Enhanced descriptions from Syndetics:

Max Keller is a magician with artificial light. His work has transformed theater productions across Europe and America, from Berlin and Salzburg to the Metropolitan Opera in New York, and his stunning effects with color and space continually set new standards. Principally designed for lighting specialists, this richly illustrated volume documents the fascinating use of stage lighting in such a comprehensive and lucid style that it is of equal interest to all theater buffs.

The pictorial language used by a lighting designer is as differentiated as that of a painter. Its success depends not only on the appropriate use of the technical possibilities available, but also on the artistic qualities of such specialists as Max Keller. In Light Fantastic, the author divulges his extensive knowledge and experience, explaining natural light phenomena, the history of light in the theater, and Goethe's and Runge's research on the theory of color as well as technical details, from the fundamentals of optics and projection to the different kinds of lamps, lights, and spots and other lighting equipment

More than 500 plates, technical images, drawings, and stage photos highlight the stunning effects achieved in various spectacular productions, ranging from opera and ballet to rock concerts. Keller's latest production is for Tristan and Isolde at the Metropolitan Opera in New York.

Reviews provided by Syndetics

CHOICE Review

On first glance, this book appears to be another in a long line of large-format entertainment coffee-table books. In actuality, it is a painstakingly researched and copiously illustrated treatment of theatrical lighting design. A noted theater and architectural lighting designer-consultant in both Europe and America, Keller has produced a detailed, descriptive discussion covering light, color theory, optics, reflection, theatrical instrumentation and control, projection, stage-lighting history, aesthetics, and professional practice. The technical specifications will serve as an excellent reference for students and practitioners of theater lighting, but it is the revelation of Keller's highly refined aesthetic sense that will make this book an exciting muse to the lighting artist. Keller reveals his aesthetics with a suggestive examination of the conceptual processes of painters and philosophers while discussing the aesthetic qualities of instrumentation and technology. The excellent color production photographs, many from Keller's design portfolio, are evocative, stimulating, and inspiring in illustrating bold use of color, angle, and texture. An excellent sourcebook on lighting design; the price tag will discourage individual purchasers, but all libraries supporting technical aspects of theater will want this book for the use of upper-division undergraduates through professionals. R. A. Naversen; Southern Illinois University at Carbondale