The Routledge Companion to Scenography- Front Cover
The Routledge Companion to Scenography
Title Page
Copyright Page
Dedication
Contents
List of figures
Notes on contributors
Introduction: scenography or design
Etymological history
How the skene creates scenography
The scenographic turn
Artaud
Who is the scenographer?
The Prague Quadrennial
Notes on this volume
Acknowledgements
Notes
References
PART I:
Scenographic elements
Chapter 1: Stage and audience: constructing relations and opportunities
Conventions
Works challenging the conventions
What the spatial container affords
What stage and house afford
Conclusion
Notes
References
Chapter 2: Scenery
Scenery and the representation of reality
Scenery and the politicized domestic
Scenery and lived space
Scenery and the agency of the object
Notes
References
Chapter 3: Costume
Definitions
Costume as mise-en-scène
Beauty and realism
Conclusion
Note
References
Chapter 4: Light and projection
The problem with light
Technologies of light
Diffused light: achieving visibility
Active light
Light, darkness, and spectacle
Projection
Projection and the digital
Notes
References
Chapter 5: Sound (design)
Attention to sound
A widening purview
From sound effect to sound affect
From function to friction
Notes
References
Chapter 6: Scenography and the senses: engaging the tactile, olfactory,
and gustatory senses
What is a scenography of the senses?
Tactile communication
Olfaction and gustation
Foregrounding sensation
References
PART II:
Scenographic theory and criticism
Chapter 7: Theatrical languages: the scenographic turn and the linguistic turn
Notes
References
Chapter 8: Seeing scenography: scopic regimes and the body of the
spectator
Theatre, scenography, and the visual
Vision, visuality, and scopic regimes
Perspective and disembodied looking
A world of objects
Palpable visions
Embodied spectatorship
Conclusion
Notes
References
Chapter 9: Absolute, abstract, and abject: learning from the event-space
of the historical avant-garde
Avant-garde event-space
Absolute space: dark landscapes and the constructed void
Abstract space: impossible machines + an architecture of alienation
Conclusion: void, machine, and organism
Notes
References
Chapter 10: “What is happening”: notes on the scenographic impulse in
modern and contemporary art
Street-store-bedroom-stage
Communities of paranoia
Scenographies of nature and history
Notes
References
Chapter 11: Scenography beyond theatre: designing POLIN, the Museum
of the History of Polish Jews
Architecture and narrative
Staging history
Into the eye of the beholder
References
Chapter 12: Participation, interaction, atmosphere, projection: new
forms of technological agency and behavior in recent
Participation
Interaction
Atmospheres
Conclusion: projectionscapes
Notes
References
Works cited
PART III:
History and practice
Architecture as design
References
Chapter 13: Scenography in Greece and Rome: the first thousand years
Athens, 472–c. 388
Athens, 321–c. 290
Rome, c. 205–160
Roman Empire
References
Chapter 14: Imagining the Sanskrit stage
Notes
References
Chapter 15: Tudor and Stuart scenography
Notes
References
Chapter 16: Playing with materials: performing effect on the indoor
Jacobean stage
Notes
References
Chapter 17: Architecture as design: Early Modern theatres of France
and Spain, 1486–1789
Medieval theatre: neutral, simultaneous, and sequential settings
Renaissance theatre: neutral/simultaneous hybrids and perspective in sequential settings, 1486–1547
Theatre architecture as design in France
Theatre architecture and design in Spain
Italian influence in Spain
References
Chapter 18: The open-stage movement
References
Spatial and environmental design
Notes
Chapter 19: Medieval scenography: places, scaffolds, and iconography
What the Castle diagram tells us about medieval scenography
How multi-locational scenography works
Multi-locational scenography: beyond the place-and-scaffold stage
Notes
References
Chapter 20: Storyteller as time-traveler in Mohammed ben Abdallah’s
Song of the Pharaoh: multimedia avant-garde theatre
in Ghana
History of Ghanaian avant-garde theatre: from storytelling to National Theatre
Pan-African Total Theatre
Conclusion
Notes
References
Chapter 21: Environmental theatre: selected Asian models
Festivals old and new
Localized performances
Processions
Conclusion
References
Chapter 22: The city as theatre
Note
References
Chapter 23: Site-specific theatre
References
Chapter 24: Free reign? Designing the spectator in immersive theatre
Notes
References
Pictorial and illusionistic design
