This study introduces a new way of thinking about and understanding the processes of theatre technical rehearsals, focusing on these as a discrete and fundamental part of understanding and making theatre, by observing and analysing the linguistic strategies of lighting designers, directors and lighting programmers, in the moment. By applying existing research in language and linguistics, creativity and collaboration, this thesis makes an original contribution to an understanding of the hidden, tacitly practised mechanisms that are integral to the theatre production process, drawing out and unravelling the latent processes of negotiation that occur in this particular workplace environment. This research aims to fill the gap that currently exists at this intersection of creativity, collaboration, scenography and applied linguistics. Combining research on the people, processes and potential of light in live performance with a linguistic ethnographic study of current practice in the UK, this thesis addresses issues of communication, agency, hierarchy, power and creativity – themes that have emerged from an analysis of the research context and through the data gathering process. The overarching aims are two fold and relate to both academic and professional practice: first, to explicate the contribution of lighting designers and programmers during the technical rehearsal process and, second, to provide a way to articulate the underlying forces at play during technical rehearsals, for instance how power relations, collaborative working practices, personal and professional identities, and opportunities to advocate for the role of light on stage are manifested through language. It is expected that the results of this study will have implications beyond performance studies and can be extrapolated to the creative industries more generally, with additional methodological applicability to other fields in which professionals work together towards a shared goal or outcome.
