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    612 visualizzazioni210 pagine

    Scenography Expanded PDF

    Caricato da

    Alin TRANCU

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    © All Rights Reserved
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    ‘Seanograpy Expanded, An voduction to ContamportyPafomnance Design tne scope of nis interacton an developing ures spraying options that Create ayramic face stm for moce tan the Hon Hs of seated Spet20r8 might Be me way whch K woUN De posse To cease he leet of aquatic scencoraphy. This would maximize sensory experence of tne auaence sting futher avay fom the lage and ceepen ter meron inne spectace Interconnection of senses Based on naratves about water lam nevophyilgy i cud Be argued tat tate awareness of water as a Scenograpric element could be ether Perceneain tne moment or presupossed rom a memery Neveteless he wetess perception sil fees predominantly on tS sual aspect AS prenomenolgial studies noted above show, von underoes the most profound changes by moving from dry Yo wel suroundings. Ths & not much ofa suprise, aking ile account the traiional ard dominant foes on pnt Westen society 2s a way to acqure knowlege or pass |usgerant gold 2000 283; Paterson 20076) Anough erates us 0 catet vai resus trough observation scleiic knoe cant be noerstood ate winout reference to cual ané soda cotexs (Fk ced in Aronowts 1088 27), As Te Ingold eins us, Wel perception TQ ‘scuturaly and social conaiones According to Cavs Hones, tis sit me any ter tat need o Be pracised ana cutNaed and mettre ‘can ‘van om one nahaua osname, even wna @ singe Socley @ngokt 2000: 289 cited in Howes 198: 2-21). However, perceptual change that happens under aera ne case of Le Réve,ofes aden way of seeng an experencng spectacle fr eveyone inicWed resaess of erence in cultura or social background. n comparison to prevousy ‘ascussed issues of wea, power and social tach tht were cose ke o aqua spectacles ne pas ths new approach to perception sconogaphy shows potential to change cultural condoning in aquatic through semiotic meanings puts pronty one phenomencogeal approach and creates a space pure Wsual act and Knaesttele invtvement. At the same tne, his exravagan way to whness the performance trom underwaers not accesso everyone. The avg cerca equrerent and he igh cost ofthe VIP experence hat comes wih the Diver's rear Package’ feep te usual spectacle mi aquatctheares pataly excuse Furmerore, the ace character cf vsul stn (Berox 2000: 7) oes not necessanlv mean ect iowement In the soectade Even ‘hough perornersacnonledgespecaiors presence the poo! by waving ‘Scenography Expanded, An itoduction to Contrporay PafomanceDetgn cor gaghand signs. seeinghas aconrtaton of distance (Paterson 2007 6) 1 reve ety hala specato-oNer wal eel veruncinea Dy the compinty of me ancvs legis than axpaneneing acual owerant (Tabatsd 2016: 72) In oppostion to seeng, ean is the sense tat connec us win tte word, penetang consciousness. AS 2 rest, our conccovenesspanetate the wad fo cea ‘a ro‘ay fw of eneory treme, wnlen makes neanng« more pacar sense nen seeing (ingle 2000: 256 cle in Zuenertand 1856: 396, 368-960) As Ingold sales: Te ‘space of von is one tom wich you, Ne Ve, ae excluded, a space where tings are but you are not (2000: 288). Afonso and erhages dia on auton underwater wren expla the decreaEe of neaNng aby win tie ns ot amospnenc pressure and an mabaty to lacaze me source of {sound underwater shows why spears ne tank Nave fo ey ona speater system (adotson and Bemage 197: 138,184) Ts Sensory epinain could adtinaly reduce the overall sense of paripaon ‘Aettonaly, when we lok athe assump tat cur sen does not nave Spec receptors ‘or Teng wetness tut reacis win a compton of Ineral and mechanical sensory impulses (Ringe et al 2014), tis Sigges's tal € IS nol the Weiness of water A aquatic teats that hoihtns ou sensory experince buts temperature an the diramic of stouch Prewous mowedge ot hou water fel onthe sn, supplemeriea TQ by the visual sense, presumabiy plays a more important role nthe Sensaton of wetness than Is serait. ne cortex of tacile aude ‘ssa ra te taetle objets never whol present in each os pats a Istnecase win tne wsuacoject (ueneu-Ponty 1962: 228) Ingot aso cts thet perceptions not an insdo‘the-head’ operation erames upen the raw matenl of Sensaten, but takes place mt cxCUNS ‘hat eos-c the boundaries baleen bain, ody and wer’ 2000: 244, when we pul the spectat’s body ini mon, dines he toys rate as an obpct inthe word and tansfoms nto a means cf cur ‘communtaton wit @lereau-Penty 1962: 106). Whetner ts happens ‘wen me movement of setes auence gasenes above ne poo! sage ‘The Fan Stow (See Fite 39) oF oun the psa submeson of Spectaex-vers inte ool ank of Le Réve,lNoing the spectator’ body inzestetcaty in aquatic teat, acts rutile changes of perspective ana vew wards ne stage and nacestage aes. By conquer teatical spare, me audence 1 prysicaly negra imo te spectace. When Viewers are shied trough the space as iT Mey are on Tuna ae, ‘cemanos are made on thee visual, proproceptne ane vesteuar senses above the pool stage. Dna in parker cals for moveret of amos all boay muses in ataaen to hapte sensatons which change our vu, < 197/251 Sceacguphy Expanded, An lnsoductonw Contemporary Pvtomance Design lustony and motor experience ungenister grctounay Concenng in| ‘mater, Rob Spa gains tat the examen! that comes ath lke exaster le form of inracion fs tragere by our srysicl engagement rater tan visual coservaton eaving us winou ne distance necessary fer an aesthetic response 2018-73), le giving us you ineracton| veth he wot, physical mnersion in he speciale ess the poss) ot an ave weal responce to Our sureundinge morro enty Yes (Spry 2018: 75) Accorang to Spr, ne aesmase expanence becomes ossele ven we abstan tom ieracton, even m envronmenl ar (2012 75) Tis ranstonaton consciousness and perception caused by ‘tage technology (ronson 2005 74) to push te bowndares of nuran ‘myseal and percepual spies n conemporary species as Ta 25 posable, no mater the extent ofthe franca cost. Throughout theatre story this ambiton alays risked the danger of overshadowing the Porormers wn tennology asm ne case of ies gigarec LED screens Im Tre Han Stow - or everwneinng the spectators trough an immersion cess ha lacks any sate stance for fetecon, aes response or & Comgueeftedogy asin he experience ofeed by Le Réve Conclusion TQ in regare 0 me mater c water, me tld or eengineenns does nat cueny afer eneugh data onthe spect: behavioural characteris of hydronic materials in water that could be apohed in afcectue and seenogaphy. The ea of ceatng aset.containes power sytem nat. ges back sone ofthe energy uses in the way Polack’sexperment resis suggests sl pen to questo, but cecal inscres us o think of more lcdogeal appeacnes to scanography regarang oftrs for reusing energy. For now. scenograpny 25 at: “Eveying Sepencs upon he way in when mutena \s used wnen operates as meat (Devey “960 68), Wate as scenosraphy ia aquatic theaues has shown 0 far 2 wie ‘scape ins preseniaton an posse meanings. Supooted by te est technology It changes metapronial appearance fuerty 36 mics S08 met ran or vata and ceaes mumerois varaons of open and fendosed spaces. The uniqueness of water as a materal and A Lranstoranve quatty 25 a scenegrapnc element nas the potent 1 penevate lou senses, mung nate antral mana ore create ot psyene paste space. This concept, supgeste by set Sonoda (Saumn 2005: 7, & an Weal senographle space vic changes and modes se accotaing oe cama con aa so veteas We se “To cncuse me fetecion on aque raraves resarana vison. turn and knaestesa reveals the cere poperies of our senses ~ beth her O 197-198 257 ‘Scenograhy Exoanded, An troduction 9 ContamportyPafommance Osean Show 1 ‘ly ghen pray» documentary forthe Ar TV canna nia hte scare Nagaanetarenag se 1 Sagat are cstom-nade mechanical yams blithe stage oar a far ict veal etage cenguraons Sauce for ven tac dat was cocuentry fl alae onne: epee manana! 9 The sion of tchialintastcture alowed he aes von of heated space. The ducts ae tena bases te © Thea for tance a pestined unde the ceting ae, wich loves the cain Hoe fr teil requtomants of dei Tabi 205 65) 10 The ea ha blog! mon canbe a ae pecan pep! 98 ena vio i slings in Parorral wiser: Good fr soa! motan, ba ‘ora nae eapegon? (Thomsen att 2007) 1 Ae nugetedo Did lbs “Theckeuy fhe Roundhau ith ase of te ove eae tengo cslcviy ven spall cmamglt ech that 2 equals an fae nat heave nas the att of crus. wn based human ings fing sormating of tenses in wat hay presen (2063: 205), in Semotas fe Gre Pal ous rf the decoy of mir nerons bur bran in an atengl ee vy eta itrely when ve tes ‘rene acs wii a erus 2010178) Sse ee = 12 The Sagnr respons for La Rvs and The Hows of Dacng Miter was hae Cate Each pet had tat acetal fs, eh adage the thastes, The Han Show Thane was desgned by Mark Fle Sage sige was Franas Sdgun 18 As of 2018, th Dies Deem Pacago Tues 2 tweight ay ino yan Detne Reso rom or an Encore Reson Sule, «VIP Indlgece ticket the ‘hon prt backtge tur «SD aie ube ening seen in ha Le ‘vo Th Cram aig tem nd the ppt 6 wath sv show wh shige 11 lon gato aqua tea’ accucng othe webste, ada et $1750 for one ee ane $2650 for tw, Aslan cl epi alavegis comEnsnmnitReveDreemvePacage 1 Inn etn’ Stapanen, gtr sage managar of The House of Osreing Wat ea Rab repaid on raced visy inh stage pol (Prosser ad Robb 2014) Avalte online ipstegabtscon?01ANSRachsage hoes anc 19.20 257 ‘Scenograhy Exoanded, An troduction 9 ContamportyPafommance Osean Show 1 ‘ly ghen pray» documentary forthe Ar TV canna nia hte scare Nagaanetarenag se 1 Sagat are cstom-nade mechanical yams blithe stage oar a far ict veal etage cenguraons Sauce for ven tac dat was cocuentry fl alae onne: epee manana! 