DOCSLIB.ORG

Emergent Scenography: the Collaborative Process of Conduct

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Emergent Scenography: the Collaborative Process of Conduct University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2018-09-18 Emergent Scenography: the collaborative process of Conduct Manuel, Bianca Guimarães de Manuel, Bianca (2018). Emergent Scenography: the collaborative process of Conduct (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/33054 http://hdl.handle.net/1880/108701 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Emergent Scenography: the collaborative process of Conduct by Bianca Guimarães de Manuel A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN DRAMA CALGARY, ALBERTA SEPTEMBER, 2018 © Bianca Guimarães de Manuel 2018 Manuel ii Abstract This thesis is the scenic and costume design of Conduct and the supporting Artist Statement submitted is a reflection on and documentation of the material constraints, collaboration, design guided dramaturgy, audience effect, and design process involved in the thesis. This Artistic Statement was in an unconventional way, in order to accomplish that I created a website that include the chapters bellow. For a full experience of this thesis, please visit: www.emergentscenography.com Key words: scenography, costume design, scenic design, artistic statement. Manuel iii Acknowledgements I would first like to thank the people that helped me to complete this thesis research, without them this thesis would not be possible; My supervisor Dr. Pil Hansen for guiding me on strategic thinking and mentoring me not be scared of voicing my opinions as woman in the academia, My co-supervisor April Viczko for helping me breathe while making me laugh throughout this process, and giving me practical solutions to seemingly complicated problems, Dr. Bruce Barton for teaching me to be patient in this creative process, maintaining the sense of humor, as well as the importance of being generous with my fellow collaborators, Sarah Banister for all the snacks she gave me when she noticed my sugar was low and my accent was stronger, Colin Wesley for helping me with grammar, Graham Frampton and Travis Hatt for all the help and friendship, Gabriele Kuzabaviciute and Avril Lopes for the understanding friendship, and being locked out of Craig Hall at 03 am floor after painting the stage for 12 hours, Zach Savage for randomly be walking by Craige Hall at that time and opening the hallway door for us, Amabilis de Jesus, Dorita Hannah and Britt Van Groningen for being inspirational performance designers, and introducing me to materials that helped in the completion of this thesis, Bon Adriel for checking if I am alive and being mad at global warming, David Ledo for teaching me about 'coding', All the technical team at SCPA for trying to support my process, especially to Lisa and Halina for understanding me, To all my cohort of classmates for the journey and coffee breaks, Manuel iv Raissa Castor, Jessica Souza and Amanda Olsen for the brasilidades in the middle of the winter, All my fellow artistic collaborators for exploring and further developing my proposals, Swallow-a-Bicycle Theatre, Pam Tzeng, and Kodie Rollan for beliving in me, Last but not least I invite you to read out loud this last part as I wish to acknowledge that this research was made on the land of the Treaty 7 People, the Blackfoot Confederacy of the Piikani, Siksika, Kainai and Blackfeet Nation south of the imposed international border. Other Treaty 7 signatories include the Stoney Nakoda- Bearspaw, Wesley, and Chiniki Nations and the Tsuut’ina Nation. I also acknowledge the people of the Métis Nation here. I acknowledge all treaties; fulfilled and broken. I would like to acknowledge that colonial settler borders and names do not reflect the traditional territories. Manuel v Dedications Meus avós; Lygia e Guy por me apoiarem com amor e admiração, Bruno, Diego, Tatianna, Paulo, e Renata por todo o carinho e suporte, Javã e Maria Aparecida, a perda de vocês me ensina tanto sobre crescer, Cia Café Preto e Grupo Nômade de Teatro por continuarem a resistir nas discotecagens ad hoc, Gui por todos afogamentos, Aline por ajudar a me desconstruir, Aos meus professores da Faculdade de Artes do Paraná por todo o pensamento crítico e me terem me ensinado tanto com tão pouco, sem vocês, não seria quem eu sou. Manuel vi Table of Contents 1. Introduction…………………………………………….……………………………………..8 2. Material Constraints…………………………………………………………………………10 2.1 Context………………………………..……………………………………………..10 2.2 Concepts………………………………..………………………………………........18 2.3 Applications………………………………..