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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
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).
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