Pub Date : 2022-10-02DOI: 10.1080/23322551.2022.2150372
E. Curley
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Pub Date : 2022-10-02DOI: 10.1080/23322551.2022.2154458
K. Graham
I grew up in Galway, a small city in the west of Ireland with a vibrant arts scene. When I was a child, the annual Galway Arts Festival (now the Galway International Arts Festival) opened my world to a wide range of performance events. I simply have no idea what the first piece of theatre I saw was, but I do know that having a tangled mix of experiences with performance and visual art very early on was certainly formative to my later development as a designer, theatre maker and researcher. Alongside performances in theatre buildings, many of my early experiences of performance will have been attending street theatre, particularly the work of Macnas, a Galway-based company specialising in street and spectacle theatre. Macnas Parades were (and continue to be) a fixture of the cultural life of the city, and by extension of my early engagement with the arts. I have a number of early memories of watching this processual street theatre from various vantage points in the city centre, and being, alternately, captivated, discombobulated, elated and sometimes frightened by the succession of fantastical puppets, creatures in streams of colourful costumes, stilt walkers and drummers on display. These parades were visually exciting, but also cultivated a particular kind of attention. The themes or narratives of these parades were often drawn from mythology or cultural history, the kinds of narratives often delivered in written or spoken word, but here you could piece these stories together through the sensory invitation of materials, movements and rhythms. In 1999 the Macnas Parade was, for the first time, performed at night. The piece, entitled Cargo de Nuit, moved through the streets of Galway in the gathering darkness of a night in July and, in so doing, completely transformed the feeling of the city and of the performance itself. The parade had a loose narrative premise, of a world plunged into darkness and populated by strange night creatures, but it is the feeling of an event rendered through light and darkness that was most captivating at the time, and that has remained with me since. It took a slightly different route to previous parades, but nonetheless took what was a familiar phenomenon of street spectacle in my home town and transformed it into something that felt new, and strange, and other worldly. Performers were mostly lit by small concealed lights that made them glow against the framing darkness, with lots of flaming torches, and performers breathing or juggling fire. The surrounding darkness seemed to form a kind of connective tissue around the whole event – suspending individual figures or groups of performers and marking their passage through both space and time. I watched Cargo de Nuit long before I turned to theatre design or started to think about light in particular, and so it took me a long time to recognise the influence of this event on
我在戈尔韦长大，这是爱尔兰西部的一个小城市，有着充满活力的艺术氛围。当我还是个孩子的时候，一年一度的戈尔韦艺术节(现在的戈尔韦国际艺术节)让我的世界看到了各种各样的表演活动。我根本不知道我看到的第一件戏剧是什么，但我知道，早年与表演和视觉艺术的纠缠在一起的经历，无疑对我后来成为一名设计师、戏剧制作人和研究人员的发展形成了影响。除了在剧院大楼里的表演，我早期的许多表演经历都是在街头剧院，尤其是麦克纳斯的作品，这是一家总部位于戈尔韦的公司，专门从事街头和奇观剧院的演出。麦克纳斯游行是(并将继续是)这座城市文化生活的一部分，也是我早期与艺术接触的延伸。我有很多早期的记忆，从市中心的不同有利位置观看这一过程中的街头戏剧，并被，交替着迷，困惑，高兴，有时害怕的幻想木偶，生物在五颜六色的服装，高跷步行者和鼓手展示。这些游行在视觉上令人兴奋，但也培养了一种特殊的注意力。这些游行的主题或叙事通常来自神话或文化历史，这些叙事通常是书面或口头的，但在这里，你可以通过材料、动作和节奏的感官邀请将这些故事拼凑在一起。1999年，麦克纳斯游行第一次在夜间进行。这件名为《夜的货物》(Cargo de Nuit)的作品，在七月的一个夜晚，在戈尔韦的街道上移动，这样做，完全改变了城市和表演本身的感觉。游行有一个松散的叙事前提，一个世界陷入黑暗，居住着奇怪的夜间生物，但当时最吸引我的是通过光明和黑暗呈现的事件的感觉，从那以后就一直留在我身边。这次游行的路线与之前的游行略有不同，但它把我家乡的街头奇观变成了一种新鲜、奇怪、不一样的东西。表演者大多被隐蔽的小灯照亮，使他们在黑暗中发光，有许多燃烧的火炬，表演者呼吸或杂耍火焰。周围的黑暗似乎在整个活动周围形成了一种结缔组织——悬浮着个人或表演者群体，并标记着他们在空间和时间中的通道。早在我转向剧院设计或开始特别思考灯光之前，我就看过《夜之货物》，所以我花了很长时间才认识到这件事对我的影响