………………………………………..19 3. Collaboration…………………………………………………………………………………21 3.1 My Background in Brazilian Theatre as Context for my Collaboration………..21 3.2 Collaboration Between People……...……………………………………………...24 3.3 Thinking No-one’s Thoughts…………………………………………………........29 3.4 Roles………………………………..………………………………………………..32 4. Pre-Rehearsal Period.…………………………….……………………………………...…..36 4.1 Preliminary Designs………………………………..……………………………….36 4.1.1 Designing………………………………..…………………………………………37 4.1.2 Costumes………………………………..…………………………………………38 4.1.3 Set Design………………………………..……………………………………...…39 4.1.4 Props………………………………..…………………..………………………….40 4.2 After Preliminaries……………………………………..…………………………..42 4.2.1 Modes of Engagement for the Use of Costumes and their Critical Effect in Performance………………………………………………………….…………………41 4.3 The ‘Final’ Designs………………………………..………………………………..46 Manuel vii 5. Through Rehearsals………………………………..………………….……………………..49 5.1 Devising Process………………………..……………………………..…………….49 5.2 Case Examples of the Rooms………………………………………...…………….54 5.3 Costumes……………….………………………..…………………………………..63 6. To Performance………………………………..………………………………….………….75 6.1 Invitation…….……………………………..……………………………….……….75 6.2 Who Gets to Say if this is Immersive Theatre?………………………….………..77 6.3 Scenography, Dramaturgy, and Montage……………..………………………….81 6.4 When Scenography and Dramaturgy Meet…………………..…………………..82 7. Conclusion: Design-led Creation………...…………………………………………………85 7.1 Loss of Control……………..…………………..…………………………………..85 7.2 Design Based or Guided Creation?…………………………………....………….87 8. Bibliography………………………………..………………………………………………...90 9. Table of Figures……………………………………………………………………………...96 10. Appendices………………………………..…………………………………………….......97 Manuel 8 Section 1: Introduction The interdisciplinary, collaborative, devised piece Conduct, directed by Bruce Barton and presented by the School of Creative and Performing Arts at the University of Toronto in February 2018, was a complex, non-linear creation. I designed costumes and set, including properties, as my MFA thesis. Although I was assigned the role of designer for these aspects of the creation, I was co-inhabiting this role. I had the enormous support of my fellow collaborators to compose, create, analyze, and design the scenic elements of Conduct. Instead of designing alone, I offered my collaborators a frame and set of conditions for the designs to happen. In other words, we co-designed and cultivated the creation together. In this Artist Statement, I am elaborating in how we explored the affordances of the source material, the American composer Henry Cowell, in the scenographic elements. This is done while remaining aware of how a production system affects the form and content of a piece. This thesis document is a continuation of my creative process. The writing is inspired by Gillis Deleuze and Felix Guatarri’s statement, “there is no difference between what a book talks about and how it is made” (4). I invite readers to experiment and read about the different aspects and conditions of our work in an order of their own choice. This invitation and action perform what I perceive as an important characteristic of our creative process and the dramaturgy of Conduct: its multiplicity, its various branches, and its many possible narratives. The experience of navigation offered by the Artist Statement website establishes relationships between the scenography, the process and conditions of making it, and the show’s Manuel 9 possible narratives. Depending on where you begin your reading experience (the first section you choose), different aspects of the research will be emphasized and affect your next choice. For those wanting a linear experience of this thesis, I purpose the following order: 1. Material Constraints 2. Collaboration 3. Before Rehearsals Started 4. Through Rehearsals 5. To performance 6. Conclusion: Scenography-driven Creation 7. Technical Drawings The order above establishes a close to linear experience of my lenses, considerations, and areas of contribution as a collaborator. Please be aware that in combination these lenses, considerations, and areas provide a framework that has arisen through a specific process of artistic research. For those of you interested in creating your own structure and experience of this process, please navigate this website freely, allowing yourself to collaborate in the process of producing knowledge through the framework provided. Bianca Manuel 10 Section 2: Material Constraints 2.1 Context My MFA Thesis in Drama at the
Load more

Recommended publications
  • 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.
