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A classic work of theatre history and criticism when first
published, Arnold Aronson's formative study surveyed the phenomenon
known as environmental theatre. Now updated in this richly
illustrated second edition to reflect developments and practice
since the 1980s, it offers readers a comprehensive study of the
theatre practice which has evolved to become the dominant mode of
much contemporary innovative performance. For most audiences,
particularly in the Western tradition, theatre means going to a
building in which seats face a stage on which actors perform a
play. But there has always been a vital alternative that came to be
known as environmental theatre. Whether in folk performances,
street theatre, avant-garde performance, utopian architecture,
Happenings, mass spectacles, or contemporary immersive theatre, the
relationship of the spectator to the performance has been one in
which the audience is surrounded or immersed in a shared space, in
which the multiple events may be happening simultaneously, and in
which the experience of theatrical space is visceral and often
kinetic. This book examines the history of this phenomenon and
looks at a range of contemporary practice. New chapters examine how
the 'transformed spaces' of earlier work have become the
interactive and immersive productions that characterize the work of
companies such as Punchdrunk, dreamthinkspeak, Teatro da Vertigem,
En Garde Arts, and The Industry, among others. Updated to take
account of the burgeoning scholarship on the subject, The History
and Theory of Environmental Scenography remains the authoritative
account that illuminates present day theatre practice and its
antecedents.
Immersion and Participation in Punchdrunk's Theatrical Worlds is a
detailed account of the company's award-winning productions and
their historical context. Examining Punchdrunk's role as pioneers
of immersive theatre in the UK through a range of their productions
including Sleep No More and The Drowned Man besides theatrical
works such as Faust, The Duchess of Malfi and Kabeiroi, and
cross-platform productions like The Moon Slave, The Borough and The
Oracles, the book presents an original framework for understanding
immersion in theatrical and mixed reality experiences. Central to
the book is a study of how immersive experience is produced in
interaction with physical and digital scenography for participatory
audiences. Through ethnographies of the company, their designers,
actors, producers and audiences, the book interrogates the
relationship between the aesthetics of interaction and the
experience of immersion in Punchdrunk's work. The theoretical
framework that the book introduces affords analyses of material
cultures and the influence of technology on interaction design in
theatre and beyond, and offers a blueprint for next-generation
immersive design and scenography for interactive multimedia
environments.
In this book practitioner and researcher Louise Ann Wilson examines
the expanding field of socially engaged scenography and promotes
the development of scenography as a distinctive type of applied art
and performance practice that seeks tangible, therapeutic, and
transformative real-world outcomes. It is what Christopher Baugh
calls 'scenography with purpose'. Using case studies drawn from the
body of site-specific walking-performances she has created in the
UK since 2011, Wilson demonstrates how she uses scenography to
emplace challenging, marginalizing or 'missing' life-events into
rural landscapes - creating a site of transformation - in which
participants can reflect upon, re-image and re-imagine their
relationship to their circumstances. Her work has addressed
terminal illness and bereavement, infertility and childlessness by
circumstance, and (im)mobility and memory. These works have been
created on mountains, in caves, along coastlines and over beaches.
Each case-study is supported by evidential material demonstrating
the effects and outcomes of the performance being discussed. The
book reveals Wilson's creative methodology, her application of
three distinct strands of transdisciplinary research into the
site/landscape, the subject/life-event, and with the
people/participants affected by it. She explains the 7
'scenographic' principles she has developed, and which apply
theories and aesthetics relating to land/scape art and walking and
performance practices from Early Romanticism to the present day.
They are underpinned by the concept of the feminine 'material'
sublime, and informed by the attentive, autotopographic,
therapeutic and highly scenographic use of walking and landscape
found in the work of Dorothy Wordsworth and her female
contemporaries. Case studies include Fissure (2011), Ghost Bird
(2012), The Gathering (2014), Warnscale (2015), Mulliontide (2016),
Dorothy's Room (2018) and Women's Walks to Remember: 'With memory I
was there' (2018-2019).
Scenography Expanded is a foundational text offering readers a
thorough introduction to contemporary performance design, both in
and beyond the theatre. It examines the potential of the visual,
spatial, technological, material and environmental aspects of
performance to shape performative encounters. It analyses examples
of scenography as sites of imaginative exchange and transformative
experience and it discusses the social, political and ethical
dimensions of performance design. The international range of
contributors and case studies provide clear perspectives on why
scenographic design has become a central consideration for
performance makers today. The extended introduction defines the
characteristics of 21st-century scenography and examines the scope
and potentials of this new field. Across five sections, the volume
provides examples and case studies which richly illustrate the
scope of contemporary scenographic practice and which analyse the
various ways in which it is used in global cultural contexts. These
include mainstream theatre practice, experimental theatre,
installation and live art, performance in the city, large-scale
events and popular entertainments, and performances by and for
specific communities.
