Re-Imagining Scenography in Relation to Art History: Contact Zones and Crossroads
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Scenography Studies – on the Margin of Art History and Theater Studies
Art Inquiry. Recherches sur les arts 2014, vol. XVI ISSN 1641-9278 Dominika Łarionow Department of Art History, University of Łódź [email protected] SCENOGRAPHY STUDIES – ON THE MARGIN OF ART HISTORY AND THEATER STUDIES Abstract: Scenography as a domain of artistic activity has always been a liminal art, placed between the visual arts and theater, with the latter being treated as a chiefly literary domain. The history of scenography to date has recorded two moments when it rose to prominence, becoming the “queen” of the spectacle: the Renaissance and modern times. The article will briefly discuss its history, to show the main reasons for the exclusion of scenography from the domain of academic research. The author will survey some recent publications on set design written by practitioners and academics. Keywords: set design – scenography – history of theater – theater. Scenography as a domain of artistic activity has always been a liminal art, placed between the visual arts and theater, with the latter being treated as a chiefly literary domain. Its roots reach back to the theater of ancient Greece. Even during that period, it was already a marginalized discipline. Aristotle noted in his Poetics, which can be partly regarded as representative for the ideas of his time, that although a spectacle is the work of the skenograph, its significance depends on the craftsmanship of the playwright. Therefore, he acknowledges the quality that scenography contributes to the spectacle, but in order to achieve catharsis, that ancient category associated with the reception of a work of art, a work of great literary value is needed. -
Performativity SunCana Laketa, Institute of Geography, University of Neuchâtel, Neuchâtel, Switzerland
Performativity Suncana Laketa, Institute of Geography, University of Neuchâtel, Neuchâtel, Switzerland © 2020 Elsevier Ltd. All rights reserved. This article is a revision of the previous edition article by D. P. McCormack, volume 8, pp 133–136, © 2009 Elsevier Ltd. Glossary Agency Is an ability of the subject to act. In other words, it is a capacity of both human and nonhuman subjects to produce a specific effect. Discourse Refers to implicit, taken-for-granted, and often unspoken sets of ideas and ways of knowing that are imbued with power. As a set of ideas and ways of knowing, discourse gives meaning to written and spoken language. Identity Is an articulation of one’s social affiliation, both individually and as a group. Materiality Refers to the objects and substances that constitute matterdhuman and nonhuman bodies, nature, elements, and things. Representation Is a process of giving meaning to objects and things through linguistic signs and symbols. Sociospatial practices Refer to activities such as walking, talking, driving, playing, and numerous other everyday practices that produce and reproduce both society and space. Space In human geography is not a fixed and bounded physical location, but a set of complex and intertwined social relations that take place in, and shape, the physical dimensions of space. Some authors differentiate between space and place; they define place as a process of ascribing meaning to undifferentiated space. Others, however, use both terms interchangeably. Spatiality Signifies an attribute or a feature that is related to space. In human geography, the term refers to the way space is implicated in social life. -
A Performative Understanding of Spatial Design, Learning from Exhibitions
SHS Web of Conferences 64, 03006 (2019) https://doi.org/10.1051/shsconf/20196403006 EAEA14 2019 A Performative understanding of spatial design, learning from exhibitions Ayman Kassem1 1City University, Faculty of architecture and design, Tripoli, Lebanon Abstract. The terms ‘Performative’ and ‘Performance’ are more and more emerging in the spatial design discourses, from exhibition, to interior, arriving to urban design. These notions are not clearly defined yet. They are characterized by a semantic width and multiple applicative possibilities. Between the different interpretations and uses of ‘performance’ and ‘performative’ in architectural discourses, this paper will focus on two main dimensions of a particular importance: The first refers to the concepts of the scenic, the narrative, and the theatrical qualities in architecture. The second relates to the ‘event-character’ of spatial interventions, and the relation between event, and soft intervention, which tackles the concept of the ‘transformative power of the performative’, which indicates to the capacity of architecture to activate spaces and processes. Exhibitions, pavilions and installations are all concerned with changing the performance of the existing space, and therefore they are able to illustrate what a ‘performative-oriented architecture’ could be or mean. The Italian architect and thinker Andrea Branzi, in his essay “L'Allestimento come metafora di una nuova modernità” (exhibitions as a metaphor of a new modernity) (Lotus, n.115, December 2002), invites architecture to learn from the sub- categories of architecture. Architecture can learn from the practice of exhibition (displaying and installing). Architecture is invited to learn design approaches and strategies from performance-oriented spatial disciplines such as exhibition design, scenography, art- installations, and events, with a particular focus – in this paper – on: 1) Soft interventions and the transformative power of the event-intervention, 2) The aesthetic of experiencing and the narrative approach. -
