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Scenography in Museum Design: an Examination of Its Current Use, and Its Impact on Visitors' Value of Experience

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Scenography in Museum Design: an Examination of Its Current Use, and Its Impact on Visitors' Value of Experience Scenography in Museum Design: An examination of its current use, and its impact on visitors’ value of experience Jenniefer Gadsby Submitted in accordance with the requirements for degree of Doctor of Philosophy Birmingham City University Birmingham Institute of Art and Design 2014 Abstract This research examines the use of scenography in museum design and investigates how scenography can impact on visitors’ value of experience. This research contributes to existing knowledge on visitors’ experiences, museum design and the relationship between them, and aims to inspire new thinking on the potential of scenography to enhance visitors’ value of experiences. With ever increasing and improving competition for the public’s free time museums are more widely recognised as part of the leisure industry. To remain culturally relevant and financially sustainable museums have had to develop a more profound understanding of not only who their audiences are, but what users require from their experiences, and how they can offer this. Taking influence from the service industry, this research focuses on the visitor as investor and uses the concept of ‘value of experience’ to examine what people seek when visiting museums. The study began by reviewing the use of scenography in theatrical performance and considering if this aligns with the role of museums. I analyse existing examples of scenography in museum design and reflect on personal experience to consider the impact of these on visitors. Summarising literature into visitors’ experiences, I recognise six types of value that are most commonly sought or recognised by museum visitors. These six values are presented in the ‘visitors’ value of museum experience groupings’, an original system developed for the purpose of this research. The visitors’ value of museum experience groupings were tested then used as a framework to review the impact of scenography in museum design. Triangulating data collected from field visits to museum, interviews with museum staff, and consultations with museum visitors I use the value groupings as a guide to investigate the impact of scenography in museum design on their visitors’ value of experience. The research demonstrates that there is an ever increasing use of scenographic components in museum designs and reviews the ways in which these can be applied to support some of the core aims and objectives of museums. Though the impact of scenography can be mutually beneficial for visitor and museum, there are fundamental differences in museums and theatres which mean some principles of scenography cannot be easily transferred to museum spaces. The museum frame is unlike the theatrical frame. Theatres enjoy an artistic licence with which they can choose to be illusionary, exaggerated and deceptive. The theatrical frame sets expectations and behaviours which encourages audiences to suspend their disbelief and engage in personal meaning making. Meanwhile, museums are trusted as places of accuracy, perceived as places of unique learning, and celebrated for being the carers of authentic collections. Considering these factors, the ability or willingness of museum visitors to overlook limitations and read design on a symbolic level is unclear. Though scenography may be able to support museums in offering a range of values, the most unique and fundamental characteristics of museums must be respected and celebrated if they wish to maintain a competitive edge within today’s competitive leisure industry. 2 | Jenniefer Gadsby Birmingham City University 201 4 Acknowledgements This research has been a journey of enormous personal learning and growth, made possible by the invaluable and continued support of so many people to whom I must thank. Firstly I wish to thank my supervisory team for their continued patience and guidance. My gratitude is given to Professor Colin Gale for stepping in at a time of need, and being an expert guide. Also, to Professor Anthony Jackson for sharing his great knowledge and his time. Writing up this research has been a difficult process, made possible by their expert support and reassurance. Special thanks is given to all of the staff, volunteers and visitors who kindly offered their time and feedback. I wish to say a thanks all of the staff at Birmingham Institute of Art and Design for offering their help and their friendship. Special thanks to Ervin and the library staff; the IT staff for their patience in face of computer illiteracy; and to all the ladies in the BIAD research office. I would like to say a kind thank you to Delia Skinner, for who I know this thanks will come as great surprise; she has been such an valued colleague and an inspiring role model. I would never have credited myself as being capable of completing a PhD, and so I would like to express the greatest thanks to all of my friends and family who have never doubted me and offered their help. Most notable of my wonderful supporters being Emma; her kind words have been a great motivation, I am ever touched by her faith in me. To my loving partner Neil, I give my most heartfelt thanks. His patience has known no bounds, and I am indebted to him putting his dreams on hold so I can follow mine. I reserve my most special thanks for my marge and stepdad; Carol and Phil. Without them I would not have been able to seize so many wonderful opportunities. They have supported me in so many ways, and without them none of this would have been possible. 3 | Jenniefer Gadsby Birmingham City University 201 4 Contents Abstract ......................................................................................................................................................... 2 Table of figures ............................................................................................................................................. 7 List of tables .................................................................................................................................................. 8 Introduction .................................................................................................................................................. 9 1.1 Motivation .......................................................................................................................................... 9 1.2 Rationale ........................................................................................................................................... 10 1.2.i Recognising values ...................................................................................................................... 10 1.2.ii The changing role of museum design ........................................................................................ 12 1.2.iii Similarities in theatrical performance and museum experiences............................................. 15 1.3 Aims and Research Questions .......................................................................................................... 18 1.3.i Research aims ............................................................................................................................. 18 1.3.ii Research questions .................................................................................................................... 21 1.4 Structure of the thesis ...................................................................................................................... 24 1.5 Focus ................................................................................................................................................. 26 1.5.i Scenographic devices .................................................................................................................. 26 1.5.ii Scenographic principles.............................................................................................................. 26 1.5.iii Organisations ............................................................................................................................ 31 1.5.iv Museum design ......................................................................................................................... 32 1.5.v Museum experiences ................................................................................................................. 32 1.6 Feasibility .......................................................................................................................................... 33 Research Context ........................................................................................................................................ 36 2.1 Introduction ...................................................................................................................................... 36 2.2 Visitors’ Museum Experience ........................................................................................................... 37 2.2.i Subjective, unique and unpredictable ........................................................................................ 37 2.2.ii Summarising outcomes of museum experiences ...................................................................... 39 2.3 Performance in Museums ................................................................................................................ 47 2.3.i Incorporating performance into museums ................................................................................. 47 2.3.ii Scenography of performance in museums ...............................................................................
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