{"title":"And then there was light","authors":"K. Graham","doi":"10.1080/23322551.2022.2154458","DOIUrl":"https://doi.org/10.1080/23322551.2022.2154458","url":null,"abstract":"I grew up in Galway, a small city in the west of Ireland with a vibrant arts scene. When I was a child, the annual Galway Arts Festival (now the Galway International Arts Festival) opened my world to a wide range of performance events. I simply have no idea what the first piece of theatre I saw was, but I do know that having a tangled mix of experiences with performance and visual art very early on was certainly formative to my later development as a designer, theatre maker and researcher. Alongside performances in theatre buildings, many of my early experiences of performance will have been attending street theatre, particularly the work of Macnas, a Galway-based company specialising in street and spectacle theatre. Macnas Parades were (and continue to be) a fixture of the cultural life of the city, and by extension of my early engagement with the arts. I have a number of early memories of watching this processual street theatre from various vantage points in the city centre, and being, alternately, captivated, discombobulated, elated and sometimes frightened by the succession of fantastical puppets, creatures in streams of colourful costumes, stilt walkers and drummers on display. These parades were visually exciting, but also cultivated a particular kind of attention. The themes or narratives of these parades were often drawn from mythology or cultural history, the kinds of narratives often delivered in written or spoken word, but here you could piece these stories together through the sensory invitation of materials, movements and rhythms. In 1999 the Macnas Parade was, for the first time, performed at night. The piece, entitled Cargo de Nuit, moved through the streets of Galway in the gathering darkness of a night in July and, in so doing, completely transformed the feeling of the city and of the performance itself. The parade had a loose narrative premise, of a world plunged into darkness and populated by strange night creatures, but it is the feeling of an event rendered through light and darkness that was most captivating at the time, and that has remained with me since. It took a slightly different route to previous parades, but nonetheless took what was a familiar phenomenon of street spectacle in my home town and transformed it into something that felt new, and strange, and other worldly. Performers were mostly lit by small concealed lights that made them glow against the framing darkness, with lots of flaming torches, and performers breathing or juggling fire. The surrounding darkness seemed to form a kind of connective tissue around the whole event – suspending individual figures or groups of performers and marking their passage through both space and time. I watched Cargo de Nuit long before I turned to theatre design or started to think about light in particular, and so it took me a long time to recognise the influence of this event on","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"17 1","pages":"235 - 237"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88493126","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 : 2022-04-03DOI: 10.1080/23322551.2022.2082713
A. Paine
ABSTRACT In recent years, a small but growing number of buildings designed by American architect Frank Lloyd Wright have been collected, moved and reconstructed by museums for exhibition. While those involved have done their best to mitigate the physical impact of relocation, the remaking of these buildings in new sites also brings an inevitable conceptual shift: a spatio-temporal gap between the ‘original' building and its new life as an ostensible stage set on display. Nowhere is this staging more palpable than at Wright's reconstructed Imperial Hotel. Opened in 1923, the Imperial Hotel maintains an almost mythical presence in Wright's oeuvre, having famously survived the Great Kanto earthquake that decimated Tokyo. Yet, despite its fame, the hotel succumbed to the pressures of redevelopment and was demolished in 1968. Nearly a decade later, a reconstruction of the hotel's lobby and reflecting pool was opened at the Meiji-mura architecture museum as a much-diminished relic combining original salvage with extensive new construction. Through a formal examination of the exhibit, this article examines those questions of authenticity and staging that plague architectural reconstructions in museums. While such exhibits are often perceived as second-rate substitutes for the real thing, the set-like presentation of the reincarnated Imperial Hotel is argued here to instead highlight the inherent theatricality of Wright’s design, which is arguably more apparent in the reconstruction than it ever was in the original.