A “Performative Turn” in Translation Studies? Reflections from a Sociological Perspective
TranscUlturAl, vol. 9.1 (2017), 27-44. http://ejournals.library.ualberta.ca/index.php/TC A “Performative Turn” in Translation Studies? Reflections from a sociological perspective Michaela Wolf University of Graz, Austria Introduction In the last few decades, the notions of “performance”, “performative” and other related terms have advanced to become key concepts in numerous disciplines in the humanities and social sciences, ultimately resulting in what has come to be called the performative turn. Despite increasing variations in the usage and adoption of performance-related concepts in different strands of research, a common point of reference might be the focus on the irreducible “processuality” of cultural phenomena (Hempfer and Volbers 7). This focus opens up a discussion on the relationship between human/cultural practices and the context in which they occur. The ensuing methodological emphasis, therefore, shifts towards an exploration of the dynamic interactions between social agents participating in such processes and their environment. In the context of translation, this would entail a sharpening of the sociological focus on transfer and translation processes. A brief glance at Doris Bachmann-Medick’s reflections on the performative turn (in Cultural Studies) reveals that this turn is closely linked to what we describe as the sociological turn in Translation Studies.1 Bachmann-Medick stresses that within the performative turn, the focus is on the “expressive dimension of both actions and action-based events, including stage social culture” and that the “practical dimension of the generation of cultural meanings and experiences” has priority (Bachmann-Medick, Cultural Turns 73). In relation to translation, this means that the conditions as well as the processes of production have increasingly been discussed in terms of concepts and theories that fall within the sub-discipline of the sociology of translation in recent years. -
Performance, Not Performativity: an Embodied Critique of Post-Structural IR Theory
Performance, Not Performativity: An Embodied Critique of Post-Structural IR Theory Ringmar, Erik 2014 Link to publication Citation for published version (APA): Ringmar, E. (2014). Performance, Not Performativity: An Embodied Critique of Post-Structural IR Theory. Paper presented at Performativity and Agency in International Politics, Goethe Universitet, Frankfurt/Main, Germany. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Download date: 04. Oct. 2021 Performance, Not Performativity: An Embodied Critique of Post-structural IR Theory Erik Ringmar, Lund University, Sweden Much of what takes place in world politics is best described not as events but as performances. Things are not just happening by themselves, but they are staged and made to happen, and to appear, in a certain fashion. -
What Do We Mean by Performativity in Organization and Management Studies? the Uses and Abuses of Performativity1
What do we mean by performativity in organization and management studies? The uses and abuses of performativity1 Jean-Pascal Gond Cass Business School, City University London [email protected] Laure Cabantous Cass Business School, City University London [email protected] Nancy Harding Bradford University School of Management Emm Lane [email protected] Mark Learmonth Durham University Business School, Ushaw College, [email protected] Abstract John Austin introduced the formulation “performative utterance” in his 1962 book How to do things with words. This term and the related concept of performativity have subsequently been interpreted in numerous ways by social scientists and philosophers such as Lyotard, Butler, Callon, or Barad, leading to the co-existence of several foundational perspectives on performativity. In this paper we review and evaluate critically how organization and management theory (OMT) scholars have used these perspectives, and how the power of performativity has, or has not, stimulated new theory-building. In performing a historical and critical review of performativity in OMT, our analysis reveals the uses, abuses and under- uses of the concept by OMT scholars. It also reveals the lack of both organizational conceptualizations of performativity and analysis of how performativity is organized. Ultimately our aim is to provoke a ‘performative turn’ in OMT by unleashing the power of the performativity concept to generate new and stronger organizational theories. Key-words: Austin, Organization theory, Performativity, Translation, Theory-building !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1!A version of this paper is currently under review at the International Journal of Management Reviews.! ! 1! What do we mean by performativity in organization and management studies? The uses and abuses of performativity 1. -
