Pub Date : 2020-10-01DOI: 10.1080/23322551.2020.1855290
Karin Winkelsesser
{"title":"Memories and entanglements: interview with multimedia artist Andrew Schneider","authors":"Karin Winkelsesser","doi":"10.1080/23322551.2020.1855290","DOIUrl":"https://doi.org/10.1080/23322551.2020.1855290","url":null,"abstract":"","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"1 1","pages":"356 - 364"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85992130","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 : 2020-10-01DOI: 10.1080/23322551.2020.1859741
M. Kellogg
{"title":"Ming Cho Lee, 3 October 1930–23 October 2020 Remembering Ming","authors":"M. Kellogg","doi":"10.1080/23322551.2020.1859741","DOIUrl":"https://doi.org/10.1080/23322551.2020.1859741","url":null,"abstract":"","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"28 1","pages":"394 - 395"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74918886","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 : 2020-10-01DOI: 10.1080/23322551.2020.1857670
C. E. Santo
ABSTRACT This article reports and reflects on the artistic research process of Excavating the Remains of French Scenography in Prague presented at the site-specific performance festival for the Prague Quadrennial 2019. Conceived as a practice-based research, the project aimed to examine the emotional state of French scenography in relation to the Prague Quadrennial, especially due to the absence of its official national representation in 1995, and since 2003. The article reviews some of the most significant elements, moments and artistic practices that have emerged from this site-specific performance. We begin by recounting the circumstances in which the project was created for PQ19 and go on to explain what motivated Carolina E. Santo and Emmanuelle Gangloff to assemble a historical archive that became one of the project’s key elements. We will then explain the project’s design to invite guest-artists to perform archaeology every day for 10 days. Examining the project’s core concept – intermingling archaeology and scenography – will shed light on questions such as performing the archive, participatory performance and site-specific dramaturgy, while emphasizing the relationship between artistic practice and academic research. Finally, we will show how this project became an observatory of French contemporary scenography and a celebration of its heterogeneity.
本文报道并反思了在2019布拉格四年展特定场地表演节上展出的《挖掘布拉格法国舞台艺术的遗迹》的艺术研究过程。作为一项基于实践的研究，该项目旨在研究与布拉格四年展有关的法国场景设计的情感状态，特别是由于1995年和2003年以来缺乏官方的国家代表。本文回顾了一些最重要的元素、时刻和艺术实践，这些都是从这个特定场地的表演中出现的。我们首先叙述该项目为PQ19创建的情况，然后解释是什么促使Carolina E. Santo和Emmanuelle Gangloff收集历史档案，这成为该项目的关键要素之一。然后，我们将解释项目的设计，邀请嘉宾艺术家每天进行考古，为期10天。考察项目的核心概念——考古学和舞台设计的融合——将揭示诸如档案表演、参与式表演和特定场地戏剧等问题，同时强调艺术实践与学术研究之间的关系。最后，我们将展示这个项目是如何成为法国当代舞台设计的观察站和对其异质性的庆祝。
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Pub Date : 2020-10-01DOI: 10.1080/23322551.2020.1856302
N. Hunt
ABSTRACT Digital visualisation tools – virtual models – are increasingly used as part of the creative and production processes of large-scale theatre and opera. These technologies not only enable the modelling of the performance space with its scenic and lighting scenographies, but also facilitate the modelling of production processes and human relationships. Focusing on lighting at the Royal Opera House, London, I examine how digital visualisation allows designers and production teams to manipulate not only virtual space, but also virtual time. I show how the ‘Virtual Opera House’ allows multiple possible futures to be modelled, reviewed and selected. Further, the limited time available on the opera stage for lighting and technical rehearsals can be supplemented with additional, virtual stage rehearsals inserted between the physical ones: interstitial time. Away from the pressures of stage rehearsals, the lighting designer, lighting programmer and others spend time developing and nurturing the working relationships that are critical to the successful realisation of design intentions. Using primary evidence from practitioners, I demonstrate how the Virtual Opera House is not only a virtual model of the stage and physical production, but is also an environment where processes and relationships can be modelled and remodelled: a hybrid-reality collaborative environment.
{"title":"The Virtual Opera House: hybrid realities in lighting design processes for large-scale opera","authors":"N. Hunt","doi":"10.1080/23322551.2020.1856302","DOIUrl":"https://doi.org/10.1080/23322551.2020.1856302","url":null,"abstract":"ABSTRACT Digital visualisation tools – virtual models – are increasingly used as part of the creative and production processes of large-scale theatre and opera. These technologies not only enable the modelling of the performance space with its scenic and lighting scenographies, but also facilitate the modelling of production processes and human relationships. Focusing on lighting at the Royal Opera House, London, I examine how digital visualisation allows designers and production teams to manipulate not only virtual space, but also virtual time. I show how the ‘Virtual Opera House’ allows multiple possible futures to be modelled, reviewed and selected. Further, the limited time available on the opera stage for lighting and technical rehearsals can be supplemented with additional, virtual stage rehearsals inserted between the physical ones: interstitial time. Away from the pressures of stage rehearsals, the lighting designer, lighting programmer and others spend time developing and nurturing the working relationships that are critical to the successful realisation of design intentions. Using primary evidence from practitioners, I demonstrate how the Virtual Opera House is not only a virtual model of the stage and physical production, but is also an environment where processes and relationships can be modelled and remodelled: a hybrid-reality collaborative environment.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"34 1","pages":"341 - 355"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75122285","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 : 2020-10-01DOI: 10.1080/23322551.2020.1854929
Rebekka Sofie Bohse Meyer
ABSTRACT This article introduces the concept of ‘double scenography’, which is my proposal for an expanded scenography that comprehends the duality between virtuality and reality that exists in virtual reality theatre. The concept will be unfolded here and is based on my experience of the performance Anthropia, which was presented in Copenhagen, Denmark in 2017 by the XR production studio Makropol. Placing the participant in a simultaneous physical and virtual space, it demonstrated the sensory power of scenography by challenging the participant’s sense of presence and existence. Not only did the double scenography establish a trustworthy VR experience, but it also constituted the dramaturgy of the performance through a playful and multisensorial engagement of the participant. Anthropia is introduced in this article through my audience response from experiencing the performance presented as ‘performative writing’. The response is the impetus for the analysis of Anthropia leading into a theoretical discussion on how virtual reality affects our experience of scenography and ourselves within such simultaneous technological and live space.