    [Show full text]
  • TPA4066C Advanced Scenography Syllabus Fall 20
    TPA 4066C 1 Advanced Scenography – Fall 2020 3 Credits – TR 12:00-1:20 – Remote Via Zoom at Scheduled Time Instructor: Vandy Wood Office: PAC T235 Phone: 407-252-1520 Email: [email protected] Office Hours: TBD (and by confirmed appointment). University-Wide Face Covering Policy for Common Spaces and Face-to-Face Classes To protect members of our community, everyone is required to wear a facial covering inside all common spaces including classrooms (https://policies.ucf.edu/documents/PolicyEmergencyCOVIDReturnPolicy.pdf. Students who choose not to wear facial coverings will be asked to leave the classroom by the instructor. If they refuse to leave the classroom or put on a facial covering, they may be considered disruptive (please see the Golden Rule for student behavior expectations). Faculty have the right to cancel class if the safety and well-being of class members are in jeopardy. Students will be responsible for the material that would have been covered in class as provided by the instructor. Notifications in Case of Changes to Course Modality Depending on the course of the pandemic during the semester, the university may make changes to the way classes are offered. If that happens, please look for announcements or messages in Webcourses@UCF or Knights email about changes specific to this course. COVID-19 and Illness Notification Students who believe they may have a COVID-19 diagnosis should contact UCF Student Health Services (407-823-2509) so proper contact tracing procedures can take place. Students should not come to campus if they are ill, are experiencing any symptoms of COVID-19, have tested positive for COVID, or if anyone living in their residence has tested positive or is sick with COVID-19 symptoms.
    [Show full text]
  • A GLOSSARY of THEATRE TERMS © Peter D
    A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam.
    [Show full text]
  • Chapter 10: Stage Settings
    396-445 CH10-861627 12/4/03 11:11 PM Page 396 CHAPTER ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ 10 Stage Settings Stage settings establish a play’s atmosphere. In Andrew Lloyd Webber’s Sunset Boulevard, shown here, the charac- ters are dwarfed by the imposing paneled room that includes a sweep- ing staircase. he theater, for all its artifices, depicts life Tin a sense more truly than history. —GEORGE SANTAYANA, POET AND PHILOSOPHER 396 396-445 CH10-861627 12/4/03 11:12 PM Page 397 SETTING THE SCENE Focus Questions What are the purposes of scenery in a play? What are the effects of scenery in a play? How has scenic design developed from the Renaissance through modern times? What are some types of sets? What are some of the basic principles and considerations of set design? How do you construct and erect a set? How do you paint and build scenery? How do you shift and set scenery? What are some tips for backstage safety? Vocabulary box set curtain set value unit set unity tints permanent set emphasis shades screens proportion intensity profile set balance saturation prisms or periaktoi hue A thorough study of the theater must include developing appreciation of stage settings and knowledge of how they are designed and constructed. Through the years, audiences have come to expect scenery that not only presents a specific locale effectively but also adds an essential dimension to the production in terms of detail, mood, and atmosphere. Scenery and lighting definitely have become an integral part of contemporary play writ- ing and production.
    [Show full text]
  • Scenography of Mk-Woyzeck
    SCENOGRAPHY OF MK-WOYZECK by Conor Moore A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS in The Faculty of Graduate Studies (Theatre) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2010 © Conor Moore, 2010 ABSTRACT This paper describes and discusses the lighting, video, and scenery design of MK Woyzeck, presented at the Frederic Wood Theatre from October 1st to 1 0th 2009. The design will be presented primarily through a series of photographs taken by various photographers at several points during the design, cueing, and performance phases of the production. Emphasis will be placed on the use of digital projectors to provide full illumination of the actors, referred to as Digital Video Illumination (DVI), as well as the role of the projection!set!lighting designer as an active deviser within the rehearsal process. Chapter 1 will provide a brief overview of the production concept for the piece and it’s impact on design strategies. Chapter 2 illustrates the overall execution of the design through a collection of photographs with accompanying captions describing the intention behind each of the cues depicted. In a similar fashion, Chapter 3 describes some of the advantages and challenges inherent within the DVI system and the particular projection instruments employed in this production. Chapter 4 is devoted to the actual mechanics of DVI cue construction. These are illustrated through the description of five sample cues representative of the major ways in which DVI was applied to this production. Chapter 5 summarizes the outcomes of this experimental design process through a brief conclusion.