{"title":"Staging Frank Lloyd Wright’s Imperial Hotel","authors":"A. Paine","doi":"10.1080/23322551.2022.2082713","DOIUrl":"https://doi.org/10.1080/23322551.2022.2082713","url":null,"abstract":"ABSTRACT In recent years, a small but growing number of buildings designed by American architect Frank Lloyd Wright have been collected, moved and reconstructed by museums for exhibition. While those involved have done their best to mitigate the physical impact of relocation, the remaking of these buildings in new sites also brings an inevitable conceptual shift: a spatio-temporal gap between the ‘original' building and its new life as an ostensible stage set on display. Nowhere is this staging more palpable than at Wright's reconstructed Imperial Hotel. Opened in 1923, the Imperial Hotel maintains an almost mythical presence in Wright's oeuvre, having famously survived the Great Kanto earthquake that decimated Tokyo. Yet, despite its fame, the hotel succumbed to the pressures of redevelopment and was demolished in 1968. Nearly a decade later, a reconstruction of the hotel's lobby and reflecting pool was opened at the Meiji-mura architecture museum as a much-diminished relic combining original salvage with extensive new construction. Through a formal examination of the exhibit, this article examines those questions of authenticity and staging that plague architectural reconstructions in museums. While such exhibits are often perceived as second-rate substitutes for the real thing, the set-like presentation of the reincarnated Imperial Hotel is argued here to instead highlight the inherent theatricality of Wright’s design, which is arguably more apparent in the reconstruction than it ever was in the original.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"57 1","pages":"63 - 75"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75842449","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 : 2022-04-03DOI: 10.1080/23322551.2022.2063502
Nicholas Till
Two famous images from the fi rst production of Wagner ’ s Der Ring des Nibelungen at Bayreuth in 1876 are often reproduced side by side. One is an engraving after Josef Ho ff mann ’ s idealised design for the opening scene of Das Rheingold , showing the watery Rhinemaidens merging fl uidly with their surroundings, whilst the dwarf Alberich leers at them from a rock. The second depicts the reality of the scene seen from backstage, in which the less-than-sylph-like singers are strapped uncomfortably atop crude trollies being trundled around by stage hands. The two images exemplify Wagner ’ s frustration with the gap between his ideal image of his music dramas and what was practically achievable in the theatre of his day, despite the fact that he had built his own theatre, customised to ful fi l his dream, at Bayreuth. grease , ’ famous the ‘ mystic gulf ’ Wagner ’ s vision when, scene the music drama, with its sequence of unrealisable actions (Brünnhilde leaping into Siegfried ’ s funeral pyre on her horse, the Rhine submerging the stage, and the fi nal con fl agration of the gods in Valhalla), Konwitschny brought the front curtain down, and Wagner ’ s wordy instructions for the representation of fi nal Armageddon were instead projected onto the curtain, scrolling up as the music depicted the absent catastrophe – an act
{"title":"Curtain, gong, steam: Wagnerian technologies of nineteenth-century opera","authors":"Nicholas Till","doi":"10.1080/23322551.2022.2063502","DOIUrl":"https://doi.org/10.1080/23322551.2022.2063502","url":null,"abstract":"Two famous images from the fi rst production of Wagner ’ s Der Ring des Nibelungen at Bayreuth in 1876 are often reproduced side by side. One is an engraving after Josef Ho ff mann ’ s idealised design for the opening scene of Das Rheingold , showing the watery Rhinemaidens merging fl uidly with their surroundings, whilst the dwarf Alberich leers at them from a rock. The second depicts the reality of the scene seen from backstage, in which the less-than-sylph-like singers are strapped uncomfortably atop crude trollies being trundled around by stage hands. The two images exemplify Wagner ’ s frustration with the gap between his ideal image of his music dramas and what was practically achievable in the theatre of his day, despite the fact that he had built his own theatre, customised to ful fi l his dream, at Bayreuth. grease , ’ famous the ‘ mystic gulf ’ Wagner ’ s vision when, scene the music drama, with its sequence of unrealisable actions (Brünnhilde leaping into Siegfried ’ s funeral pyre on her horse, the Rhine submerging the stage, and the fi nal con fl agration of the gods in Valhalla), Konwitschny brought the front curtain down, and Wagner ’ s wordy instructions for the representation of fi nal Armageddon were instead projected onto the curtain, scrolling up as the music depicted the absent catastrophe – an act","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"1 1","pages":"134 - 135"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73927089","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 : 2022-04-03DOI: 10.1080/23322551.2022.2088192
Viveka Kjellmer