References
Chapter 25: Scenography in the first decades of opera
Notes
References
Chapter 26: Restoration and eighteenth-century England
References
Chapter 27: Eighteenth-century France
References
Chapter 28: Boxed illusions: from melodrama to naturalism
Boxes of fantasies: melodrama
Boxes of history and mythology: from Kean to Wagner
Boxes of reality: from the box set to the Doll House
Boxes in boxes: naturalism’s photographic interiors
Damaged goods: illusionism as imperfection
References
Symbolic and emblematic design
References
Chapter 29: Richard Wagner, Georg Fuchs, Adolphe Appia, and
Edward Gordon Craig
Richard Wagner (1813–1883)
Georg Fuchs (1869–1949)
Adolphe Appia (1862–1928)
Edward Gordon Craig (1872–1966)
Notes
References
Chapter 30: Russian stage design and theatrical avant-garde
The Ballets Russes, the Moscow Art Theatre, and the emergence of the modern scenographer
Stylization, grotesque, and symbolist scenography in Meyerhold’s theatrical experiments
Modernist scenographic practices at the Kamerny Theatre
Meyerhold and post-revolutionary theatrical designs
Then and now
Notes
References
Chapter 31: Expressionism and the Epic Theater in early twentieth-century
German stage design: the Expressionist ethos
Theories of Expressionist stage design
Modes of Expressionist stage design
Epic Theater in Germany
References
Chapter 32: Bertolt Brecht and scenographic dialogue
Notes
References
Chapter 33: The new stagecraft
Notes
References
Chapter 34: Bauhaus scenography
Notes
References
Modern and contemporary design
Chapter 35: Metaphor, mythology, and metonymy: Russian scenography
in the Yeltsin era
From Soviet to post-Soviet: practitioner contexts
“A scenography as yet unnamed”
Unmaking mythologies: David Borovsky and The Suicide
Making metonymies: Sergei Barkhin and The Storm
From unnamed scenography to Golden Triga
Notes
References
Chapter 36: Transformation of forms: Polish scenography after 1945
Polish scenography in the era of socialist realism
Spaces of Polish theatre of the twentieth century
The object, the prop, the metaphor
The screen: multimedia in Polish theatre of the twenty-first century
Note
References
Chapter 37: Modern and contemporary Czech theatre design: toward
dramatic spaces of freedom
“Our first stage designer”
The inter-war avant-gardes and František Tröster’s dramatic space
Post-World War Two developments: Josef Svoboda and action design
Contemporary Czech scenography
Notes
References
Chapter 38: Worlds of German design in the twenty-first century
Bert Neumann’s autonomous spaces
Aleksandar Denić’s monumental nightmares
Katrin Brack’s mise-en-scène
Jan Pappelbaum’s simple models
Experimentation in the freie Szene
Categorizing design today
Notes
References
Chapter 39: Modern British theatre design: UK design for performance
since 1975
Pre- and post-WWII influences and developments
Stage and costume design training
Post war regeneration and theatre spaces
Expansion and experiment
The Theatres Act 1968, and the alternative theatre design world of the 1970s and 1980s
Changes in funding, arts strategy, and higher education
The “bodies of work”
Designer-director teams
Fine artists and fashion designers in performance
Puppetry
Site-specific and found space performance
Cross-over designers
References
Chapter 40: Latin American scenography
Colonial ties: pre-Columbian aesthetics
Shaping modern scenography: “colonized” by the avant-garde
Alternative stages
Revolution, coups, and scenographic experiences
Festivals as a stage for encounters
Welcoming new materials and staging technologies
Collective processes, scenography, and the playing space
Aesthetics post-dictatorship
Notes
References
Chapter 41: Design in the United States and Canada
Alternative spaces
Postmodern design
Video and projection
Design today
Notes
References
Chapter 42: Spatial oscillations in the American avant-garde
Note
References
Chapter 43: Contemporary Chinese opera design: the pursuit of
cultural awareness
The stage reconstruction of traditional Chinese architectural elements
The deconstruction of traditional Chinese art elements
Minimalism in scenic design
Installation art in scenic design
Conclusion
Reference
Chapter 44: Postmodern design for opera
Transformative festivals: Salzburg and Bregenz
From conceptual to post-conceptual scenography
Strategies of updating
Post-conceptual scenography and the vernacular
Return of abstraction and the international style of cool beauty
New technologies, mediatization, and dematerialization
Opera is leaving the building
Index