Beyond scenography

Q2 Arts and Humanities Theatre and Performance Design Pub Date : 2021-10-02 DOI:10.1080/23322551.2021.2003155
A. von Rosen
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Abstract

In recent decades, international scenography studies has emerged as a vital academic and creative domain. Key works such as Joslin McKinney and Scott Palmer’s Scenography Expanded: An Introduction to Contemporary Performance Design (2017) and Arnold Aronson’s The Routledge Companion to Scenography (2017) demonstrate that the concept of scenography has moved beyond the theatre to include potentially any setting. In particular, more or less new ways of theorizing scenography have led to a shift from asking what scenography ‘is’ to asking what it ‘does’ as an active, relational, co-creative and holistic agent of performance. However, this move away from understandings of scenography as mute and static background in the theatre, towards an expanded understanding of scenography, has also resulted in conceptual unclearness and frustration. For example, it is debated whether designers of set, lighting, costume, sound, video and so forth actually can be said to create scenography if it is conceptualized as a relational event happening in time and space. Another issue up for debate is the risk of the concept of scenography becoming useless if it expands to encompass potentially anything. It is in this complex, contested as well as celebratory landscape that Rachel Hann’s Beyond Scenography (2019) makes a seminal, academic contribution. Hann, in Beyond Scenography, focuses on the anglophone adoption of scenography, from the 1960s to today. In resonance with recent theoretical developments, she states that the ‘book is an argument for what scenography does: how assemblages of scenographic traits orientate, situate, and shape staged events’ (I). Structured in nine sections, the book consists of an introduction, seven chapters and a conclusion, each introduced with a sentence from Hann’s manifesto, worth quoting at length since it neatly summarizes her theoretical quest:
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近几十年来,国际舞台设计研究已成为一个重要的学术和创造性领域。乔斯林·麦金尼和斯科特·帕尔默的《布景扩展:当代表演设计导论》(2017)以及阿诺德·阿伦森的《劳特利奇布景指南》(2017)等重要作品表明,布景的概念已经超越了剧院,可能包括任何场景。特别是,或多或少的理论化布景的新方法导致了从问布景“是什么”到问它作为一个积极的、相互关联的、共同创造的和整体的表演代理“做什么”的转变。然而,这种将舞台布景理解为戏剧中无声和静态背景的转变,转向对舞台布景的扩展理解,也导致了概念上的不清晰和挫折。例如,如果布景、灯光、服装、声音、视频等的设计师被概念化为发生在时间和空间中的关系事件,那么他们是否真的可以说是在创造场景,这是有争议的。另一个值得讨论的问题是,如果场景设计的概念扩展到潜在的任何东西,它就会变得毫无用处。蕾切尔·汉恩(Rachel Hann)的《超越场景学》(Beyond Scenography, 2019)正是在这种复杂、有争议又值得庆祝的景观中做出了开创性的学术贡献。韩恩在《超越场景学》一书中关注了从20世纪60年代至今,英语国家对场景学的采用。为了与最近的理论发展相呼应,她指出,“这本书是关于舞台设计的争论:舞台设计特征的组合如何定位、定位和塑造舞台事件”(I)。这本书分为九个部分,包括引言、七章和结论,每一章都引用了汉恩宣言中的一句话,值得长时间引用,因为它巧妙地总结了她的理论探索:
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来源期刊
Theatre and Performance Design
Theatre and Performance Design Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.40
自引率
0.00%
发文量
14
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