Pub Date : 2020-05-15DOI: 10.1080/23322551.2020.1782151
A. Alston
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Pub Date : 2020-05-15DOI: 10.1080/23322551.2020.1782670
Sophie Jump
It shouldn’t have come as a surprise that I did a lot of walking during the Site Specific Performance Festival. Having worked on site-specific performances for 25 years, I know that you have to cov...
在场地特定表演节期间，我走了很多路，这不足为奇。我从事现场表演已经25年了，我知道你必须……
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Pub Date : 2020-05-15DOI: 10.1080/23322551.2020.1785178
Lucy Thornett
ABSTRACT A wide range of works made with virtual and augmented reality technologies was on display at the 2019 Prague Quadrennial. This article discusses these works in the context of a renewed wave of research interest in these technologies. I argue that virtual and augmented reality provides a new paradigm for scenographic practice that differs from other digital media. Furthermore, I contend that a scenographic perspective can provide insights into how immersive technologies might be utilised to create affective audience experiences. Through a description of my own experiences of the works at PQ, I consider the scenographic environments that immersive technologies make possible, the specific affordances that they offer scenographic practice, and the attendant materialities of virtual environments. Rather than focus on presence or immersion in virtual environments as primary goals of immersive technologies, I suggest that a scenographic approach might instead foreground the porous boundaries between different orders of reality or ‘worlds’, and between bodies and worlds.
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Pub Date : 2020-05-15DOI: 10.1080/23322551.2020.1771943
B. Příhodová, P. Drábek
Co-authored with Barbora Přihodova, this essay analyses the plurality of scenography as presented in the PQ Talks programme of the 2019 Prague Quadrennial, curated by the two authors. The curatorial concept is explained and justified, followed by an analysis of theoretical issues and five case studies.
{"title":"Scenography 2019 in PQ Talks","authors":"B. Příhodová, P. Drábek","doi":"10.1080/23322551.2020.1771943","DOIUrl":"https://doi.org/10.1080/23322551.2020.1771943","url":null,"abstract":"Co-authored with Barbora Přihodova, this essay analyses the plurality of scenography as presented in the PQ Talks programme of the 2019 Prague Quadrennial, curated by the two authors. The curatorial concept is explained and justified, followed by an analysis of theoretical issues and five case studies.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"21 1","pages":"26 - 36"},"PeriodicalIF":0.0,"publicationDate":"2020-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81575963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-15DOI: 10.1080/23322551.2020.1785710
Paul Cegys, Joris P. Weijdom
ABSTRACT Created for the 2019 Prague Quadrennial’s 36Q°, Blue Hour VR was a site-responsive mixed reality performative installation that placed the spectator, as experiencer, within a hybrid landscape of real-time three-dimensional computer graphics and 360-degree video. This article describes the design process, staging and experience of Blue Hour VR from the vantage point of its creators. Using a phenomenological perspective, the article discusses how Blue Hour VR staged presence and embodiment within an intermedial haptic experience. Blue Hour VR demonstrates how virtual reality technology can be harnessed by a mixed reality performance design, which includes both the material and virtual environment, creating a complex stratigraphy of intermedial textures and visual dramaturgies that co-exist inside, outside and in between perceptual realities. In doing so, the article aims to contribute to the limited body of work on mixed and virtual reality in the context of theatre and performance design.
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Pub Date : 2020-05-15DOI: 10.1080/23322551.2020.1785230
Hadi Damien
ABSTRACT This article proceeds from our understanding that scenography is the environment in which performance unfolds. It presents a reflection on what forces shaped the design of the exhibition we displayed. The article further examines the political realities of Lebanon and their socio-economic consequences that shaped this exhibition, where actions and whereabouts are publicly shared in cyberspace – the modern, accessible and still unrestricted common space. The exhibition of Lebanon at PQ 2019 was a reflection on an audience trend we identified while attending performances. It displayed a landscape of raised hands, holding mobile phones and showing images of performances. The mobile phones examined the decreased reality – the effect of seeing a performance on a phone – and posited a few questions, helping those viewing the exhibition to contextualize it, and inviting them to think about this practice. The wall-less exhibition also offered attendees the possibility of sharing their photos of performances they attended during PQ 2019, and including them in the Lebanese exhibition, further marking the (lack of) tension between the local and the global – the local being the performances staged in Lebanon, and the global being the pictures that depicted performances from all over the world during PQ 2019.
