In this enlarged and thoroughly revised third edition of his widely
used text, Darwin Reid Payne explores the principles and
philosophies that shape the visual elements of theatre.
Payne sets out to discover who scenographers are and to define
their responsibilities. He sees scenographers as not merely
craftspersons but artists with "a special vision that spans all the
arts." Such artists are in a position to "extend and amplify
underlying meanings of the production." The proper goal of
beginning scenographers, according to Payne, is one day to be able
to approach the job as artists in full command of their craft.
Payne seeks to instill in beginning scenographers a basic core of
knowledge: an understanding of theatre history and the development
of drama; a knowledge of art history and an understanding of
periods and styles of architecture, painting, sculpture,
furnishings, and costume; and a familiarity with the principles,
techniques, and materials of pictorial and three-dimensional
design. This new edition contains 248 illustrations, 38 more than
the second edition. Payne's goal, certainly, is to teach students
what to do and how to do it; equally important, however, is Payne's
view that scenographers must know why.
To Payne, "Scenography is an art whose scope is nothing less than
the whole world outside the theatre." Scenographers must read not
only in their own field but in others as well. Payne has
incorporated into his text many suggestions for outside readings,
quoting passages and even entire chapters from important works.
Stressing research, Payne argues that without knowledge of the
literature of their own and related arts, scenographers cannot
grow. Andthat is the emphasis of this book: to present aspiring
scenographers with an approach and a set of concepts that will
enable them to grow. Toward that end, Payne establishes five
priorities, the first of which is to develop in students what he
calls "time vision," or the ability to "see" the historical past as
a living place with living inhabitants. The second priority is to
bring about an awareness that allows students to "see" beneath the
surface of objects and events. Third, students must be helped to
recognize and appreciate the difference between the "concept of
space as it exists outside the theatre and the concept of space as
it is used within the theatre." The fourth priority is to ingrain
in students an understanding of the importance of imagery to the
scenographer, and the final priority is to teach those technical
skills necessary to carry out the concepts of the
scenographer.
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