This thesis explores the dynamic possibilities of composing with light in the theatre as an autonomous medium. Through an archaeology of concept, it identifies the non-dynamic elements inherent to traditional theatre lighting such as the need for illumination, the linearity, the emphasis on spacial thinking over temporal thinking and the focus on visual images over in-depth experience.   These elements shaped lighting practice as a predefined technical tool activating other mediums - culminating in a non-dynamic and rigid practice- instead of considering it as a performative and active element in itself. A comparison with Light Art, complemented with insight from psychology, unveils that time and movement are missing to the feeling of vitality triggered by a dynamic light. The thesis thus speculates on how to conceptually and technically reintroduce these fundamental elements of dynamism into stage lighting design,  promoting a polyphonic and polyrhythmic temporal model over a linear and spacial one, as well as a performative approach over a predefined one.  In this view, the creative process, the creation tools and the performance model are revised.