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Scenographic Practice in Contemporary Chamber Theatre

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Scenographic Practice in Contemporary Chamber Theatre SCENOGRAPHIC PRACTICE IN CONTEMPORARY CHAMBER THEATRE BENJAMIN SCHOSTAKOWSKI BCI Drama (Hons) QUT Grad Dip. Dramatic Art (Directing) NIDA PhD Candidate Creative Industries Drama QUT Exegesis In partial completion for the Award of Doctor of Philosophy Queensland University of Technology Creative Industries, Drama September 2015 True scenography is what happens when the curtain opens and can’t be judged in any other way. Josef Svoboda Benjamin Schostakowski 2 i. ABSTRACT This PhD research project explored scenographic practice in the creation and presentation of contemporary chamber theatre. The employed practice-led approach allowed for exploration of theoretical insights around stage composition within the chamber theatre form, directly resulting in the creation of two new performance works. This document details the development of the conceptual framework informed though creating What’s Wrong with Gregor Post? and the two creative practice research cycles creating A Tribute of Sorts (Versions I & II). The study arose from an enthusiasm of practice – my interest in creating contemporary theatre works that exploit intimacy through scenographic activation. The practical component of this study holds a weighting of 75%, the exegetical component holds the remaining 25%. This study’s focus is on the operation of chamber theatre space, not necessarily the styles of work in that space. In order to set up the study, the term “chamber theatre” is redefined from being ‘a form of performance and dramaturgy that restricts the stage means of expression, the numbers of spectators and actors and the scope of the themes’ (Pavis 1998, 46) to become theatre works that are, either through design structures or their physical performance space, intimate, confined or framed. Rather than identifying existing gaps in literature the goal of this study was to take a theoretical idea related to the practice of scenography and apply it in a practical setting. In this way, the study investigated if the scenographic components of a chamber theatre performance could be employed as a machine that operates according to its own logic of operations, psycho-plastic manipulations, and metatheatricality. By doing so, testing if the scenography becomes a dramaturgy that contributes to spectorial meaning-making in and of itself – to discover if the theory works to achieve outcomes in a practical context. Christopher Baugh’s seminal text, Theatre Performance and Technology: the development of scenography in the twentieth century (2005), offers a way of engaging with contemporary scenography that resonated strongly with my practice as a theatre-maker. Baugh’s theoretical propositions worked to propel this study forward through three creative practice cycles. By analysing particular moments in the creative development cycles of making What’s Wrong with Gregor Post? and A Tribute of Sorts, this study proposes that elements of scenographic process can be employed as a practical means of creating contemporary chamber theatre. This study offers theorists and practitioners Benjamin Schostakowski 3 a clearer understanding of how scenography functions in the creation and presentation of performance work made for chamber theatre spaces. As an Australian scenographer whose career as an emerging artist is centred on creating performances in chamber theatre space and within intimate design structures, I have experienced a gap in methodological approaches specific to working in chamber spaces. This study charts my personal working practice and is an attempt to connect existing scenographic theory to a more specific context, to the development and performance of contemporary chamber theatre. Benjamin Schostakowski 4 ii. KEY WORDS The following is a list of key words that appear within the document or are associated with the topic. These words have been listed for cataloguing purposes. Key words that apply to this study are: Chamber (Chambre) theatre, contemporary theatre, metatheatricality, practice-led research, psycho-plasticity, psycho-plastic space, scenography, theatre-making. Benjamin Schostakowski 5 iii. STATEMENT OF ORIGINAL AUTHORSHIP The work contained in this thesis has not previously been submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, this thesis contains no material previously published or written by another person, except where due reference is made. QUT Verified Signature Signed: Name: Benjamin Anthony Schostakowski Date: September 11, 2015 Benjamin Schostakowski 6 iv. ACKNOWLEDGMENTS I would like to acknowledge the following people for their guidance, encouragement and support during the completion of this study. To Aunty Bronny, you have always been there. I dedicate this