9 The sion of tchialintastcture alowed he aes von of heated space. The ducts ae tena bases te © Thea for tance a pestined unde the ceting ae, wich loves the cain Hoe fr teil requtomants of dei Tabi 205 65) 10 The ea ha blog! mon canbe a ae pecan pep! 98 ena vio i slings in Parorral wiser: Good fr soa! motan, ba ‘ora nae eapegon? (Thomsen att 2007) 1 Ae nugetedo Did lbs “Theckeuy fhe Roundhau ith ase of te ove eae tengo cslcviy ven spall cmamglt ech that 2 equals an fae nat heave nas the att of crus. wn based human ings fing sormating of tenses in wat hay presen (2063: 205), in Semotas fe Gre Pal ous rf the decoy of mir nerons bur bran in an atengl ee vy eta itrely when ve tes ‘rene acs wii a erus 2010178) Sse ee = 12 The Sagnr respons for La Rvs and The Hows of Dacng Miter was hae Cate Each pet had tat acetal fs, eh adage the thastes, The Han Show Thane was desgned by Mark Fle Sage sige was Franas Sdgun 18 As of 2018, th Dies Deem Pacago Tues 2 tweight ay ino yan Detne Reso rom or an Encore Reson Sule, «VIP Indlgece ticket the ‘hon prt backtge tur «SD aie ube ening seen in ha Le ‘vo Th Cram aig tem nd the ppt 6 wath sv show wh shige 11 lon gato aqua tea’ accucng othe webste, ada et $1750 for one ee ane $2650 for tw, Aslan cl epi alavegis comEnsnmnitReveDreemvePacage 1 Inn etn’ Stapanen, gtr sage managar of The House of Osreing Wat ea Rab repaid on raced visy inh stage pol (Prosser ad Robb 2014) Avalte online ipstegabtscon?01ANSRachsage hoes anc 19.20 257 Scenagranty Expanded, An induction to Contemporaty Perfomance Deign Plates ‘SeancgraphyExpanda An ntodvcton wo Contenpenry Perommanes Design ae PLATE 303, Promatto, Testo Gres Ssacuse 2018 (OMA PLATE 2 Kier’ Spece Stage ip ecearal, Koozeius Vienna, 1904 (Aastan Fide and Lilian Kesler Pits Foundation, Vien, ‘Scenagraphy Expanded, An itoduction to Contemporary Perfomance Design Sconcarphy Expanded, An ntoduetion to Contmporary Performan PLATE 7 alex Seheder, Rian Fal Gis, 2002 Alo sehen, 2a 2 25 ‘Scanograpihy Expand Andon t Cantomporry Pvformance Design PLATE @ Andres Jague, IKEA Disobedients, New Vor, sous (courtesy of iteommons 2 oop doa Sate ecele TQ 2528 Seonorapy Expanded, An nedueton to Contemporary Peomance Design PLATE 8 Perormanceaectrymapsin central Santiago (asi ase) PLATE 10 a Vioria de Visor, Ssntags, 2:0 @larela Ovi Si) Code foe op lef (0 Troe aml, egg four gun that each impersonated Victor Jara. (2) Vitor Jar peed on iter ei.) Choros fading on a whe pation. (2) Aor imperonstg = Chilean fei stands on the truck high above the audenc, the cathe facade ae hie =72@ ole thee demands, Sacao, 234 Ores Ott Sa), 26247257 < ‘Seenegray Expanded, An nrodton to Contemporary Parommance Oss ‘Scanograpy Expanded, An lnroduton to Contemporary Perfomance Design PLATE 19 La Voie des Rooms plan, Hotel e Ville, Panis, Api 0 aes ‘Snograpy Expanded, An Inoduction 10 Contamporry Performance Design PLATE 16 Romani Triangle Walking Tour, Hoxton Square, London, June 2015 Alice Clack. ‘Scenopaphy Expanded, An inodcion to Contemporary Peslonmance Design PLATE 16 Dalsne Le Bas StLeosads Church, Shore, Londo, po 204 PLATE 18 ie Seinteohinen, Holan Festal 2014 Snisk Dam), PLATE 1 Dleschusbefslonen, Helland Feat 2044 (nih Dam, wo.2s1/257 Sonography Expanded, Aa redone ContanponaryFaromance Destn ro @| ‘Scenopaphy Expanded, An oduction to Contemporary Pestnmance 7 ie Guide ‘Selamat Esp Alcon to Cortney Peirence Design | PLATE 2 The Weather akin ene of sgt rade hat emit ound and vice PLATE 28The Weather Machin, andence ebers sie Shasring, dks apie OL Scenograhy Exended An nroucton to Cortamporry Promance Desi PLATE 26, cid mets on inthe Fost enviroment Cel Shaughaeen, ‘Scenography Expanded An ntrodcton o Contemporary Pesormance Design Booman Mower Dene eral LoOMSSURY METHUEN RAUA andthe ine gs dem of Boma Je oon ston Pam hv stan enn oN One Sram mane ska mcunes ney pesbpg sang ey nena =712@ buen ary Cage dn Peteton ae Lar of Cong alc Pleo ae Sete cng Be ey overage Pee Camo Oto Hamer ate Fn Sha 201 “heat eg Sane Sees Pt aio < Sema Expanded, icon to Common Parmar Deg TOOR TIS Scanpnly Exped Aa lccin Goncmprn Pater e =70 eR Scenography Expanded “i Semoganh Expanded Aa lnodcton 9 Commer Peformance Deen © ovo papa 243 ‘Peace + Das «ses ot mazes wy sens tt ‘po ans: ems np as serpy eaneng he own oe at soa rail nna esate wore cues ete aeons ea ge Ista, mse sees Sse ae cote roman at ms Sg ae et iu ‘emcees tem aan ope coh bat er ea 8 (rae pas A eh Wine vt among we an 8 “SeRIes E0rTORS newav aster Sap Sei Mewes see ‘tee oan a 7TQO2e8 amr <> Sj) Semen Exped Aa nodcion Cons Paomane Design Scenography