ABSTRACT In 1892 two women scientists mysteriously disappeared during an expedition into unexplored parts of Sweden. The only remaining traces are their collected samples showing evidence of an unknown humanoid species: Homo Aquatis, or the Aquanauts. This story frames the exhibition Aquanauts – The Expedition. Scenographic elements such as moving imagery, sound and lighting, sculptural objects, drawings, fictitious scientific samples and, not least, smells are used in the exhibition to evoke affective atmospheres. Using a theoretical framework based on critical scenography, multisensory exhibition design, and the field of art history and visual culture, this study focuses on the use of scenographic sensory activation to create an immersive experience. The use of olfactory ekphrasis to analyse the designed smells brings the scenographic agency of scent to the fore. Each fragrance conveys a story about the character for whom it is designed. What we smell seems real, and this deliberate utilization of perfuming – the use of ‘perfume’ to communicate identity and assert bodily presence – brings the Aquanauts to life. The conscious use of the sense of smell as a scenographic strategy together with visual, tactile and aural cues also problematizes our understanding of the sense of smell on a more general level, by suggesting that scents are an alternative way to communicate.
{"title":"The smell of Homo Aquatis: scented scenographics and multisensory exhibition design in the ‘mockumentary’ exhibition project Aquanauts: The Expedition","authors":"Viveka Kjellmer","doi":"10.1080/23322551.2022.2088192","DOIUrl":"https://doi.org/10.1080/23322551.2022.2088192","url":null,"abstract":"ABSTRACT In 1892 two women scientists mysteriously disappeared during an expedition into unexplored parts of Sweden. The only remaining traces are their collected samples showing evidence of an unknown humanoid species: Homo Aquatis, or the Aquanauts. This story frames the exhibition Aquanauts – The Expedition. Scenographic elements such as moving imagery, sound and lighting, sculptural objects, drawings, fictitious scientific samples and, not least, smells are used in the exhibition to evoke affective atmospheres. Using a theoretical framework based on critical scenography, multisensory exhibition design, and the field of art history and visual culture, this study focuses on the use of scenographic sensory activation to create an immersive experience. The use of olfactory ekphrasis to analyse the designed smells brings the scenographic agency of scent to the fore. Each fragrance conveys a story about the character for whom it is designed. What we smell seems real, and this deliberate utilization of perfuming – the use of ‘perfume’ to communicate identity and assert bodily presence – brings the Aquanauts to life. The conscious use of the sense of smell as a scenographic strategy together with visual, tactile and aural cues also problematizes our understanding of the sense of smell on a more general level, by suggesting that scents are an alternative way to communicate.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"1 1","pages":"93 - 111"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89862762","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 : 2022-04-03DOI: 10.1080/23322551.2022.2099091
Lucy Thornett, Greer Crawley
We are pleased to introduce this special double issue, which focuses attention on how scenography operates within exhibition contexts. Our interest in this topic has been developing for some time. In 2018, we co-convened a symposium titled Scenography in Exhibition & The Museum with Kathrine Sandys and the V&A Museum, for the UK Theatre and Performance Research Association (TaPRA) Scenography Working Group. The symposium included presentations from a number of practitioners and theorists working across the disciplinary contexts of exhibition and performance design – in fact, interest in the topic was such that we shortened the length of all the presentations in order to accommodate more papers. Since then, although more scholarly work has begun to emerge in this area (Dechelle 2018; Mehzoud 2019), we believe there is still a need for a more extensive examination of the scenographic in exhibition design. This special double issue is a move towards fulfilling that need. We are delighted to feature articles by an international group of contributors. They bring a range of perspectives from the historical and cultural, art criticism, design and curatorial practices, or a combination of these. The contributors’ different perspectives interconnect to create a multi-dimensional discourse around the staging of exhibitions. Their arguments and observations elucidate how scenographic and theatrical methodologies are being used in creating what one of the contributors, Pamela Bianchi, has described as ‘the exhibition imaginary’. We have identified some emergent themes in how the assembled articles articulate a set of scenographic strategies within contexts of exhibition and display. Among these is the notion of ‘staging’ as a technique that amplifies or heightens, and in doing so draws attention to the very conditions of display. Rather than attempting to render exhibition environments and displays invisible or minimal in order to focus attention on the artefacts being displayed, this technique instead harnesses the power of exaggeration to highlight the situation of the exhibition itself. Related to this is the idea of scenography as a practice that is intentionally concerned with the ‘inauthentic’. Scenography produces fictive, imagined worlds, renders other places in the here and now, and highlights its own construction and artifice. Yet the act of simulation can also offer a critical perspective (see Brejzek 2011, 4). Rachel Hann builds on Brejzek’s identification of scenography’s otherness (2011, 5), arguing that scenography demarcates space as other than everyday (Hann 2019). In this strategy, fictive, illusory, excessive environments become devices for defamiliarization. Another common thread in the articles within this special double issue is the sense that scenography plays a key role in shaping the temporal unfolding of space in exhibitions – what a number of contributors have referred to as spatial dramaturgy. Though all spatial and visitor experi