The Model as Performance investigates the history and development
of the scale model from the Renaissance to the present. Employing a
scenographic perspective and a performative paradigm, it explores
what the model can do and how it is used in theatre and
architecture. The volume provides a comprehensive historical
context and theoretical framework for theatre scholars,
scenographers, artists and architects interested in the model's
reality-producing capacity and its recent emergence in contemporary
art practice and exhibition. Introducing a typology of the scale
model beyond the iterative and the representative model, the
authors identify the autonomous model as a provocative construction
between past and present, idea and reality, that challenges and
redefines the relationship between object, viewer and environment.
The Model as Performance was shortlisted for the best Performance
Design & Scenography Publication Award at the Prague
Quadrennial (PQ) 2019.
This is the first major collection of critical responses to
performance lighting and includes contributions from award-winning
lighting designers, researchers and artists. Showcasing recent
examples of work - with case studies of lighting practices in
Britain, Europe, the US and China - combined with theoretical and
analytical approaches to practice, this will enrich your
understanding of the role and potential of light in performance and
related creative practices. This volume explores three core themes
and provides a framework for thinking through the role of light in
performance: 1. Experience - considers both the audience's
experience of light and the ways in which light influences the
experience of performers 2. Creativity - examines both the
creative, performative capacities of light in performance, as well
as the creative practices of lighting designers 3. Meaning - offers
an expanded view of performance aesthetics by examining the
capacity of light to influence and generate meaning within
performance. The case studies are drawn from a wide-array of
lighting practice, including: Jennifer Tipton on the role of light
as a structural language in performance; Jesper Kongshaug on the
lighting of Copenhagen's Tivoli Gardens; Lucy Carter on her work in
installation and dance; Psyche Chui on the productive fusion of
Western lighting techniques with contemporary Chinese opera;
Katharine Williams on the role of light in feminist political
theatre made by RashDash; and Paule Constable on storytelling with
light in a range of productions, including War Horse, The Curious
Incident of the Dog in the Night Time and Angels in America.
Shortlisted for the PQ Best Publication Award in Performance Design
& Scenography 2023 In this book practitioner and researcher
Louise Ann Wilson examines the expanding field of socially engaged
scenography and promotes the development of scenography as a
distinctive type of applied art and performance practice that seeks
tangible, therapeutic, and transformative real-world outcomes. It
is what Christopher Baugh calls ‘scenography with purpose’.
Using case studies drawn from the body of site-specific
walking-performances she has created in the UK since 2011, Wilson
demonstrates how she uses scenography to emplace challenging,
marginalizing or ‘missing’ life-events into rural landscapes
– creating a site of transformation – in which participants can
reflect upon, re-image and re-imagine their relationship to their
circumstances. Her work has addressed terminal illness and
bereavement, infertility and childlessness by circumstance, and
(im)mobility and memory. These works have been created on
mountains, in caves, along coastlines and over beaches. Each
case-study is supported by evidential material demonstrating the
effects and outcomes of the performance being discussed. The book
reveals Wilson’s creative methodology, her application of three
distinct strands of transdisciplinary research into the
site/landscape, the subject/life-event, and with the
people/participants affected by it. She explains the 7
‘scenographic’ principles she has developed, and which apply
theories and aesthetics relating to land/scape art and walking and
performance practices from Early Romanticism to the present day.
They are underpinned by the concept of the feminine ‘material’
sublime, and informed by the attentive, autotopographic,
therapeutic and highly scenographic use of walking and landscape
found in the work of Dorothy Wordsworth and her female
contemporaries. Case studies include Fissure (2011), Ghost Bird
(2012), The Gathering (2014), Warnscale (2015), Mulliontide (2016),
Dorothy's Room (2018) and Women's Walks to Remember: ‘With memory
I was there’ (2018-2019).
The Model as Performance investigates the history and development
of the scale model from the Renaissance to the present from a
scenographic perspective and a performative paradigm that explores
what the model can do and how it is used in theatre and
architecture. It provides a comprehensive historical context and
theoretical framework for theatre scholars, scenographers, artists
and architects interested in the model's reality-producing capacity
and its recent emergence in contemporary art practice and
exhibition. For the undergraduate student, it provides a historical
survey of the model, and to the postgraduate student, it opens up a
new methodological approach. Introducing a typology of the scale
model beyond the iterative and the representative model, the
authors identify the autonomous model as a provocative construction
between past and present, idea and reality that challenges and
redefines the relationship between object, viewer and environment.
Case studies include Brunelleschi's dome models and Bel Geddes'
Futurama, Mies van der Rohe's mock ups and Zumthor's atmospheric
models, Anna Viebrock's life size boxes and Herzog & de
Meuron's miniature styrofoam exhibits. The Model as Performance was
shortlisted for the best Performance Design & Scenography
Publication Award at the Prague Quadrennial (PQ) 2019.