Expanded ‘An Introduction to Contemporary Performance Design EDITED BY JOSLIN MCKINNEY AND SCOTT PALMER be gett onstage BLOOMS BURY =TQOR “leh Scongrphy panded Anntodecton te Contmgoray Promance Design Contents PARTONE Technolog! Space 1 Dau ode: Cary Tetlpe ite Pose ‘Seenogeony Cresta Bag 2 Seraph Seen Sac: Busing bee nd Perming =7TQ008 PARTIWO Aichtecral Space etaen Syl Repeceton ne Neu Cres Aer es Sanepapy ae Sangh as Ate Thee Benak (hy aS: Sree Peromane an She Peasy rng env PARTTAREE Agency ‘Scsnogepy Mans Paomin Ramses a Sata ane ‘ae Et rocks an see Colns ‘Sesnoapl Agoey honing Doing an a Rasen honing ‘oma Katie ‘Wkng That Mates: Tors aPea-Avopocee Apacs PARTFOUR Avsoncee SSS eri < > “let Scengtphy panded Anlauadacton te ContamgerayParomanee Design =7aen 8 Cope Aprschs te Patrmass Onin tow he Dead te onder Specter es Stans Stephen OY PARTEIVE Nets 10 The Mater fate Bos ExerenceoScenoiaphy h Cero ‘Sova Mito Tes 1 Ecos ot Autom Wr Spacein raging Auton ee © rent «> “let Scengtphy panded Anlauodecton ts ContamgerayParomance Design List of Illustrations Figures 2 Stn Rn ini Pre aon Plates 1 tig end wan,P a le, ep Ba, 205 es 4 casing ing Acie Maciek 6 sornmana Ena noe, Ve, 2 ons Ah 1 tne ga HEA east Mo 2 ry sommes) seiner tanay mis # ea Seep Se ee lar) arama sg at eae pooner ‘Vere po ote aor) Choe eaargon etme om a cna a Can Ok nese EN ‘Sere mace ect re ac 12 Roi Sag sett Pran Pat Fe Sama 2015 ens TQA2e0R ears < > “Lh Scemptphy Expand An ntodecon te Contngeray Pelomance Design ‘at De Sette Hoe Fata 204 nom 335699 rar Fa 26 a Mone 3 5c Se voter Fst 20M Evenson Bor han may ki re ad Jn ena eee ae Mae Satan ao He ‘ena Uno once nonin gales peein sen ant ‘nga a nese To ‘ens Usnng on tee BON em sine ee DN =7008 20 WoT, ets nd, Seno aba aed 22 Le hn a Ve (cote tee Reso a ews < > a pak ea nea ntapaay Contributors ‘um nso Foo Clb ey Ne 8 USA ea fuer os! dome can rp Ce Le ie Oo 01) leawnn le Soe Ene Seay 208) a ran Itc Het ear Poa nt Puce Oy ota at eto Rete onssnon eoF xan aan nnn rae Petemansa we 989, ‘beUsray Lene UC Heh oid ara a he ane Saactmton! erat 2 Moxa Bitar Frets nT She A UP Uy =7TQ208R Thaw sae Ptr oats Tn a rato rk ‘Sr saa Se eset esos teensy se ea etal on ees gone. Rev wn a te Swe Senguens cher ao-20%) sas = he ator he sean (vrei cor any arse One ner Wo rm Cline se oT a Peace Vilna Ineo joon ae ana eroane Son ‘Siena aes se ue am US he aves etre We pumas See ASSL an ONES ——— < > a pan eae inca niapaay ‘be Unto Tenens, Aas Adin Probe of Bap6 wht Sor sty Ure tard far ont vo ec an ce een in Peo Snot a cal Dems Gate over agene peeves nape ee eS Jota Mek socio Sno Une i, UK. She th bl more The Canty acon Merete ae oo snap sarge sce She corm ween wre sbeunetay, Sep Se a ‘Skryan Hone Ooue sean set ear ea Tse Perera Ce He Bane aie Lt) an Se ‘Syeses nat aenc anasto sory nt eee trating tn strane oes het) Ierebone seta ner tenting Sn acer inGra ste nia ter T.208 < » “ch Scengnphy Epunded Aa intosecon te ContmgeayPefomance Design 7AeRn ii > Te ‘Scengaphy Expand An nvodecon Conny Peslomance Dey Foreword Armold Aronson ‘hoy ray posed me vey ae i eet Ce ‘t= ote i st age = bg ag ‘as ets omenber eg the Seon en re Boum scene scnce an beng me a ya 8 ne get ‘estate mare tb Ban ey nwa 9 ance sc ab Tes Oe Bene oe ness gh nts we wa sie at sng done forint ae so ugar tht Guest pat Ie. even ee eet as sen een I en {inst ecivec nar ete etre tennis oy ea Sanat eases fa esa ces ear ae nen seo yrs lesan “och cba myo Me Inepersun aon epeg me poate at a4 ame a Dessoe ute soeury He wa ts soe the Een opening wate» he maming ewe oe om nt ‘aaa loo he uy fe iu. saw Conan a eine vee ry wn fs ee Te TOOR ce an ea bce fe, coy age dwn Mave op oer ‘not rans vou ha stamina cone mo Chase {Ga tn voting ftom 8 eet ie od ace OH & ‘lens oie tone (Gra For a0) Hoes ose Income Par esogae rt tuts wn at Wa ‘ewe ert Seeseay eb e meaBEE Fy ee evotome ton eeryonh ode op eg one eu Pe Bane Fss (74 30-49 aay Dea sa sence wamte vee me oan a om end Yast rot waters he cy. or An ve ois eee ‘mire presente he bk ce ne wns tt Sree Ine 10 a 8%, nay atwonD ato na erin 8) =7TQ08R esa pastes re eget rupee te et lorecne ne wens okies omen nin At Fao ser me spate prac nd veins 3 et. 