Pub Date : 2022-04-03DOI: 10.1080/23322551.2022.2088193
P. Bianchi
ABSTRACT Starting from the etymology of the term ‘display‘, which refers to the action of dressing inner and outer spaces with tapestries, paintings and other decorative artefacts, the paper focuses on those contemporary hybridizations between display and design that have articulated what one can define as the drama of the exhibition space in the twentieth and twenty-first century. The research explores those artistic processes that, from the 1950s to today, have contributed to shaping the idea of creation as an assembly process exploiting the semiotic and narrative potential of visual constructs. In particular, it studies those hybrid overlaps in which the devices of spatial writing appear in their most tautological dimension, i.e. forms to be understood within the construct that they contribute to defining. Within a historiographical perspective and an interplay between contemporary art and exhibition design, the article finally seeks to mobilize current debates on the ability of new trends to generate a renewal of forms of presentation, processes of creation and contexts of diffusion.
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Pub Date : 2022-04-03DOI: 10.1080/23322551.2022.2082712
Rodrigo Tisi Paredes
This visual essay considers the exhibition Santiago, ciudad destino (Santiago, arrival city) , presented at Centro Cultural Gabriela Mistral (GAM) in Santiago during 2019. The exhibition explored current local issues in Chile concerning immigration, displacement and social integration. The creative process integrated di ff erent disciplines and consequently produced unique collaborative displays. Both the curatorial practice and the design pos-sibilities of the space served as research opportunities to explore di ff erent modes of par-ticipation. The aim was that the organization of displays would activate a performative space that would transmit the content through di ff erent forms. The installation space had several constraints, mainly related to the white cube limitations of a visual arts exhibition space. Dimmed lights were used to stage a theatrical ambience in which both per-forming objects and visitors would be highlighted. The idea was to display the audience interacting in a dramatic and playful manner, and to articulate speculative spaces for reading the issues exposed about immigration. studios and theory courses at undergraduate and graduate levels. His work explores relationships between architecture, public space, society, visual arts and performance in di ff erent formats.
这篇视觉文章考虑了2019年在圣地亚哥米斯特拉尔文化中心(GAM)举办的展览Santiago, ciudad destino(圣地亚哥，到达的城市)。展览探讨了智利当前有关移民、流离失所和社会融合的地方问题。创意过程整合了不同的学科，从而产生了独特的协作展示。策展实践和空间的设计可能性都是探索不同参与模式的研究机会。其目的是通过组织展示来激活一个表演空间，通过不同的形式来传递内容。装置空间有几个限制，主要与视觉艺术展览空间的白立方限制有关。昏暗的灯光营造出一种戏剧氛围，在这种氛围中，表演对象和参观者都将得到强调。这个想法是展示观众以戏剧性和有趣的方式互动，并为阅读有关移民的问题提供清晰的投机空间。本科和研究生阶段的工作室和理论课程。他的作品以不同的形式探索建筑、公共空间、社会、视觉艺术和表演之间的关系。
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Pub Date : 2022-04-03DOI: 10.1080/23322551.2022.2063504
C. Baugh
The phantasmagoria was an entertainment of the late eighteenth century that used magic lanterns to project sensational and shocking images such as skeletons, demons and ghostly appa-ritions onto walls, smoke or semi-transparent screens. Rear projection kept the source of light out of sight, and lanterns on wheeled trolleys were used which allowed the projected image to move and change size on the screen, whilst multiple lanterns allowed for changing images. The use of ghostly decorations, darkness and sound e ff ects surrounded the audience within a multimedia experience. The application of the recently invented argand lamp, one that used the up-draft created by a tubular glass shade surrounding the burning wick, greatly increased the light output of the magic lantern and therefore it quite e ff ectively simulated the appearance of ghostly, necromantic images. The phantasmagoria further enhanced its optical deceptions by frequently taking place in cellars, ruins or disused monasteries. camera , Cruz
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Pub Date : 2022-04-03DOI: 10.1080/23322551.2022.2099090
T. Brejzek, Jane Collins