work to you. To my wife Myfanwy without whom I wouldn’t have been able to get this far. To Emily Burton and Dash Kruck: You are both artists of the highest calibre. Thank you for your laughter and generosity in making A Tribute of Sorts. To my dear friends, Robert, Ashley, David, Nick and Belinda: Thank you for the little things to get through it all. To the Schostakowski family, especially Stephen, Maree, Amy, Joshua, Kathleen and Neville: Gzień Dobry, Kolega. To my principal supervisor, Sandra: Thank you for your thoughtful guidance, sense of humour and rigor. Above all, your friendship over these past years has been most valuable. To my associate supervisors Matt Delbridge and Mark Radvan, and to the QUT Drama staff: Thank you for your advice and support. To La Boite Theatre Company, Queensland Theatre Company, and the artists, audiences and companies who directly contributed to this study: Thank you. And to my childhood bird aviary: I’m sorry. Benjamin Schostakowski 7 vi. CONTENTS i. Abstract 3 ii. Key Words 5 iii. Statement of Original Authorship 6 iv. Acknowledgements 7 v. Contents 8 vi. Table of Figures 10 vii. Creative Work 11 1. INTRODUCTION 12 1.1 Definition of Key Terms 15 2. CONTEXTUAL REVIEW 17 2.1 Introduction 18 2.2 Scenography 18 2.2.1 Scenographic Pioneers of the Twentieth Century 18 2.2.2 Key Theorists on Contemporary Scenography 23 2.3 Chamber Theatre 25 2.3.1 Strindberg’s Intimate Theatre and Chamber Plays 25 2.3.2 Chamber Theatre: A Redefinition 27 2.4 Chamber Theatre Makers 30 2.4.1 Stuck Pigs Squealing 30 2.4.2 Chamber Made Opera 32 2.5 Personal Practice 35 2.6 Conclusion 35 3. METHODOLOGY 37 3.1 Qualitative Research 38 3.2 Practice-led Research 39 3.3 Contextual Theory as Methodology 40 3.4 Reflective Practice – The Lens for the Study 41 3.5 Data Collection Methods 42 3.5.1 Creative Practice as Site 42 3.5.2 Interviews with Practitioners 42 3.6 The Design of the Study 44 3.7 Ethical Considerations and Intellectual Property Rights 44 4. PREPARATORY CREATIVE CYCLE – WHAT’S WRONG WITH GREGOR POST? 46 4.1 The Development of Conceptual Framework 47 4.2 Scenographic Dramaturgy 48 4.2.1 Contracting the Scene as Machine 49 4.3 Chamber Theatre: What’s Wrong with Gregor Post? 50 4.3.1 Playing with Levels of Reality 50 4.3.2 Experimenting with Associations of Homeness through Gregor’s bedroom design 52 4.4 Developing Working Principles 53 Benjamin Schostakowski 8 5. SECOND CREATIVE PRACTICE CYCLE – A TRIBUTE OF SORTS (Version I) 54 5.1 A Tribute of Sorts (Version I) – Contextualisation of Practice 55 5.1.1 Industry Setting 55 5.1.2 Synopsis 56 5.1.3 Process of Creation 56 5.2 Data Analysis – A Tribute of Sorts (Version I) 59 5.2.1 Scenographic Dramaturgy (The Chamber Theatre Machine) 59 5.2.2 Creating the Chamber Theatre Machine 60 5.2.3 Chamber Theatre: A Tribute of Sorts (Version I) 62 5.3 Emergent Working Principles 65 5.3.1 The Scene as Machine (The Chamber Theatre Machine) 65 5.3.2 Chamber Theatre Form 66 5.3.3 Psycho-Plastic Chamber Space 66 6. EXAMINABLE PRACTICE – 67 A TRIBUTE OF SORTS (Version II) 6.1 A Tribute of Sorts (Version II) – Contextualisation of Practice 68 6.1.1 Synopsis 69 6.1.2 Process of Creation 70 6.1.3 Spatial Logic 70 6.2 Data Analysis – A Tribute of Sorts (Version II) 71 6.2.1 Working Principle One: The Scene as Machine 71 6.2.1.1 The Chamber Theatre Machine 72 6.2.1.2 Defining Scenographic Dramaturgy 76 6.2.2. Working Principle Two: Chamber Theatre Form 79 6.2.2.1 Playing with Levels of Reality 80 6.2.3. Working Principle Three: Chamber Psycho-Plasticity 82 6.3 Conclusion 85 7.0 FINDINGS 86 8.0 CONCLUSION 89 8.1 Significance of Study 90 9.0 REFERENCES 92 10.0 APPENDICES 99 Benjamin Schostakowski 9 vi. TABLE OF FIGURES Description Source Page Figure 1: Appia’s Rhythmic Space Heckman Digital Archive 19 2012 Figure 2: Craig’s Screens Innes 1998 21 Figure 3: Ophelia Doesn’t Live Here Anymore The Age 2011 34 Chamber Made Opera Figure 4: Design of the Study Schostakowski 2011 44 Figure 5: What’s Wrong with Gregor Post? Schostakowski 2011 49 Contracting the scene as machine. 5 Figure 6: What’s Wrong with Gregor Post? Schostakowski 2011 51 Naturalistic Bedroom Design. Figure 7: A Spectacular of Sorts: venue and Schostakowski 2012 57 design Figure 8: A Tribute of Sorts (Version I): Ivan Dowd 2012 58 and Juniper in their bedroom. Figure 9: A Tribute of Sorts (Version I): Schostakowski 2012 61 technical drawing. Figure 10: A Tribute of Sorts (Version I): Ivan Dowd 2012 64 and Juniper address the audience. Figure11: (Version I) Technical drawing of La Glenwright 2012 74 Boite Indie space and design relationship Figure 12: (Version II) Technical drawing of Barber 2014 75 Billie Brown space and design relationship Benjamin Schostakowski 10 vii. CREATIVE WORK The link below provides access to view the video footage and production images from the final creative work of this study.
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