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Somaya mo RN ae eee Eroniesvompy estore lm enon rer < > “<6 Seamapaphy Expanded An arodcton to Contempo Permance Des Acknowledgements Jostemccmney at set Famer vous cosine ewe a erate oun revere wa cep ef ce gt Ih ‘rot oP el ed Petar Deg an ‘ate stang rv ea et oe tee ome pred, Pave Oona of Pern Daten a ‘Seca nt of Gog Lair ht ben soe tp igre de veay atone a ue ht Don Sen ers tn, at ne = 7A @8 ‘at moet ae sup i oct A loony, we Me He ‘tor Maapeent ae Web at Bere: AS a NL WOR “hn has Kee nn ase ed Ye ue Br gpsens wast < ’ ‘Seed wes ah ty cna erroer 49> ‘ty motte cosas tava i sanspnene wperment > ‘dnt at gntowert Hate sud a ese wed Ee ‘Souon cy, usar cantor ef Benen sua a Ae se teen eat ane ne es meh TO@85 sez0/057 « ’ Scop Eapended An ron to Cotanpe Psmnre OI baci, cw eomane apo reo rons pee ee Carona vote Gn, Ot pee i tot ‘aerate anon he ey chap we he ed sey rnvegsenae spac 2077 ma ee at mags fon 8 estucuig of Resbea enya an Nw Cera og an geromice nt wom E25 wet Cong fem ores muh arene roy aN ‘So dita ochre sends #9 el Rapid expansion ‘Letra tats oat an sn The ‘agncuatnni pcn an etre sgh 1 aH an ‘een mento! va nergy ashe ae proms ‘So Sno pon 957s pte mere as ety of appa: saagy sean ieee spears ‘ane atoms mere Se mein FO 9 rs ogee ren ats mane nf fr sir oar "eae he ann fhe nea he ae ie ‘ra ay 2 oH Hol Mn te cs 0 ‘roe a pate of emer sm eee Pave Ose ot toc Onan don 215 1-8 et oop ven se a tm pac 8 < TA@8 ’ i het Scengaphy Expanded Anntedeion a Contemgeay Perlomance Design ‘Su nine toa satay eu Re vane cate ek ger aun pss n apg Suara pan he ‘aoe ane wenseny iesobecte a naa sce “enunatn pnt stimu fer a epg conmuncson ‘est nan noe Une ro a Tan vob fesnuran sony But 207) 08 Be eres a Exoanded seenography intersections ‘ropa a caning hsxegay fom mayo deg {eateme posponsh Towne! tse eamtaies ot crteneney =eTQ208Rn Pcie wht non a on woman egy a ‘heoaras sprees oaaoy a scree tae ovo Ina res ern a ae, reat ef as He item en trl oe ances nde pees ney ond Theisen abgenrg sneer sr eas ees severe ay ae cf emopurne aon eet ‘nena ecu ihr esa pl cae mh thew noche pans matey be sho bbe mig evga as Ae eH ee 6 fon als eee Bak TGi)_Seenognphy Eman Aninvobecton te Contnpeay Perlomance Desi 7OOR lesan 6H Se Blo foe wa sl fea (Sawa at wots saree wan ti aC Notes Si reve cmon eoere a een Haren 2 tangents hy boty ees a ate sng ‘orheer svete len oe eo 205 89), ———— Si > ‘Scenagraphy Expanded Aa troduction Contemporary Perfomance Dosa 3 Between Symbolic Representation and New Critical Realism: Architecture as Scenography and Scenography as Architecture Thea Brejzek Jie architecture and scenography share @ common istoyy, their mainstream functions are fundamentally ‘ferent, and the primary aim of architecture, namely 10 ena /257 Scenoquphy Expanded, An lnuoducton w Contemporary Pvounance Design Provide sheter, is typically posted against scenography as Providing the decorative backdrop for frivolous entertainment In her taming of the interascpinary relationship between architecture and scenogrepny, Julet Rufford nightly points to ‘thet formal dssimilarties: architecture's task is the creation of slablo and durable but structures while the time-based art of scenography is concemed with the ephemeral qualities of transformation, atmosphere and effect (Ruff 2015) Of paticular interest to Ruford, however, are the Inks and seams where archtecture and theatre meet and how the notion of performance may push architecture beyond ts tradibonal parameters of programme and tectonics towards more Mid slates of production" This chapter contributes to this debate from a seenograpnic perspectve through close readings of he architectural scenooraphies and performative archtectures by some ofthe major players i contemporary practice. In doing 50, to assumed dichotomy of theatie's ephemeraity and architecture's durabity follwing Vituvus® and thai seemingly 7 mutually excusive aesthetic possbilies and resinctons is questioned, The notion of erchitecture durability is shown to be predominantly upheld by architect-scenograpners, that &s architects who primanly precise architecture but cccasionaly venture into set design through singular sculptural objects of ‘symbolic represontaton on stag, reminiscent aesthaics anc stile of the architects’ but projects. On the other hand, the fodness and cbject-character of architecture ks mote likely fo be subverted by scenographer-erchitects, that soanagraphes who see themselves as working aertecturaly fon the stage. Ite estabished that while the majoiy of the superstars of architecture tend o avoid detaied depictions enc interpcetaions of contemporary utban life by resorting to symbolic representations when designing s sol, their svonographer-coloagues embrace what | define as a now ‘tical realism? through techniques of collaging and fragmenting identifiable architectural elements, interiors and objects to present an acute view onthe urn condition and fo Q ‘Scenogiaphy Expanded, An hnroducton to Contemporary Perfomance Design ‘etrame domestcity 2s not private, but inherenty poitical LUimately, tis chapter demands the dssoltion of traditional binary theatio-architocture clasiications into the emerging ‘genre of performance architecture in public space, where the built stucture comprises @ now kind of stuatad scenography, seeking paticpation and pursuing a distinct pollical and socal agenda