{"title":"The expansion of scenography in virtual reality theatre: investigating the potential of double scenography in Makropol’s Anthropia","authors":"Rebekka Sofie Bohse Meyer","doi":"10.1080/23322551.2020.1854929","DOIUrl":"https://doi.org/10.1080/23322551.2020.1854929","url":null,"abstract":"ABSTRACT This article introduces the concept of ‘double scenography’, which is my proposal for an expanded scenography that comprehends the duality between virtuality and reality that exists in virtual reality theatre. The concept will be unfolded here and is based on my experience of the performance Anthropia, which was presented in Copenhagen, Denmark in 2017 by the XR production studio Makropol. Placing the participant in a simultaneous physical and virtual space, it demonstrated the sensory power of scenography by challenging the participant’s sense of presence and existence. Not only did the double scenography establish a trustworthy VR experience, but it also constituted the dramaturgy of the performance through a playful and multisensorial engagement of the participant. Anthropia is introduced in this article through my audience response from experiencing the performance presented as ‘performative writing’. The response is the impetus for the analysis of Anthropia leading into a theoretical discussion on how virtual reality affects our experience of scenography and ourselves within such simultaneous technological and live space.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"108 1","pages":"321 - 340"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81465902","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 : 2020-10-01DOI: 10.1080/23322551.2020.1863106
A. Aronson
{"title":"“Hello, I Must Be Going.”","authors":"A. Aronson","doi":"10.1080/23322551.2020.1863106","DOIUrl":"https://doi.org/10.1080/23322551.2020.1863106","url":null,"abstract":"","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"60 1","pages":"316 - 320"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85998095","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 : 2020-07-02DOI: 10.1080/23322551.2020.1846403
Liu Xinglin
{"title":"Memoirs of Josef Svoboda: The Secret of Theatrical Space","authors":"Liu Xinglin","doi":"10.1080/23322551.2020.1846403","DOIUrl":"https://doi.org/10.1080/23322551.2020.1846403","url":null,"abstract":"","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"2 1","pages":"294 - 297"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79564472","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 : 2020-07-02DOI: 10.1080/23322551.2020.1856301
Luiz Henrique Sá
ABSTRACT Helio Eichbauer (1941–2018) is recognized as one of the main innovators of scenography in Brazil, responsible for many of the iconic projects of modern Brazilian theatre, and a mentor to a legion of theatrical artists. His work spanned several generations of theatre and music artists, collaborating with pioneers of Brazilian modern theatre in the twentieth century as well as experimental and established theatre creators of the first decades of the twenty-first century. Working in collaboration with artists like Augusto Boal, Caetano Veloso, José Celso Martinez Corrêa and Chico Buarque, among many others, Helio Eichbauer is recognized for his authorial and metaphorical scenographic language for hundreds of theatrical productions and music concerts. Eichbauer studied scenography between 1963 and 1966 with Professor Josef Svoboda, who created a study plan especially for him. This article presents the story of the first foreign student of the pre-eminent Czech scenographer, from his first encounter with Svoboda’s work at an exhibition in Rio de Janeiro. It explores Svoboda’s teaching methodology and artistic exercises, and the projects Eichbauer completed as a student. All the information presented here comes from publications written by Eichbauer, as well as interviews and stories told by him to the author over the course of 15 years.
{"title":"Helio Eichbauer: a Brazilian student in Prague","authors":"Luiz Henrique Sá","doi":"10.1080/23322551.2020.1856301","DOIUrl":"https://doi.org/10.1080/23322551.2020.1856301","url":null,"abstract":"ABSTRACT Helio Eichbauer (1941–2018) is recognized as one of the main innovators of scenography in Brazil, responsible for many of the iconic projects of modern Brazilian theatre, and a mentor to a legion of theatrical artists. His work spanned several generations of theatre and music artists, collaborating with pioneers of Brazilian modern theatre in the twentieth century as well as experimental and established theatre creators of the first decades of the twenty-first century. Working in collaboration with artists like Augusto Boal, Caetano Veloso, José Celso Martinez Corrêa and Chico Buarque, among many others, Helio Eichbauer is recognized for his authorial and metaphorical scenographic language for hundreds of theatrical productions and music concerts. Eichbauer studied scenography between 1963 and 1966 with Professor Josef Svoboda, who created a study plan especially for him. This article presents the story of the first foreign student of the pre-eminent Czech scenographer, from his first encounter with Svoboda’s work at an exhibition in Rio de Janeiro. It explores Svoboda’s teaching methodology and artistic exercises, and the projects Eichbauer completed as a student. All the information presented here comes from publications written by Eichbauer, as well as interviews and stories told by him to the author over the course of 15 years.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"56 1","pages":"277 - 293"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87326861","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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