In this post, we will introduce you to Work Package 2 – Lighting Design, highlighting its role in the CANON II project and sharing what we have been working on over the past few months. Written by Isabel Nielen.
The task of the Lighting Design Working Group is to investigate lighting design as a new area in the documentation of technical theatre, the possible ways of documenting design and designers and how can we represent the designs and their results in the online CANON data base. At the end of the project, we will also provide guidelines about the archiving process for designers, professionals, students and researchers to use.
The Lighting Design Working Group initially focused on researching the characteristics of a lighting designer’s artistic and working process, asking what are the phases a lighting designer goes through when working on a design, and which moments are important to document? At the same time, we realized that we also needed to know more about the context of a production – for example, large venue, small venue, for children or for adults? What was the budget? Which company is producing it? Who is the director? Will the production go on tour? Is it an indoor or outdoor performance?
With this first step, the Database working group set to work adapting the existing Canonbase so that, in the future, lighting designs and lighting designers can also be archived with all the necessary detail included.
In January, during the workshop in Amsterdam, we examined various designs of the Dutch lighting designer Henk van der Geest. Henk van der Geest passed away in 2019 and his total paper archive has recently been added to the Allard Pierson Archive. When we saw some projects from the paper archive it became clear that paper alone is not always very helpful for understand a lighting design. Photos could help a great deal and interviewing the designer would be valuable to give a better understanding of the designer’s artistic choices and the look and feel he or she wanted to achieve on stage. In the case of Henk van der Geest interviewing is of course not possible anymore, but you could interview people who worked with him.
We are now developing guidelines for interviewing and example interview questions. We have tested the guidelines with four test cases, interviewing Floriaan Ganzevoort, Caroline Mathieu, Isabel Nielen and Harry Cole. From these test cases,we are fine-tuning our guidelines further. When finished, they will be part of the help pages in the Canon database.
Part of the Canon project is the requirement to document 4 cases. The cases should be diverse, so we can use and test out different archive methods. The working group selected the following designers, chosen to represent a variety of time periods, nationalities, working methods, and so on:
1- British director who worked with gas and early electric lighting, Sir Henry Irving (1838 -1905) https://canonbase.eu/wiki/Item:Q259
2- Swedish Lighting designer Hans-Åke Sjökvist (1943-2023) / Torkel Blomkvist
3- Dutch Lighting designer Henk van de Geest (1952-2019)
4- German / Czech lighting designer Pavla Béranova
5- Belgium Lighting designers Peter van Praet / Mark Van Denesse (set designer Annette Kurz)
With this list we can research various ways of archiving.
During the coming months we will continue with researching and documenting our archive processes based on the selected cases. And besides that, we will continue with smaller testcases. We also have to start to add the lighting designs and designers into the Canon database.
The members of the lighting design group are Nick Hunt (Rose Bruford College, UK), Isabel Nielen (lighting designer, Institute Lighting Design, NL) Bastiaan Schoof (teacher AHK Amsterdam, Institute Lighting Design, NL) Anders Larsson ( Stockholm University of the Arts Sweden), Caroline Mathieu (lighting designer, researcher VUB/RITCS BE).
At the moment we are reorganising the lighting design working group as Anders Larsson sadly passed away in May 2026. Anders was the head of the Lighting Design Workgroup.
Work Package 5 – also referred to as the ‘data group’ – is a group of people who focus on the development and use of Canonbase. Canonbase is the database of the project, that maps and visualises the history of technical theatre in a new and innovative way; it is the main engine behind the CANON II project.
The database currently contains sources, historical events, people, theatres, equipment, manufacturers, methods and collections, and links them to each other and to other existing information sources.
By the end of Canon II, the data group’s main goal is to have an updated and tested data structure in Canonbase. By doing so, contributors can document lighting design, set design and lighting technology in the database, while also linking them to related lighting/setdesigners, productions, theatres etc.
Along with a new structure, the data group will develop new help pages, guidelines, tools and training materials or update existing ones to ensure users are well supported when contributing to the database. Finally, the data group will also work on elaborating queries, layouts, end-user tools and visualizations within Canonbase.
The further development of the Canonbase structure is based on the input from the other Work Packages. They define what kind of information they want to capture in the database and the data group translates this into a new structure. This results in new items, properties and value lists in Canonbase. During and between meetings, the new proposed structure is discussed and further worked on. Simultaneously the data group checks the existing structure and improves it where needed.