    [Show full text]
  • Stage Manager & Assistant Stage Manager Handbook
    SM & ASM HANDBOOK Victoria Theatre Guild and Dramatic School at Langham Court Theatre STAGE MANAGER & ASSISTANT STAGE MANAGER HANDBOOK December 12, 2008 Proposed changes and updates to the Producer Handbook can be submitted in writing or by email to the General Manager. The General Manager and Active Production Chair will enter all approved changes. VTG SM HANDBOOK: December 12, 2008 1 SM & ASM HANDBOOK Stage Manager & Assistant SM Handbook CONTENTS 1. INTRODUCTION 2. AUDITIONS a) Pre-Audition b) Auditions and Callbacks c) Post Auditions / Pre First Rehearsal 3. REHEARSALS a) Read Through / First Rehearsal b) Subsequent Rehearsals c) Moving to the Mainstage 4. TECH WEEK AND WEEKEND 5. PERFORMANCES a) The Run b) Closing and Strike 6. SM TOOLS & TEMPLATES 1. Scene Breakdown Chart 2. Rehearsal Schedule 3. Use of Theatre during Rehearsals in the Rehearsal Hall – Guidelines for Stage Management 4. The Prompt Book VTG SM HB: December 12, 2008 2 SM & ASM HANDBOOK 5. Production Technical Requirements 6. Rehearsals in the Rehearsal Hall – Information sheet for Cast & Crew 7. Rehearsal Attendance Sheet 8. Stage Management Kit 9. Sample Blocking Notes 10. Rehearsal Report 11. Sample SM Production bulletins 12. Use of Theatre during Rehearsals on Mainstage – SM Guidelines 13. Rehearsals on the Mainstage – Information sheet for Cast & Crew 14. Sample Preset & Scene Change Schedule 15. Performance Attendance Sheet 16. Stage Crew Guidelines and Information Sheet 17. Sample Prompt Book Cues 18. Use of Theatre during Performances – SM Guidelines 19. Sample Production Information Sheet for FOH & Bar 20. Sample SM Preshow Checklist 21. Sample SM Intermission Checklist 22. SM Post Show Checklist 23.
    [Show full text]
  • 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
    [Show full text]
  • LIGHTING CONTROL HISTORY Their Immediate Technological Predecessors
    not exist if preset boards had not been LIGHTING CONTROL HISTORY their immediate technological predecessors. AND The first type of control for electrical MODERN PROGRAMMING lighting was simply a bank of switches STRATAGIES that turned the lights on and off. Not surprisingly, artists in the theatre were not entirely satisfied with the “lights up, lights Modern lighting control methods are down,” nature of switches in controlling governed by complex computer systems lighting for sensitive scenes. Not long that make it possible to operate hundreds after the use of electric lighting became of lights at one time. They also make it widespread, resistance dimmers were possible to use the many digital lights and developed so that it was possible to fade in accessories developed over the past two and out of scenes. Fading indicates that decades. Although each manufacturer has the lighting change occurs over a period of its own particular method of handling time, which is an important element in technical issues, the core technology that lighting design. The term blackout is used makes all of them work is basically the to describe what happens when all of the same. This chapter is not intended to be stage lights go out instantly. (or as fast as an exhaustive review of every OEM system the cooling filaments will allow) on the market, but rather as an overview Although blackouts are frequently used to of the basic philosophy that is used in indicate a sudden end to the action on designing digital products for the control stage, they are not appropriate for most of stage lighting.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • Scenography 1:1 – Direct Experience and Use of Space, As Design Tools
    Scenography 1:1 – Direct Experience and Use of Space as Design Tools in Educational Activities Performance Design Pedagogies International Conference, Barbican – London 15 March 2018 Andreas Skourtis Architect, Scenographer Lecturer in Scenography, The Royal Central School of Speech and Drama Founder and Artistic Director, Performing Architectures Good morning, I am Andreas Skourtis, a practicing architect and scenographer, and lecturer in scenography at the Royal Central School of Speech and Drama –University of London. In 2015 I founded, and I am artistic director of, Performing Architectures, a London based company that works internationally, and creates architectural, theatrical and scenographic spaces, merging practice and research through creative interdisciplinary laboratories. In my creative practice, and teaching practice, in the process of developing and creating three-dimensional scenographic places, I focus a lot on how to use different architectures as scenography tools. I always try to use as much as possible, and whenever I can, a space (a rehearsal room – or a studio theatre- a field) as a live 'drawing board'; and the bodies of the director, the scenographer and the actors, and sometimes some animated materials, as 'pencils'. I learn by listening the space, and I always try to inform my teaching with that learning. During research and development for a public production of A Midsummer Night's Dream I designed last year at Central, I read an article by Peter Brook, from which the following quote is: A Midsummer Night’s Dream, The Royal Central School of Speech and Drama 2017, photos from rehearsals ©Andreas Skourtis ‘…in the visual arts, ‘concept’ now replaces all the qualities of hard-earned skills of execution and development.
    [Show full text]