Prize-winning German scenographer Anna Viebrock, during @ 2010 Basel puble Torum on the ‘eatonship between scenngraphy and archtecure, delivered a suprise provecation ‘aed at conic Swiss architect Jacques Herzog, poring to a fundamental diference between scenographic and farchtactural aesineve practice ‘On stage, maybe its possible ‘to construct more intense atmospheres, ie, uncanny or terntyng spaces. Asan architect, one is not allowed to do that (iebrock and Herzog 2011: 73). Vebrock's statement imptes that an architect cannot transgress the limits of a genet ‘accopted aesthetic an that itis terefare nota question of ‘nt =a TQ. doing’ but rather ‘not boing able to! work beyond beauty. As 2 result, so Viebrock clsims, archtocts are unable to realize contested atmospheres that may evoko fear or agyression, ‘and consequenty are unable to create architectures. of intensiy. Herzog, pernaps surprisingly, not only agieed with \iebrock’s provocation but also extended her sigument, referring to what 1 wil call here ‘architecture's aesthetic Imprisonment’ Jacques Herzon's own intrest, as an architect working on the stage fs the uncensored possibly to spataize ‘@ narrative through scenography, made possible, he argues, by the convention and knowedge of tne pertomance’s temporality. Conversely, the ‘honor’ of architecture, Herzog ‘suggests, i ts curable, bul ratty But actualy people make the stores. This something you can tall in @ stage design; you can be wickedly evil In stchitecture that is not possible. But the rue horror exists only nthe real wor [ot architect. In he tate only a SSaeaty Eeadel Ae cada Cotaaay PSD for approximately wohouts (iebrock and Herzog 2011.74) Viebrock’s and Horzog's contention completly aligns with ‘Vitruvius’ three classical princes of architecture. However, the seemingly universal valdty of Vituvus' ras has ong lost serious ound. While the arcrtectual deal ot the design and construction of @ harmonious whole sbll rescunds in the ftchiecture cic Ruskn’s mid-t0thcentury notion of ftchtecture contibuting to ‘pleasure’ (Ruskin 1849 13), rmedemism has since rofamed aesthetic ects as qualities emerging fom function rather than omament, and Postmodernist arentecture has provocatively embraced the vernacular. In the vocabulary and the emerging practcos of performative and performance architecture since the 1980s fend 1900, is not the architectural abject thal les at the contre of invastigaton but rather a disruption of comentonalzed practices. Such a focus brings with it an femphass on process and participation and a rethinking of = 1 Q {tectonics and materials towards a responsive of interactive archtecture.* Equal, tho practico of sconography has progressed from ts beginnings as a backdrop wity merely decorative function, towards practices that intarogate and deconstruct the assumed spatial unty ofthe set as a result ot the postmodem fragmentation and dsorientation of the subjectindwvidual na globalized post Fords society. It's not surprising that the highly eesthetiazed approach of, scenographies by the superstars of architecture should strike Viebrock as alien fo her own practice, one based on the contrary agenda of scenography as a heightened mir to social reality. | interpret Viebrock’s provocative generalization 25 2 call fo architect scenoarephers to fundamentaly question the value of the Viruvian vanustas in favour ofa stage practice that ses engaged as itis reverent of traction and commaniy shared notions of beauty In ths chepter | take up the provocation that architectural convention limits the social impact of scenography by intrrogatng recent architectures on ‘Scenography Expanded, An Itoductont Contemporary Perfomance Design the stage by scenagraphers and scenographies, and in public space by architects Architecture as performance Media theorist Chris Salter points out the contrbutons to petformance tht some ofthe conic deconstructvst architects have made in thei uncompromising appcaton of materiality ‘and technology to contemporary scenngraphy. His argument, however, goes beyond the dascipton of a move away trom modernism’ rg form-tunction duality, a development which undisputed has migrated tothe stage withthe involvement of some ofthe prominent protagonists of deconstuctvsm: Even if many ofthe projects that Hadid, Lbesking, Gehry fand Coop Himmeli(jau were most of the time one-off opotunites. wha these architects brouaht to performance was not just the specialized architectural discourse of = program, even, strategy and movement, but an aggressive challenge to modernist discourses of form versus function ‘advancing the ro! of tochnology in te process of Construction, end examining te poltical relationships Innerentin the perceptions of space. (Sater 2010: 7) Yet. while Sater is in many ways corect