Over the past few months, the data group been working on developing a new structure for documenting scenography and lighting design in the database. As a result, new items, properties and value lists related to these fields have been created. So far, the main focus of the new structure has been on the relationship between a design and its designer, the production and other designs.
While updating and expanding the structure of Canonbase, the data group creates new help pages and guidelines on how to put things in the database and update existing ones. For example, the structure on documenting people (designers, architects, authors, etc.) was completely checked, this resulted in an updated help page on how to document people in Canonbase.
New help pages for documenting designs and productions were created (and are still being further developed).
Picture: Structure_brainstorm: a snippet from the online brainstorm board of the data group, where we try to pin down the new elements (items, properties and value lists) in the Canonbase structure.
Picture: Canon_image_ID: a snippet of the Canonbase page on the Taras Shevchenko Ukraine National Opera in Kiev (Q34041). The images showed are stored in the new repository and added to the page of the item via the property ‘Canon image ID’
Since the start of CANON II, the data group has been working on a new repository. Previously, images, videos, documents etc. were stored directly in Canonbase. However, due to some limitations, a decision was made to move them to a separate repository in WordPress. This new repository allows for larger amounts of storage and ensures that Canonbase continues to run smoothly (which could previously be a problem). After testing and writing guidelines, Chris van Goethem introduced the repository during the online project meeting in March. Now, the other project team members started uploading documents to the repository.
Picture: Canonbase_current_view: the current view of the Canonbase website of the National Theatre in Prague (Q12648).
Picture: Canonbase_new_view: a first look of a draft version for the new view of the website for the same item, the National Theatre in Prague (Q12648).
Finally, the data group has been working on a new block-based view of the Canonbase website. This redesigned structure aims to make the platform more visually attractive and significantly easier to read, especially for users who are less familiar with the Wikidata-structure on which Canonbase is built. In this new layout, related information is grouped into clear, coherent blocks. This allows to structure the diverse information in a more user-friendly way.
In the near future, the data group will continue to work on the new structure for documenting lighting design, set design, historical stock sets and lighting technology in Canonbase. Meanwhile, project team members from the other Work Packages will start testing theparts of the new structure that are already created in Canonbase. Aside from this, the data group is continuously improving the help pages, cleaning up the database, etc.
The members of the data group are Chris Van Goethem (RITCS, Belgium), Nick Hunt (Rose Bruford College, UK), Ondrej Svoboda (Czech Cultural Institute, Czech Republic), Jan Purkert (Czech Republic) and Emma Reynders (EhB, Belgium).
It is with great sadness and sorrow that we announce the sudden passing of lighting designer Anders Larsson.
For many of us, Anders was more than a colleague – he was a friend, a driving force, and a natural focal point. Since the very beginning, he carried the vision of strengthening the role of the lighting designer in Sweden, and his dedication continues to shape everything we do today.
As a teacher at Stockholm University of the Arts, he taught stage technologies and technical production. He also was an expert on the history of stage technologies and techniques. He met new generations of students with curiosity, insight, and warmth. His ability to be present and personal, without being private, inspired immediate trust and respect in those around him.
Anders was the president of the Swedish Association of Lighting Designers (SLF) since it was founded in 1992 until his death. He was also an important link between Sweden and the international community through our global network and collaborations with organizations such as STTF, OISTAT, Canon I and Canon II.
Anders was the head of the lighting design workgroup for Canon II and we will truly miss his experience, knowledge and dedication to the art and craft of lighting.
Equally important was his drive to bring people together around light itself – through conversations, museum visits, lectures, and shared journeys. His life was marked by a deep commitment to his work and to all of us who had the privilege of knowing him. His absence leaves a profound void, and we have lost a dear friend and colleague.
Our thoughts are with his family, friends and with all those whose lives he touched.
Scandlight was held in Stockholm from 7 to the 9 of June. It was three days packed with talks and workshops. Chris van Goethem (BE) and Bastiaan Schoof (NL) kicked off the first presentation on Sunday morning. In 20 minutes, they explained how Canon II came about and what the results have been so far.
This year’s Scandlight event once again brought together many lighting designers and lecturers from lighting design courses in countries all over the world including Sweden, Denmark, Canada, United States, Singapore, Hong Kong, United Kingdom, France, Germany, Netherlands, Belgium and Finland.