An Excursion to and from Situational Urban Scenography
Tactics of the Other Everyday: An Excursion to and from Situational Urban Scenography Mengzhe Tang Abstract: For a scenographic reading of urban settings, attentions are directed to the small, mundane and the everyday, which penetrate the non-institutional, always neglected, but most underlying aspects of urban life. Scattered in the most ordinary corners around the city, the scenes framed by a scenographic scope could nevertheless touch upon spatial, imaginary and situational potentials in perceiving and understanding urban spatial phenomena, diverting from the real and rational into the scenographic “other world”. These small, everyday yet partly surreal scenes, coupled with the notions of Tactic (Michel de Certeau, 1984) and Construction of Situation (Guy Debord, 1957), further come to a political gesture of resisting (destroying) the overwhelming institutionalization and standardization of contemporary life, as well as urban spaces. This progress from framing, association to tactics delineates a theatrical excursion departing from the real city into the fictitious, and eventually returning back to reality, yet with some residue imaginary subversive passion in turn to transform the real urban space. Introduction: In the poetic film The Color of Pomegranates (Tsvet granata, Armenfilm 1969), the film director of Armenian descent Sergei Parajanov, with his melancholically archaic and theatrical cinematic language, created a fascinating and dream-like world, in which the life of the Armenian poet Sayat Nova and his particular epoch gradually -
Tive Turn and Presence: Possibilities Toward a Performance Philosophy
PERFORMANCE PHILOSOPHY E-ISSN 2237-2660 The Crisis of Representation, the Performa- tive Turn and Presence: possibilities toward a Performance Philosophy Luciana da Costa DiasI IUniversidade Federal de Ouro Preto – UFOP, Ouro Preto/MG, Brazil ABSTRACT – The Crisis of Representation, the Performative Turn and Presence: possibilities toward a Performance Philosophy – In this paper, the so-called Crisis of Representation is discussed as a hallmark of Western Theatre and Modernity. The key hypothesis of overcoming such a crisis is investigated through the emergence of a performative turn, in which performance is understood in a broader sense derived from Per- formance Studies. To address this, the paper builds on authors such as Artaud, Derrida, Heidegger, Gum- brecht and Féral for a general theoretical background, and on the work of authors such as Cull, Street and oth- ers for a more specific approach concerning the field of Performance Philosophy. This paper argues that a phil- osophical turn in Performance Studies has happened through a radicalization of ‘Presence’. Keywords: Representation Crisis. Theatrum Mundi. Performance. Performative Turn. Performance Philosophy. RÉSUMÉ – Crise de la Représentation, Virage Performatif et Présence: possibilités vers une Philo- Performance – Dans cet article, la soi-disant crise de représentation est discutée comme une caractéristique du théâtre occidental et de la modernité. L’hypothèse clé de surmonter la crise par l’émergence d’un virage performatif a été étudiée, dans lequel la performance est comprise au sens large par les études de performance. À cette fin, nous nous référons à des auteurs tels que Artaud, Derrida, Heidegger, Gumbrecht et Féral comme cadre théorique général, et à des auteurs tels que Cull, Street et d’autres pour une approche plus spécifique dans le contexte de la philo-performance. -
Scenography, Landscape and Memory in Estonian Open-Air Performances
TRAMES, 2008, 12(62/57), 3, 319–330 ENCOUNTERS IN LANDSCAPES: SCENOGRAPHY, LANDSCAPE AND MEMORY IN ESTONIAN OPEN-AIR PERFORMANCES Liina Unt University of Arts and Design Helsinki Abstract. Landscape and human memory are in a reciprocal relationship – landscape sustains a certain kind of remembering while memories keep it from changing too much. Living in and looking at a landscape can be regarded as acts of remembrance, where the landscape is not scenery, but a stage of action. Theatrical performances given in landscape present a special case, since they use the existing landscape for a fictional one. Regardless of the scope of scenographic intervention, landscape is experienced as an immediately present multisensory totality that the audience and actors share. This transdisciplinary study shows that theatre employs landscape memory on multiple levels (actual site of events, connotations of the landscape, the relationship between fictional history and visible markers). Scenography has the capability to reflect, express and change the relationship between landscape and memory. Productions staged in Estonian landscapes in 2000-2006 exemplify the extent that theatrical representation rests on (and benefits from) landscape memory. DOI: 10.3176/tr.2008.3.07 Keywords: environmental aesthetics, landscape, memory, performance research, scenography 1. Introduction In open-air theatre, the site of performance can be regarded as instrumental to the performance. Theatre is a synthesizing form of art, where different art forms complement one another and contribute to the process of meaning-making. Performing in ‘found space’1, which is the case in open-air theatre, makes the 1 ‘Found space’ marks the practice of performing in sites that are not built for theatre. -