{"title":"Staged: scenographic strategies in contemporary exhibition design","authors":"Lucy Thornett, Greer Crawley","doi":"10.1080/23322551.2022.2099091","DOIUrl":"https://doi.org/10.1080/23322551.2022.2099091","url":null,"abstract":"We are pleased to introduce this special double issue, which focuses attention on how scenography operates within exhibition contexts. Our interest in this topic has been developing for some time. In 2018, we co-convened a symposium titled Scenography in Exhibition & The Museum with Kathrine Sandys and the V&A Museum, for the UK Theatre and Performance Research Association (TaPRA) Scenography Working Group. The symposium included presentations from a number of practitioners and theorists working across the disciplinary contexts of exhibition and performance design – in fact, interest in the topic was such that we shortened the length of all the presentations in order to accommodate more papers. Since then, although more scholarly work has begun to emerge in this area (Dechelle 2018; Mehzoud 2019), we believe there is still a need for a more extensive examination of the scenographic in exhibition design. This special double issue is a move towards fulfilling that need. We are delighted to feature articles by an international group of contributors. They bring a range of perspectives from the historical and cultural, art criticism, design and curatorial practices, or a combination of these. The contributors’ different perspectives interconnect to create a multi-dimensional discourse around the staging of exhibitions. Their arguments and observations elucidate how scenographic and theatrical methodologies are being used in creating what one of the contributors, Pamela Bianchi, has described as ‘the exhibition imaginary’. We have identified some emergent themes in how the assembled articles articulate a set of scenographic strategies within contexts of exhibition and display. Among these is the notion of ‘staging’ as a technique that amplifies or heightens, and in doing so draws attention to the very conditions of display. Rather than attempting to render exhibition environments and displays invisible or minimal in order to focus attention on the artefacts being displayed, this technique instead harnesses the power of exaggeration to highlight the situation of the exhibition itself. Related to this is the idea of scenography as a practice that is intentionally concerned with the ‘inauthentic’. Scenography produces fictive, imagined worlds, renders other places in the here and now, and highlights its own construction and artifice. Yet the act of simulation can also offer a critical perspective (see Brejzek 2011, 4). Rachel Hann builds on Brejzek’s identification of scenography’s otherness (2011, 5), arguing that scenography demarcates space as other than everyday (Hann 2019). In this strategy, fictive, illusory, excessive environments become devices for defamiliarization. Another common thread in the articles within this special double issue is the sense that scenography plays a key role in shaping the temporal unfolding of space in exhibitions – what a number of contributors have referred to as spatial dramaturgy. Though all spatial and visitor experi","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"17 1","pages":"3 - 6"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86245303","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 : 2022-04-03DOI: 10.1080/23322551.2022.2089964
Nandini Kalita
ABSTRACT Many scholars have highlighted the role of scenographic strategies in transforming the ways in which museums display their content. In the course of this article, I want to focus on the use of dioramas in tribal museum display and their role in shaping the expectations and opinions of the visitor. This type of scenographic installation has been used in many museums in India devoted to showcasing the way of life of various tribes residing across the subcontinent. These museums were originally established in order to safeguard and promote the culture of tribal peoples who often find themselves marginalized in mainstream society and many contain life-size dioramas depicting scenes of everyday tribal life. The idea behind the installation of these dioramas is that they increased awareness among the general public about the specificities of the culture of different tribes. However, questions remain as to whether these scenographic installations succeed in providing context for the visitor to better understand the ideals and values of tribal life or whether they compound stereotypes. In this article I will look at the use of dioramas in different tribal museums across India and other parts of the world, but I will primarily focus on the dioramas in a tribal museum located in Delhi.