At an earlier presentation at Cue in Rotterdam in January, we were able to explain what we had planned. Now, in Stockholm, we could already report that results that have been achieved. We described the work the project has done on a method of gathering information through interviews – a tailored approach to the established oral history technique. We have developed a special questionnaire for this purpose, with questions aimed at capturing information about individual practitioners and productions, as well as the working practices of the past. The method has been trialled through two test interviews, with more planned. We have also started working on two case studies to show how to research lighting designers through archives and other writings – one on Henry Irving and one on Henk van der Geest.
Emma Weil also came to Scandlight to give a presentation about her work. In it, she explained that she had once been the assistant to Hans-Åke Sjöquist, a well-known Swedish lighting designer who will be the subject of the Swedish case study in the Canon project. We asked Emma and she was happy to collaborate with us – when she saw Bastiaan and Chris’s presentation, she already thought it would be a good idea to work together, showing the benefit of showing our work while the project is still in progress.
During the Q&A session that followed the first three talks, a considerable number of questions were asked and answered. There seems to be a great deal of interest in the Canon II project!
Report on the CANON II lecture at CUE by Isabel Nielen from the Netherlands.
On Wednesday 14 January at CUE 2026, Bastiaan Schoof (NL) and Chris van Goethem (BE) gave a lecture on CANON II: preserving the heritage of lighting designers, set designers and theatre technology.
How can a company or designer preserve their legacy digitally in a sustainable way? Why should we keep records? And how do you store them so that they remain accessible in the future?
During the lecture, it emerged that CANON II had grown out of an earlier international project, namely CANON – THE HISTORY OF THEATRE TECHNOLOGY. The aim was to raise awareness and understanding of the history of theatre technology in Europe.
If the history of theatre technology is not documented and preserved, a great deal of knowledge and experience will be lost. Because technology is constantly evolving and the people who still have experience with old techniques are literally dying out. How, then, can one understand the historical context or the lighting designs of theatre productions if one does not know how the technology worked at that time? Furthermore, many technical collections are in private ownership; it is important that a place is established, such as an open database, to ensure these collections are not lost and can be made available for study and research.
The CANON I outputs included 100 ‘stories’ of the most significant practices, technologies, individuals, places, artefacts and buildings from the history of theatre technology.
The CANON I results can be found on the website. And on the CANON I database
What is CANON II about?
CANON II is a three-year Erasmus+ project funded by the E
uropean Union. It investigates how we can preserve lighting and set designs, along with the associated technology, for the future. The CANON II research project focuses on lighting design, lighting equipment and set design. Four case studies will be examinedand developed for each topic. The existing Canon database will be updated, expanded and made more accessible to the public. At the same time, we are developing guidelines on how to document these elements, so that the Canon database can continue to grow even after this project has ended.
Who is involved?
The project is supported by the following project partners:
Erasmus University College Brussels, Belgium
Berlin University of Applied Sciences, Germany
Rose Bruford College of Theatre and Performance, United Kingdom
Svensk Teaterteknisk Förening, Sweden
Institut Umeni Divadelni Ustav, Czech Republic
Stichting Instituut Lichtontwerpen, Netherlands
In addition, there are many associated partners involved across the various countries
You can’t put light in a box!
How exactly to document lighting design is the subject of this research. Light is quite elusive and, regardless of the technical implementation, it is more than just the number of lights or a percentage. Light creates atmosphere and emotion; to understand a realised lighting design, you need context regarding the location, the space and the direction. In practice, it appears that lighting designers do little or no archiving for the future. Digital files are no longer usable or readable after a few years. Archives are private or scattered and not organised according to our field. Furthermore, archives are not always accessible. It is much easier to archive documents and objects than lighting designs and stage sets. Often, the press photos of a production are close-ups that do not give a good impression of the entire stage set.
As an example, Bastiaan showed two photos of the lighting design by Henk van der Geest for ‘Le Figaro’ – one a publicity photo taken from the wings, where no audience member saw the production from, and the other the audience’s view. A good press photo often captures details of a performance, whereas for a picture of the lighting design, it’s better to see the whole stage.
Why are we doing this, and for whom?
We are undertaking this project because it is important to document and catalogue developments in the theatre sector. Not only the technical aspects, but also the creative side of the field. Many contemporary developments stem from the past. History teaches us about the present and provides perspective and context for the future.