to bundle Hedi, Libeskind, Gehry and Coop Himmelb(jau together it must be ‘noted tat iis only the Viennese Coop Himmelo)au that has, right fom its inception in 1988, radicalized the nobon of architecture through performance as an integral part of is practice From the passionate manifesto Architecture must burn (Coop Himmelo(jau 1880), coupled with the flaming outdoor Instalition Blazing Wing to tet projects cocumented in the 1983 publication Architecture 4s Now (Coop Himmelb(}eu 1983), Coop Himmebijau used site speciic performance, Imstaitton and buat projcts fo underscore their betel in the eav2sr ‘Scanograpy Expanded, An toc to ContompornyPevlomance Design Immediacy and emotionality of architecture ise, While the foton oF hegemonic forces inherant m space and spatial production pervades Coop Himmelb(iaus early and highly provocative practice, is pethaps harder to see how other ‘eanie architects have articulated scenagiaphic postions relating to poiics of space, especialy as they progressed fo International fame. Indeed (as tis chapter wil confirm) a lose ook atthe stago works of somo conic contemporary architects reveals their continued inferest in scenograpy, yet a preoccupation wih abstract and symbol form making refuses otal and shuts out the arity ralty of urban life. Whie the architect's daily practce engeges deeply wit the city. its Infastructue, social and cultural contexts and issues lsengagement wth the urban fabric (with dweling at large and the domestc in particular) is evident in their excursions into stage scenoprapiy. Rather, tis the architects! noton of the theatre and the stage asa controled and controllable machine, ‘operating at the wil of ts crestor, that underlies. many = 7 Q fascinating yet ultimately reductive scenographic inventions, ‘yplcaly comprising a large singular obyect or enworment ot objects with ¢ sculptural quay and volume that showcase the architects! own formal and material language. Mechino-ike constructions and the showcasing of the porfecton of their ‘operation onthe stage, 9s designed by archtects Herzog and de Meuron, Daniel ibeskind, and Zaha Hedkd among others, Point back to the foumal and material experimentatons of Russian constuctiist archtectscenogtaphers such as Konstantin Meinkoy, ViadimirTalin and Alexander Vesnin, ‘and, notably, the Auste-American architect scenograshor Fredich Kisle's electo-dynamic Space Stage from 1824, The architect as scenographer: Symbolic representation and the ‘theatre as machine’ Scanonraphy Expanded, An itodection to Contemporary Performance Design In the project notes to ther 2008 scenography for Tiston and Isolde at tho Betinr Staatsoper, architects Jacques Herzog and Piere de Meuron point to ‘expermentation’ as the main Aver and methodology for their scenographic work, ard fo seoking not to represent actual cbjocts but rater to spatiaze the appearence of things. They sought to achieve this by designing an amorphous rubber membrane wth wall.ike imensions for ther Bevin Tristan that would act as an fauloromous organism with ever-changing features, using agate pressure Ina talc: made bul pressure chamber (see Pato 1), Fascinating and continuously drawing attention to itself and its workings, the sinle object of the membrane oporatod as @ symbolic representation forthe psychological states of the two protagonists, Tristan and Isolde, and their doomed love for each other. The singular object's presence wit is intricate surtace seemed fo be breathing with or for = the tragic pair, and, while dominating the stage did engage with i's narrate through its symbole sianiicance rather than = 7 through its engagement withthe opera's narrative Herzog and de Meuron, being highly crea! of he theatre, opera and dance designs realized by ther coleagues, were unlikely addressees of Viebrock's assumption Tho stage sols created by architects or even by artists aro perfectly dreadtul ~ we thought, in view of so many failed ‘tempts. The pitas of simply transfaing one's own style, ones typical trademarks from construction sito to proscenium stage soem almost inescapable. (Herzog and de Meuron 2006) Renowned in their architectural practice for the reassertion and retraming of omament within @ minimalist framework, Herzoo fané de Meuron contnue to extend their trademark larchtecturl, material and formal aesthetics in scenographic practice towards @ now and distncty ephemeral spatial expression. This practice is hased on thelr understanding of the theatre as machine, asin ther Tristan, ths allowing fora Seanograpty Expanded, An ltrodutont Contmgorar Prformance Design completo yet objectorlentad re-atculaton of the stage's seemingly fxed parameters. Ther approsch points back to the radical 19205 theatre experiments by Ausiro.Amercan atchtect-sconographer Friedrich