The Austro-American architect and scenographer Frederick Kiesler’s 1942 exhibition, Art of this Century, for Peggy Guggenheim’s New York gallery, shockingly (and maybe for the first time since the baroque Wunderkammer displayed polyphonic assemblages of quirky objects of desire) understood exhibition objects to be elements of an environment that was inseparable from the exhibition space itself. In Art of this Century, Kiesler not only curated the exhibits but rather reconfigured the gallery space and designed biomorphic seating and kinetic hanging constructions that enabled the visitor to view the exhibits from all angles. Kiesler’s spatial dramaturgy and exhibition scenography offered a heterogenous parcourse, a non-linear navigation and, overall, the visitor’s complete immersion into the world of surrealist and abstract artistic imagination. This special double issue, titled ‘Staged: Scenographic Strategies in Contemporary Exhibition Design’, shows that in today’s exhibitions, again, the scenographer holds a special place as the author of an environment rather than as the skilful ‘placer’ of objects. The articles in this issue, which is conceptualised and curated by UK-based academics Greer Crawley and Lucy Thornett, demonstrate that contemporary exhibition scenographers, while resisting harmonising narratives, nevertheless embrace the creation of distinct atmospheres by employing a wide range of strategies successfully tested over centuries of theatrical stagecraft and now reimagined with contemporary media, lighting and visualisation technologies and materials. Today, the scenographer enters the gallery, the museum or exhibition hall as dramaturg, architect, as product, light, audio and olfactory designer, not with the pragmatic aim to display and present individual artefacts but rather to create a composition of all the material and immaterial elements that make up what we call scenography in and beyond the theatre. In its totality, this composition – or better: this scenography – performs the action of a discursive staging of space that can critique both process and outcome. The concept of staging has been described as one of ‘presencing’, that is, a production of presence that, as Hans Ulrich Gumbrecht posits, ‘endows the object of aesthetic experience with a component of provocative instability and unrest’ (2004, 108) as cited by Ken Wilder in this issue. Extrapolated from Gumbrecht, and with recourse to the articles curated by Crawley and Thornett, one may now see not only the individual object but conversely the environment as being productively destabilised by the act of staging, through scenography. Thus, we may conclude that in a staging specific to exhibition design, elements of the theatre, of architecture, media and installation, converge to form a complex narrative, transformative and immersive scenography that both envelops and, importantly, activates the visitor and opens the physical environment to a critical and discursive ex
1942年，澳大利亚建筑师和舞台设计师弗雷德里克·基斯勒(Frederick Kiesler)为佩吉·古根海姆(Peggy Guggenheim)的纽约画廊举办了名为“本世纪艺术”(Art of this Century)的展览，令人震惊的是(这可能是自巴洛克风格的Wunderkammer展出古怪欲望物品的复调组合以来的第一次)，他把展览对象理解为与展览空间本身密不可分的环境元素。在《本世纪的艺术》中，Kiesler不仅策划了展品，还重新配置了画廊空间，设计了生物形态的座位和动态的悬挂结构，使参观者能够从各个角度观看展品。Kiesler的空间戏剧和展览布景提供了一个异质的通道，一个非线性的导航，总的来说，游客完全沉浸在超现实主义和抽象艺术想象的世界中。这期名为《舞台:当代展览设计中的场景策略》的特刊再次表明，在今天的展览中，场景设计者作为环境的作者而不是作为物品的熟练“放置者”占据着特殊的位置。本期由英国学者格里尔·克劳利和露西·索尼特构思和策划的文章表明，当代展览舞台设计师在抵制协调叙事的同时，通过采用广泛的策略来创造独特的氛围，这些策略在几个世纪的戏剧舞台艺术中得到了成功的测试，现在用当代媒体、照明和可视化技术和材料进行了重新构想。今天，舞台设计师以戏剧设计师、建筑师、产品、灯光、声音和嗅觉设计师的身份进入画廊、博物馆或展厅，他们的目的不是展示和呈现单个的人工制品，而是创造一种由所有物质和非物质元素组成的组合，这些元素构成了我们所谓的剧院内外的舞台设计。总的来说，这种构图——或者更好地说:这种场景——执行了一种空间的话语舞台，可以批判过程和结果。舞台的概念被描述为一种“存在”，也就是说，正如汉斯·乌尔里希·冈布雷希特(Hans Ulrich Gumbrecht)所假定的那样，“赋予审美经验的对象一种挑衅性的不稳定和动荡的成分”(2004/108)，正如肯·怀尔德(Ken Wilder)在本期中引用的那样。根据Gumbrecht的推断，并借助Crawley和Thornett策划的文章，人们现在不仅可以看到个体对象，还可以看到相反的环境，因为通过场景设计的舞台行为而产生不稳定。因此，我们可以得出这样的结论:在一个特定于展览设计的舞台中，剧院、建筑、媒体和装置的元素汇聚在一起，形成了一个复杂的叙事、变革和沉浸式的场景，既包围了游客，更重要的是，激活了游客，打开了物理环境，让他们进行批判性和话语性的体验阅读。我们感到高兴的不仅是Greer Crawley和Lucy Thornett为这期特别的双刊所汇集的文章的质量，还有它所代表的期刊的多样化的国际影响力，作者来自南美、欧洲、印度、澳大利亚和英国。我们感谢我们的客座编辑提出这个话题，感谢他们的勤奋和出色的工作。除了文章，我们的常规
{"title":"Editors’ introduction","authors":"T. Brejzek, Jane Collins","doi":"10.1080/23322551.2022.2099090","DOIUrl":"https://doi.org/10.1080/23322551.2022.2099090","url":null,"abstract":"The Austro-American architect and scenographer Frederick Kiesler’s 1942 exhibition, Art of this Century, for Peggy Guggenheim’s New York gallery, shockingly (and maybe for the first time since the baroque Wunderkammer displayed polyphonic assemblages of quirky objects of desire) understood exhibition objects to be elements of an environment that was inseparable from the exhibition space itself. In Art of this Century, Kiesler not only curated the exhibits but rather reconfigured the gallery space and designed biomorphic seating and kinetic hanging constructions that enabled the visitor to view the exhibits from all angles. Kiesler’s spatial dramaturgy and exhibition scenography offered a heterogenous parcourse, a non-linear navigation and, overall, the visitor’s complete immersion into the world of surrealist and abstract artistic imagination. This special double issue, titled ‘Staged: Scenographic Strategies in Contemporary Exhibition Design’, shows that in today’s exhibitions, again, the scenographer holds a special place as the author of an environment rather than as the skilful ‘placer’ of objects. The articles in this issue, which is conceptualised and curated by UK-based academics Greer Crawley and Lucy Thornett, demonstrate that contemporary exhibition