{"title":"Contesting marginalization: diorama and tribal museum","authors":"Nandini Kalita","doi":"10.1080/23322551.2022.2089964","DOIUrl":"https://doi.org/10.1080/23322551.2022.2089964","url":null,"abstract":"ABSTRACT Many scholars have highlighted the role of scenographic strategies in transforming the ways in which museums display their content. In the course of this article, I want to focus on the use of dioramas in tribal museum display and their role in shaping the expectations and opinions of the visitor. This type of scenographic installation has been used in many museums in India devoted to showcasing the way of life of various tribes residing across the subcontinent. These museums were originally established in order to safeguard and promote the culture of tribal peoples who often find themselves marginalized in mainstream society and many contain life-size dioramas depicting scenes of everyday tribal life. The idea behind the installation of these dioramas is that they increased awareness among the general public about the specificities of the culture of different tribes. However, questions remain as to whether these scenographic installations succeed in providing context for the visitor to better understand the ideals and values of tribal life or whether they compound stereotypes. In this article I will look at the use of dioramas in different tribal museums across India and other parts of the world, but I will primarily focus on the dioramas in a tribal museum located in Delhi.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"209 1","pages":"76 - 92"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76972526","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 : 2022-04-03DOI: 10.1080/23322551.2022.2082695
Jasper Delbecke
ABSTRACT This article explores how Belgian theatre maker Thomas Bellinck turns the scenography of an exhibition into a critical framework to examine the politics of memory and representation at play on the European continent. In his projects, Bellinck plays with conventional modes of displaying and exhibiting to challenge the current course of the European Union (as in Domo de Eŭropa Historio en Ekzilo) and question how the EU copes with migratory movements (as in his long-term and ongoing project Simple as ABC). By exhibiting fictive artefacts through conventional modes of displaying (pedestals, display cases), or bringing these modes of display to the stage, Bellinck highlights the agency and critical potential of these ‘mere’ instruments in an exhibition. Insisting on the performativity of the infrastructure of an exhibition becomes a scenographic strategy in Bellinck’s work to mark the role of scenography in the epistemological process that comes with visiting an exhibition and the discourses an exhibition tries to convey.
本文探讨了比利时戏剧制作人托马斯·贝林克如何将一场展览的舞台布景转变为一个批判性框架，以审视欧洲大陆戏剧中的记忆和再现政治。在他的项目中，Bellinck使用传统的展示模式来挑战欧盟当前的进程(如Domo de Eŭropa Historio en Ekzilo)，并质疑欧盟如何应对移民运动(如他长期和正在进行的项目Simple as ABC)。通过传统的展示模式(基座、陈列柜)或将这些展示模式带到舞台上，Bellinck强调了展览中这些“纯粹”工具的代理和关键潜力。在bellink的作品中，坚持展览基础设施的表演性成为了一种场景学策略，以标记场景学在认识论过程中的作用，这一认识论过程伴随着参观展览和展览试图传达的话语。
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Pub Date : 2022-04-03DOI: 10.1080/23322551.2022.2063503
P. Thielman
{"title":"Architecture, theater, and fantasy: Bibiena drawings from the Jules Fisher Collection","authors":"P. Thielman","doi":"10.1080/23322551.2022.2063503","DOIUrl":"https://doi.org/10.1080/23322551.2022.2063503","url":null,"abstract":"","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"52 1","pages":"139 - 141"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82332723","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}
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