Political Performativity, Proxemics, and the Joys of Provisional Unity
ARTICLES From Being One to Being-in-Common: Political Performativity, Proxemics, and the Joys of Provisional Unity Gillian Whiteley Introduction Over the last couple of decades or so, ever-expanding digital platforms have offered extensive possibilities for individuals to re-present and curate the actions and interventions of the “performed self.” Facilitated by mobile technologies and social media, artists, transnational activists and citizens across the globe have responded creatively to occupations, insurrections, and uprisings as well as smaller-scale local campaigns, sharing tactics and practices. Protests, demonstrations, and interventions have produced a plethora of new forms of collective “political performativity.” This interaction of political activism and performance has received sustained critical analysis and the “performative turn” has become endemic across a range of disciplines. In 2012, Richard Schechner identified the emergence of “performance activism” as a phenomenon which crosses not only geographic but emotional, ideological, political and personal borders, using play and experimentation to effect new social relations.1 Having generated discourses of “performativity” in the 1990s, Judith Butler, in her analysis of Occupy in 2011, subsequently consolidated in Notes Towards a Performative Theory of Assembly (2015), combined embodied performative acts with radical politics. Moreover, collective political performativity has been documented in a range of recent publications and exhibitions such as Liz McQuiston’s Visual -
Implementation of Scenography Elements in the Production
International Journal of Academic Research in Business and Social Sciences Vol. 9 , No. 3, March, 2019, E-ISSN: 2222-6990 © 2019 HRMARS Implementation of Scenography Elements in the Production of’ Creative Arts among Upper Secondary Students through Theatrical Production in the Malaysia Arts School of Johor Zolkipli Abdullah, Muhammad Fazli Taib Saerani, Syarul Azlina Sikandar To Link this Article: http://dx.doi.org/10.6007/IJARBSS/v9-i3/5796 DOI: 10.6007/IJARBSS/v9-i3/5796 Received: 30 Jan 2019, Revised: 10 Feb 2019, Accepted: 02 March 2019 Published Online: 30 March 2019 In-Text Citation: (Abdullah, Saerani, & Sikandar, 2019) To Cite this Article: Abdullah, Z., Saerani, M. F. T., & Sikandar, S. A. (2019). Implementation of Scenography Elements in the Production of’ Creative Arts among Upper Secondary Students through Theatrical Production in the Malaysia Arts School of Johor. International Journal Academic Research Business and Social Sciences, 9(3), 1291–1297. Copyright: © 2019 The Author(s) Published by Human Resource Management Academic Research Society (www.hrmars.com) This article is published under the Creative Commons Attribution (CC BY 4.0) license. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this license may be seen at: http://creativecommons.org/licences/by/4.0/legalcode Vol. 9, No. 3, 2019, Pg. 1291 - 1297 http://hrmars.com/index.php/pages/detail/IJARBSS JOURNAL HOMEPAGE Full Terms & Conditions of access and use can be found at http://hrmars.com/index.php/pages/detail/publication-ethics 1291 International Journal of Academic Research in Business and Social Sciences Vol. -
Name Affiliation Title Panel Day Time Maria Sehopoulou National And
Name Affiliation Title Panel Day Time Maria Sehopoulou National and Kapodistrian Transnational Diversities and National Singularities: the Case of Nordic Drama Abroad 14 11:00- University of Athens August Strindberg and his Reception in Greece 12:30 Svein Henrik Nyhus Centre for Ibsen Studies, Ibsen in America - a centralized narrative? Nordic Drama Abroad 14 11:00- University of Oslo 12:30 Kamaluddin Nilu University of Oslo No Local is Anymore Local: A Transcultural Adaptation of Ibsen’s Nordic Drama Abroad 14 11:00- Peer Gynt 12:30 José Camões Centre for Theatre Studies ReCET the past: Tools for a modern theatre archaeology Digital Archives 14 11:00- 12:30 John Andreasen Dramaturgy, Aarhus University, Eternal Presence – How to create a Community Play Archive? Digital Archives 14 11:00- Denmark 12:30 Bernadette Cochrane University of Queensland Remaindering the Remains: the digital, the live, and the archive Digital Archives 14 11:00- 12:30 Kotla Hanumantha rao Potti Sriramulu Telugu University Surabhi – The Pioneer in Stagecraft Echoes of Indian Pasts in the Theatre 14 11:00- 12:30 Ramakrishnan Muthiah Central University of Jharkhand Resisting the Stratified World: Understanding the Role of Folk Echoes of Indian Pasts in the Theatre 14 11:00- Theatre for the Marginalized Communities in India 12:30 Tithi Chakraborty Budge Budge Institute of Echoes of Social, Political and Economic Crises in the Theatre of Echoes of Indian Pasts in the Theatre 14 11:00- Technology Bengal, India 12:30 Sofie Taubert Institute of Media Culture and Shipwreck