For greater than 30 years the operation of stage lighting for theatre has nearly always involved the replay of pre-recorded lighting states, so that the operator makes no inventive contribution to the efficiency ‘in the moment’. Meanwhile, digital efficiency practices have examined the relationship between the performer and a wide range of technologies, often problematizing this relationship in numerous methods. Nevertheless, theatre lighting and its operation have not often been given such attention. In this text I describe a customized-built lighting control system, ‘Theolux’, designed to enable the operator - who I term the Lighting Artist - to reply and make an expressive contribution within the second of efficiency. Specifically, Theolux has a variety of interface controls that the lighting artist can select to use, each of which offers a special expressive potential and which collectively represent a ‘playable’ instrument. I go on to explain a efficiency work, Passages, made specifically to investigate my proposal that some inventive decisions concerning the lighting ought to be deferred till the second of performance, enabling the lighting artist to respond to the other performers and to the audience. I give an account of some of the affective performance qualities produced through the use of Theolux to control the lighting throughout Passages, and describe my own experience because the lighting artist using the assorted interface idioms throughout totally different sections of the efficiency. I also recount viewers members' experiences, which both confirm some of my own observations and start to suggest the efficiency-making potential of my revised method to theatre lighting.
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