scenographers, while resisting harmonising narratives, nevertheless embrace the creation of distinct atmospheres by employing a wide range of strategies successfully tested over centuries of theatrical stagecraft and now reimagined with contemporary media, lighting and visualisation technologies and materials. Today, the scenographer enters the gallery, the museum or exhibition hall as dramaturg, architect, as product, light, audio and olfactory designer, not with the pragmatic aim to display and present individual artefacts but rather to create a composition of all the material and immaterial elements that make up what we call scenography in and beyond the theatre. In its totality, this composition – or better: this scenography – performs the action of a discursive staging of space that can critique both process and outcome. The concept of staging has been described as one of ‘presencing’, that is, a production of presence that, as Hans Ulrich Gumbrecht posits, ‘endows the object of aesthetic experience with a component of provocative instability and unrest’ (2004, 108) as cited by Ken Wilder in this issue. Extrapolated from Gumbrecht, and with recourse to the articles curated by Crawley and Thornett, one may now see not only the individual object but conversely the environment as being productively destabilised by the act of staging, through scenography. Thus, we may conclude that in a staging specific to exhibition design, elements of the theatre, of architecture, media and installation, converge to form a complex narrative, transformative and immersive scenography that both envelops and, importantly, activates the visitor and opens the physical environment to a critical and discursive ex","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"44 1","pages":"1 - 2"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90815003","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: 10.1080/23322551.2022.2092375
A. Kear
Mike Pearson, who has died aged 72, was a world-renowned theatre-maker and academic, whose work transformed the landscape of contemporary theatre and performance. Over the course of a remarkably generative and influential career, Mike made a leading contribution to the development of a range of intersecting fields: the creation of laboratory theatre practices; site-specific performance; the interrogation of the relationship between theatre and archaeology, performance and place; the advancement of performance design; and the establishment of performance studies. With typical humility and generosity, Mike would have downplayed the authorial logic of these claims, highlighting instead the importance of collaboration and dialogical exchange in the development of his creative practice and critical thinking. For Mike, collaboration was not only central to making theatre happen, it was the essential fabric of performance and the very stuff of everyday life: here we are together, so let’s make this interesting (where interesse precisely invokes the time and place of being-together). Mike always made things seem interesting and important. He had a great feeling for the contemporary as the space of our being together, and of our coexistence in and with time; and for the trace of the historical as the marking of time. Archaeologist Michael Shanks, one of his key co-authors and co-creators, has noted that the recognition of ‘our collaborative, collective capacity to make a Mike Pearson 1949–2022. Photo: Heike Roms
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Pub Date : 2022-04-03DOI: 10.1080/23322551.2022.2082696
K. Wilder
ABSTRACT The adoption of theatrical devices in intermedial art is often characterised in terms of the ‘immersiveness’ of contemporary installations or assemblages. These are described as ‘staged’ precisely because they utilise overt scenographic strategies. Claire Bishop, for instance, employs the symbolically charged term ‘dream scene’ to characterise a mode of installation resembling an abandoned theatre set, where psychological absorption is achieved through physical immersion. For Bishop, this characterises the ‘total’ installations of Ilya and Emilia Kabakov. But might we understand ‘staging’ not merely as scenography (even in its expanded sense) but as a ‘bracketing’ of the represented world in such a way as to reveal its fictionality through self-disclosure? Drawing upon (1) Juliane Rebentisch’s critique of the spatial time of theatrical installation, and (2) Wolfgang Iser’s literary anthropology, I consider the ‘staging’ of autonomy in relation to a work exemplary of Bishop’s ‘dream scene’: Mike Nelson’s Mirror Infill (2006). I will explore how its particular form of self-disclosure counters misconceptions of such ‘immersive’ work as context-independent and reveal how Nelson’s work makes available something absent (undisclosed) through representation conceived not as mimesis, but as a performative act.
