stage space, lighting, scenery, and on-site presentation, and is intended for learners and practitioners in performance and screen production. Because the author's nationality, birth and death years, English name, and personal history are not reliably documented, it is not possible to confirm educational background, professional identity, or institutional affiliation, nor is it appropriate to speculate about the number of works or awards. Based on what is available, Huang Qi'en's writing leans toward technical, hands-on professional content serving the practical needs of stage and screen production; the reach of the work is likewise difficult to assess given the scarcity of sources. A fuller picture awaits additional published information.