{"title":"Porous realities, open scenography: a study of the Lebanese exhibition at PQ 2019","authors":"Hadi Damien","doi":"10.1080/23322551.2020.1785230","DOIUrl":"https://doi.org/10.1080/23322551.2020.1785230","url":null,"abstract":"ABSTRACT This article proceeds from our understanding that scenography is the environment in which performance unfolds. It presents a reflection on what forces shaped the design of the exhibition we displayed. The article further examines the political realities of Lebanon and their socio-economic consequences that shaped this exhibition, where actions and whereabouts are publicly shared in cyberspace – the modern, accessible and still unrestricted common space. The exhibition of Lebanon at PQ 2019 was a reflection on an audience trend we identified while attending performances. It displayed a landscape of raised hands, holding mobile phones and showing images of performances. The mobile phones examined the decreased reality – the effect of seeing a performance on a phone – and posited a few questions, helping those viewing the exhibition to contextualize it, and inviting them to think about this practice. The wall-less exhibition also offered attendees the possibility of sharing their photos of performances they attended during PQ 2019, and including them in the Lebanese exhibition, further marking the (lack of) tension between the local and the global – the local being the performances staged in Lebanon, and the global being the pictures that depicted performances from all over the world during PQ 2019.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"44 1","pages":"48 - 57"},"PeriodicalIF":0.0,"publicationDate":"2020-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76941223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-02DOI: 10.1080/23322551.2019.1687901
Douglas Eacho
{"title":"The model as performance: staging space in theatre and architecture","authors":"Douglas Eacho","doi":"10.1080/23322551.2019.1687901","DOIUrl":"https://doi.org/10.1080/23322551.2019.1687901","url":null,"abstract":"","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"24 1","pages":"316 - 317"},"PeriodicalIF":0.0,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81271785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-02DOI: 10.1080/23322551.2019.1692584
Jasper Delbecke
ABSTRACT I will introduce the notion of the ‘theatre space as an essayistic space' by exploring and unfolding Infini 1-15 (2015) by Decoratelier. As a scenographer and founder of Decoratelier, Jozef Wouters invited 15 artists from various disciplines to create an infini, a backdrop on which a view or a landscape is painted, in response to the question: ‘Which space should we depict in theatre at the present time?' Scenography, for Wouters, is not a medium but a way of working. It becomes a strategy that creates the possibility to start an encounter and a dialogue with what already exists: the architecture of a specific space. Within this dialogue, scenography becomes ‘a negotiation in space, between the space it refers to and the space that there is'. The form of Infini 1-15, the kind of dialogue that the performance establishes, and Wouters' practice with Decoratelier prior to the performance resonate with the form of the essay. In my contribution for this special issue, I explore how the form of the essay applies to Wouters’ understanding of scenography and how his approach can help us to conceive of theatre space as an essayistic space.
{"title":"The theatre space as essayistic space: on Infini 1-15 by Decoratelier","authors":"Jasper Delbecke","doi":"10.1080/23322551.2019.1692584","DOIUrl":"https://doi.org/10.1080/23322551.2019.1692584","url":null,"abstract":"ABSTRACT I will introduce the notion of the ‘theatre space as an essayistic space' by exploring and unfolding Infini 1-15 (2015) by Decoratelier. As a scenographer and founder of Decoratelier, Jozef Wouters invited 15 artists from various disciplines to create an infini, a backdrop on which a view or a landscape is painted, in response to the question: ‘Which space should we depict in theatre at the present time?' Scenography, for Wouters, is not a medium but a way of working. It becomes a strategy that creates the possibility to start an encounter and a dialogue with what already exists: the architecture of a specific space. Within this dialogue, scenography becomes ‘a negotiation in space, between the space it refers to and the space that there is'. The form of Infini 1-15, the kind of dialogue that the performance establishes, and Wouters' practice with Decoratelier prior to the performance resonate with the form of the essay. In my contribution for this special issue, I explore how the form of the essay applies to Wouters’ understanding of scenography and how his approach can help us to conceive of theatre space as an essayistic space.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"6 1","pages":"233 - 249"},"PeriodicalIF":0.0,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76380478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-02DOI: 10.1080/23322551.2019.1688560
E. Shalom
Oren Sagiv refers to himself as an architect, but many would agree he is no less a scenographer. Israeli by origin and currently based in Portugal, Sagiv has been creating structures and spaces for museums, galleries, festivals, and cultural events around the world since 2004. His works can be described as mainly ‘Installation Architecture’ (the name Sagiv has given his design firm): pavilions and experimental structures that can be read within the tradition of ‘light constructed architecture’. Nevertheless, the mutual relations between people, environments, and situations with and within space are the main focus of Sagiv’s work, locating it at the heart of an expanded scenography. He is perhaps best-known for Intersection, a space he created for the 2011 Prague Quadrennial of Performance Design and Space (PQ). Consisting of 30 room-sized black and white boxes (micro ‘ideal theatres’ and ‘ideal galleries’), the construction was located in the city’s Piazzetta (recently renamed Václav Havel Square), between the National Theatre and the Laterna Magika. Each box/room contained a work by a different artist, the ensemble creating a mini ‘art city’ in which people could interact with a variety of performances, installations, and artifacts. On top of the boxes, and open to the sky, Sagiv placed a wooden platform, creating a public space with seats, a bar-café and an open-air cinema. In many ways this work is a harbinger of his later works, and indicates an artistic approach and language in which viewers are invited to take an active part and immerse themselves in a spatial, theatrical, or architectural situation, while at the same time offering possibilities for critical awareness and inviting participants to reflect on art and space, and their own contribution to the situation they find themselves in. I met Sagiv for a conversation on architecture, performance, curation, and design.
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