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Pub Date : 2021-10-02DOI: 10.1080/23322551.2021.1996107
Bronwyn Pringle
ABSTRACT The climate crisis that we currently face requires that all industries look inward to examine how they can become more sustainable. Within the arts and live entertainment industry, there is a growing movement towards sustainability that mainly explores the material resources used in set, props and costume. This article identifies a need to examine sustainable practices that apply to the more technical disciplines of theatre, such as lighting design. The focus of this research is to investigate how stage lighting can increase sustainable practice and how technical design can move away from the idea of sustainability as a limitation, instead using sustainability as a source of inspiration by employing an eco-creative approach. This article combines the reflections of a group of lighting professionals working in Melbourne/Naarm with examples from practice-led research to identify opportunities and obstacles for pursuing sustainability. This research offers access points to begin examining how lighting and technical design can be audited for sustainability, and areas of focus that can increase eco-creativity. The ultimate aim of this article is to suggest approaches to performance lighting that benefit live production while also caring for the environment.
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Pub Date : 2021-10-02DOI: 10.1080/23322551.2021.2002056
Sofia Pantouvaki, Ingvill Fossheim, Susanna Suurla
ABSTRACT This article intends to shift current discourse on material thinking and agency from thinking of and through materials to thinking with materials; we therefore argue that re-locating the affects and agency of costume materiality in the changing material environment at this current moment is essential. Responding to the global environmental crisis and based on the emergent philosophical concepts of extramaterialism and costume thinking, examined through the prism of ecosomatics, we propose a critical approach to think and (co)create in contemporary costume praxis informed by ecological sensibility. Through acknowledging that the material, the natural and the cultural are not separate but co-constitutive, our aim is to provoke new insights into more-than-human material agency. This is explored by addressing the relationship between living and non-living things and the systems created through the inter- and intra-actions between these elements via the medium of costume. By analysing the use of biobased materials as costume matter in two case study productions, the article positions costume design as a critical tool for new performance narratives and cultural landscapes to be considered and created. It pushes the boundaries of wider philosophical understandings and innovations in costume with the potential to influence broader, environmentally aware cultural and societal contexts.
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Pub Date : 2021-10-02DOI: 10.1080/23322551.2021.2005908
Tanja Beer
This special double issue of Theatre and Performance Design – dedicated to Ecoscenography – comes at a pivotal moment in time. As I write this today, world leaders are gathering for the 26th UN Climate Change Conference (COP26) in Glasgow, a meeting that is widely accepted as the world’s last chance to avoid catastrophic climate change. Leaders from across the globe are being asked to fundamentally change their ways of doing things. To commit to jettisoning older, outmoded technologies that damage our environment, and embrace new approaches. In turn, they are being asked to focus on the possibilities these new approaches bring with them, to see them not as a risk, an inconvenience or a constraint, but as an opportunity. This special double issue of Theatre and Performance Design is a microcosm of this broader global necessity. The edition invites theatre and performance makers to interrogate and critique the practices of the past and explore the opportunities that arise from this ecological turn. Ecoscenography includes theories and practices which bring an increased awareness of broader ecologies and global issues to performance design. In our call for papers, the editors and I asked for a diverse range of articles that explored emerging practices and philosophies related to ecoscenography. This included an interest in how theatre makers are rethinking their processes and aesthetics for an ecological paradigm: one that promoted environmentally and socially conscious ways of making. The issue asked, ‘How is ecological thinking evoking new materials and processes for theatrical design?’; ‘How are practitioners and scholars critiquing and enhancing the social and environmental advocacy of our field?’; and ‘What new aesthetics are being revealed?’. While architecture, product design and fashion have long demonstrated how a sustainable ethic can lead to new practices and aesthetics, we are yet to fully grasp what a socially and environmentally conscious approach entails for the performing arts. The articles in this special double issue reveal the diversity of ecological practice in scenography across the globe, from North America to Australia, Europe and India. They feature innovations across disciplines of set, costume, lighting and sound design, both within and beyond traditional theatre contexts. In addition to the inevitability of energy and waste reduction, the authors demonstrate what an ecological approach to scenography does – how it influences ways of thinking and working to seize the potential that this new era of environmental uncertainty demands. While many of the authors readily admit to the challenges of pursuing a sustainable path, they also hint at what the future holds for scenography that embraces more ecologically, socially and politically engaged ways of doing things. What was once a niche interest of a handful of designers worldwide is now becoming a burgeoning subject across academia and practice. This transition has been eagerl
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