For example: why were so many theatres destroyed by fire (around that time)? It was due to the rise of gas lighting! New technology brings about change.
The database will be made public and can be used by professionals, students, teachers, collectors and other archives. The aim is to make it easier to find information and link it to other archives and information sources. In doing so, it is important to look beyond national borders.
Archiving makes room for new insights
Chris showed an image of a lighting design from the Allard Pierson Museum’s archive. In it, the design is laid out entirely like a musical score. It was the lighting script for *Poppetgom* by Scarabee. That’s another way to do it!
A fine example of a lighting design that you wouldn’t immediately expect to see presented in this way.
What exactly are we going to do?
Please let people in the field know about this research project!
At the end of the talk, a public appeal was made regarding the Stichter table. Chris found the light table in an archive but doesn’t know how it works. The audience was asked if anyone had ever worked on this table or knew someone who had? And it turned out that among those present, there were about four people who had worked with a Stichter table in the past!
The lecture ended with an appeal to anyone who might still have historical or recent theatre materials stored away in an attic or shed somewhere: please feel free to get in touch!
Chris van Goethem – chris.van.goethem@ehb.be
Bastiaan Schoof – bastiaan.schoof@ahk.nl
Cue 2026 is the leading theatre technology trade fair in the Netherlands. On the exhibition floor, you’ll find everything related to theatre technology in the fields of lighting, sound and stage design. There is also a program of talks lezingen programma.
On February 28, 2025, Chris van Goethem and Bastiaan Schoof presented the Canon II project at the symposium “100 Years of Theatre Collection” at the Allard Pierson museum in Amsterdam.
All speakers discussed the past and present of this collection, while also looking to the future. Chris and Bastiaan talked about how to document the invisible. “You can’t archive light in a box”, Chris told the audience.
We had 10 minutes to explain our approach, which was quite a short time. However, Chris and Bastiaan managed to capture the audience’s interest, and we received many questions after our talk.
Here, we also announced that we had received our funding from the EU. Allard Pierson and Podiumkunst.net offered to assist us, inviting us to their archive for future Canon II meetings in Amsterdam.
In Oktober 2024, iLo (Institute of Lightdesign) invited Chris van Goethem to talk about the Canon II project to the iLo audience. The talks are mostly attended by lightdesigners, light experts, scenographers, students and teachers. This time we specially invited some researchers from Allard Pierson, the Theatre Collection and Podiumkunst.net. So, there was quite a mixed audience from designers, technicians and even a specialist in Vectorworks drawing.
With all these specialists attending, we had a nice and also deeper conversation about archiving, saving designs, what could be saved and what would be the problems with it. The subject was discussed on different sides. The collection specialist who archived Henk van der Geest his archive, also attended. Henk van der Geest is the founder of iLo, he passed away in 2019. After his death 40 meters of Henk his archive was brought to the theatre collection of Allard Pierson.
At that time, we did not know yet if the EU would finance us. Canon II could only be funded if there was budget left. Still, we wanted to focus our attention on the subject to keep it alive and to see what the interest was in the field. Because of that talk, we got an invitation to talk about Canon II at the symposium 100 years theatre collection from the Allard Pierson.
The talk was also published on the website theaterkrant.nl: https://www.theaterkrant.nl/nieuws/bijeenkomst-over-archiveren-voor-lichtontwerpers/
STTF, OISTAT, SLF and Perspectiv organise Conference by Candlelight in Stockholm, from 4 till 6 of June 2026, a conference on historic performance lighting and how this can be achieved in a contemporary context.
An opportunity to consider the qualities, uses and experiences of candlelit performance and its relevance to 21st century theatre. How can we reliably recreate 18th century stage lighting in a time of rapid development of new environmentally friendly and sustainable technology?
More information: STTF or Perspectiv
Svenska Ljussättareföreningen – SLF – is inviting you to Scandlight in Stockholm from 6 to 9 June 2026. Don´t miss this unique opportunity for inspiration and the possibility to meet colleagues and to make new contacts.
The conference is open to different art genres, techniques and forms – theatre, dance, music, circus, television, visual and multimedia art.
The conference is open to Lighting designers, researchers, developers, educators, teachers, students, and arts managers from all over the world interested in the art of light. This meeting is an opportunity to meet potential collaborators from different countries!
The conference working language is English.
More information: www.scandlight.nu
