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The Uzbek National Puppet Theatre in Tashkent recently hosted the premiere of The Blue Dwarf, or The Pearl Heart, a production by the Uzbekistan Art and Culture Development Foundation.
One of the distinctive features of the performance is the almost complete absence of spoken dialogue. The characters communicate in an invented language, while the story unfolds through movement, music, lighting, and puppetry. This makes the production accessible to audiences regardless of age, language, or cultural background.
The premiere was one of the theatre’s first productions to make full use of its new lighting equipment.
The lighting system was designed with the specific requirements of puppet theatre in mind: compact performance areas, precise lighting of characters and scenery, the need to shift the atmosphere of a scene quickly, and the ability to create expressive lighting effects with compact fixtures.
ETC ColorSource PAR V Zoom, Spot V, Fresnel V, and Linear 2 fixtures are used for general, accent, and colour lighting, helping to highlight characters, scenery, and individual performance areas.
ETC MegaPix and Ayrton MagicDot add movement and dynamics to the lighting design, enabling work with moving beams and effects. In The Blue Dwarf, these capabilities are particularly noticeable in scenes featuring atmospheric effects, where lighting becomes an integral part of the scenography.
The system is controlled using an ETC Eos Ion Xe console with a Fader Wing.
The equipment for the theatre was selected with the specific production requirements in mind, with the involvement of lighting designer and Brand Manager Mark Stavtsev.
After the new equipment was delivered, Mark Stavtsev conducted commissioning training covering network configuration and the use of the ETC SetLight mobile app via NFC. The app allows users to set a fixture’s address and mode even when the fixture is not connected to power. The Ayrton app provides full fixture configuration, from address and mode settings to the IP address for the Ayrton MagicDot.
The ETC fixtures were also configured to operate via the Multiverse® Wireless DMX/RDM protocol, including ETC ColorSource V Fresnel, ColorSource V Spot and PAR V Zoom fixtures.
After the installation, Mark also trained the theatre’s technical team on the ETC Eos system. Particular attention was given to Concert, which enables remote configuration of peripheral devices, including gateways and lighting fixtures via RDM. Users can change fixture addresses, modes and pulse-width modulation parameters, as well as save these settings. This means that for future productions, fixtures do not need to be configured individually each time, helping to speed up the focusing process.
The training also covered the key principles of programming and the use of the console’s features in production workflows. This included common programming errors and ways to correct them, as well as working with the Color Picker and its Tint function, which helps users find the required shade more quickly without using the encoders.
Other features of the Eos console family were also covered, including Select Last for recalling previous channel selections, Recall From for quickly copying data from one fixture to another, including between groups, and Merge for adding elements from other show files using the internal archive. Roman Furshtatsky, lighting designer at the Uzbek National Puppet Theatre, comments:
“We premiered the production using the new equipment, which Mark Stavtsev helped us select specifically for our needs. It is always a pleasure to work with brand-new equipment. The setup features are absolutely incredible. It really made me feel like I had finally entered the 21st century! I’ve also developed a real appreciation for the ETC Eos console. I didn’t fully understand it before, probably because I simply hadn’t spent enough time working with it. Now I want to explore it even further. Ayrton MagicDot is a great find for puppet theatres: compact, bright, and offering excellent beam control.”
The new system provides the theatre with a versatile tool for a wide range of productions, from precise traditional stage lighting to dynamic scenes involving movement and atmospheric effects.
Training on ETC Eos helped the theatre’s technical team become familiar with the new system more quickly and start using its capabilities directly in their work on productions.
ETC ColorSource PAR V Zoom ColorSource Spot V ColorSource Fresnel V ColorSource Linear 2 MegaPix Eos Ion Xe Fader Wing
Ayrton MagicDot
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