人工光參與戲曲表演,始于目連戲,稱"燈彩",是介乎燈光與布景之間的特殊造型藝術。至明末,進入縉紳富室的家樂,著名例子為《唐明皇游月宮》,其演出效果值得做專業分析。而劉暉吉,當是戲曲燈彩史上留下姓名的第一人。近代燈光布景的興起,導致燈彩衰落。戲曲采用新的電光源之后,除照亮表演區外,還起過突出名腳、摹擬天象、渲染氣氛的作用。舞臺燈光藝術的進展,取決于器材、人才、理念三種因素。燈光理念的現代開端是瑞士的阿庇亞。藝術理念的核心問題是對舞臺空間的解釋和表現。新中國燈光藝術的曲折發展,金長烈是親歷者也是引領者。他的著述,是教學內容和創作經驗的系統總結,對燈光藝術的繼續演進,富于前瞻性和指導性。

Artificial lighting was first used in the Mulian plays in the theatre of Chinese Xiqu.Known as "lighting scenery", it is a plastic art between the lighting and the stage setting. By the end of the Ming Dynasty, artificial lighting was used in the private theatres of the rich gentry households, of which Emperor Minghuang’s Trip to the Moon Palace is a famous example. The performance effects of that play are worth exploring. LIU Huiji is the first person to be recorded in the history of artificial lighting in Xiqu theatre. The rise of modern electric lighting sets led to the decline of traditional lighting. In addition to illuminating the stage area, the new electric lighting functioned to highlight the star singers, visualize the celestial phenomena and create an atmosphere. The development of stage lighting depends on three factors: equipment, talents and ideas. Adolphe Appia was responsible for the beginning of the modern idea of stage lighting. The core concern of the artistic idea is the interpretation and presentation of stage space. Stage lighting went through a winding course of which JIN Changlie is a witness and a trendsetter. In his works that are systematically based on his teaching and practices on stage, JIN provides forward thinking and guidance to the art of stage lighting.