Scenography Expanded is a foundational text offering readers a
thorough introduction to contemporary performance design, both in
and beyond the theatre. It examines the potential of the visual,
spatial, technological, material and environmental aspects of
performance to shape performative encounters. It analyses examples
of scenography as sites of imaginative exchange and transformative
experience and it discusses the social, political and ethical
dimensions of performance design. The international range of
contributors and case studies provide clear perspectives on why
scenographic design has become a central consideration for
performance makers today. The extended introduction defines the
characteristics of 21st-century scenography and examines the scope
and potentials of this new field. Across five sections, the volume
provides examples and case studies which richly illustrate the
scope of contemporary scenographic practice and which analyse the
various ways in which it is used in global cultural contexts. These
include mainstream theatre practice, experimental theatre,
installation and live art, performance in the city, large-scale
events and popular entertainments, and performances by and for
specific communities.
Scenography - the manipulation and orchestration of the performance
environment - is an increasingly popular and key area in
performance studies. This book introduces the reader to the
purpose, identity and scope of scenography and its theories and
concepts. Settings and structures, light, projected images, sound,
costumes and props are considered in relation to performing bodies,
text, space and the role of the audience. Concentrating on
scenographic developments in the twentieth century, the
Introduction examines how these continue to evolve in the
twenty-first century. Scenographic principles are clearly explained
through practical examples and their theoretical context. Although
acknowledging the many different ways in which design shapes the
creation of scenography, the book is not exclusively concerned with
the role of the theatre designer. In order to map out the wider
territory and potential of scenography, the theories of pioneering
scenographers are discussed alongside the work of directors,
writers and visual artists.
This is the first major collection of critical responses to
performance lighting and includes contributions from award-winning
lighting designers, researchers and artists. Showcasing recent
examples of work - with case studies of lighting practices in
Britain, Europe, the US and China - combined with theoretical and
analytical approaches to practice, this will enrich your
understanding of the role and potential of light in performance and
related creative practices. This volume explores three core themes
and provides a framework for thinking through the role of light in
performance: 1. Experience - considers both the audience's
experience of light and the ways in which light influences the
experience of performers 2. Creativity - examines both the
creative, performative capacities of light in performance, as well
as the creative practices of lighting designers 3. Meaning - offers
an expanded view of performance aesthetics by examining the
capacity of light to influence and generate meaning within
performance. The case studies are drawn from a wide-array of
lighting practice, including: Jennifer Tipton on the role of light
as a structural language in performance; Jesper Kongshaug on the
lighting of Copenhagen's Tivoli Gardens; Lucy Carter on her work in
installation and dance; Psyche Chui on the productive fusion of
Western lighting techniques with contemporary Chinese opera;
Katharine Williams on the role of light in feminist political
theatre made by RashDash; and Paule Constable on storytelling with
light in a range of productions, including War Horse, The Curious
Incident of the Dog in the Night Time and Angels in America.
This book uses digital media theory to explore contemporary
understandings of expanded scenography as spatial practice. It
surveys and analyses a selection of ground-breaking, experimental
digital media performances that comprise a genealogy spanning the
last 30 years, in order to show how the arrival of digital
technologies have profoundly transformed performance practice.
Performances are selected based on their ability to elicit the
unique specificities of digital media in new and original ways,
thereby exposing both the richness and shortcomings of digital
culture. O'Dwyer argues that contemporary scenography is largely
propelled by and dependent on digital technologies and represents a
rich, fertile domain, where unbridled creativity can explore new
techniques and challenge the limits of knowledge. The 30-year
genealogy includes works by Troika Ranch, Stelarc, Klaus Obermaier,
Chunky Moves, Onion Lab and Blast Theory. In addition to applying a
broad scope of performance analysis and aesthetic theory, the work
includes artists' interviews and opinions. The volume opens
important aesthetic, philosophical and socio-political themes in
order to highlight the impact of digital technologies on
scenographic practice and the blossoming of experimental
interdisciplinarity. Ultimately, the book is an exploration of how
evolutionary leaps in technology contribute to how humans think,
act, make work, engage one another, and therefore construct meaning
and identity.
Scenography - the manipulation and orchestration of the performance
environment - is an increasingly popular and key area in
performance studies. This book introduces the reader to the
purpose, identity and scope of scenography and its theories and
concepts. Settings and structures, light, projected images, sound,
costumes and props are considered in relation to performing bodies,
text, space and the role of the audience. Concentrating on
scenographic developments in the twentieth century, the
Introduction examines how these continue to evolve in the
twenty-first century. Scenographic principles are clearly explained
through practical examples and their theoretical context. Although
acknowledging the many different ways in which design shapes the
creation of scenography, the book is not exclusively concerned with
the role of the theatre designer. In order to map out the wider
territory and potential of scenography, the theories of pioneering
scenographers are discussed alongside the work of directors,
writers and visual artists.
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