Kislor as exhibited in his 1824 Intemationste Ausstelung never Theatertechnk in the: Vienna Konzerthaus Kiesle’'s Rattray Theate, constructed as 1:1 model and protolype of the Space Stage (Raumbunne), comprised a scaffolded spiral ramp lescing up to a circular performance atea that could be accessed by a staicese tom ‘round level oF via sto! ladders from the performance stip below the top ter. The Space Stage was to foim one ofthe stopping stones of Kiesir’s theory of corealism (rom 1930 onwards) as a convergence of ert, Ife and the sciences Design, Kesler proclaimed, would be radically redefined ‘through specific mathematical relations between stage, is elements, and speed ‘Design = Stage + Elements x Movement (Kesler 1936: 60) Kisier’s corealist equation exomplifed by his description of the model of tho Railay = 7 Q ‘Treat nth eatalogue to the Vienna exnition ‘The Space Stage of the Raitway-Theatre, the contemporary fom of hates 'sfoatng in space. The ground feor is enly the support for the open constructon. The audionce is Cealating in elect magnetic movements around the core ofthe siage (Kiesler 1924: np ) ‘Although never fly realized for performance, # modified, static version ofthe Space Stage was trlled in 1924 whare Kiesler proposed a mobilo and Kinetic stago that fuly encompassod audience and performers and is thus @ ulopian space where te act of looking and the space of acton become permeable {and convorgo as a dynamic exporental space (s0e Pisto 2) While Kiesier had conceptualized the Space Stage as an ‘active and sol-organizing object comprising stage, scenogtephy and audtorium atthe same time, Herzog and de ptoscenium stage and auditorium as to separate onties 05-06 257 ‘Scxnography Expanded, An induction t9 Contemporary Perfomance Design This does not constitule as retical an invention @s their cceserpton of the machine seems to promise ‘As organism and constuctvist machine at the same time, Kiesier’s Space Stage proved to be hihi invent for furs Visionaries in atchtectare and theatre, notably the Konic sichtecs of the 19605 to 1600s such as British architect Cedric Proe ® Price's collaborative performance machine Fim Palace (1960-1961, unrealized) developed with theatre rector Joan Litlewood, embraced Kiest's concept of the fulonomous theatte machine. It aimed to combine te buit elements with naw and emerging media technologies that would enable a kinetic, adaptive and performative architecture here ne spectator as paricpant can Learn how to handle tools, paint, babies, machinery, or just ‘ston to your favourte tune. Dance, tak o¢ be ated up to ‘where you can see how other people make things work. Sit ‘out over space wth a chink and tune into what's haopening elsewhere in the ly Try starting @ riot or beginning @ painting ~ or just le back and siare at the sky (Littewood 1961 ced by Duty 2013) ‘Price's and Litlewoodts kinetic architecture, that operates as a ‘machine while Keeping the architectural programme (tuncton) ‘and spatial configuration fuid and changeable, finds an echo in tho experimental pracico of Dutch architect Rom Koolhaas and Partners’ Roterdam-based OMA offce, which specializes In performance and event OMA, however while articulating the notion ofthe theatre as machine convincingly in their 2012 scenographies for three Greek dramas in tbe summer season ofthe amphitioate Teatro Greco in Syracuso, Sicily, designed three highly symbolc architectural objects rather than being concemed wih devising a Fun Palace‘iko performative atchtactue (see Plato 3)° Ths is conceptually more aligned wth the scencgrapnic practice of Herzog and de Meuren yet without their formal rigtty. OMA termed the three symbolic TQ on257 ‘Scenography Expanded, An irteducton to Contemporary Pesfonmence Design ‘atchitectural objects they created for Syracuse: the Ring, the Machine and the Ratt. Each intervention adapted end reinterpreted core elements of the antique Greek theatre on its very site Conceptunized as architectural interventions into the body ofthe amphitheatre, the Ring constuction provided a complete corcumfarence of the theatre fom somi-crcle to circle via a scaflolded passage at the theatre's highest point. Further, fered additonal erty end ext points for ne performers. The Machine mirored the inci ofthe amphitheato's seating aoa in the form of @ wooden disc at the upstage end of the cotchestra. The raked dise could rotate and spit open in the middle to alow for entrances and drametic exits while second flat dsc, the Raft, operated as OMAS ‘reimagined ctchestra and acting area with the disc's very contre positioned in he tadtonal location of the altar of Dionysos. Togeter, the trae scenographic lntewvemtons both increased the antique theattes interior technologies and expanded the theatre's w stone architecure to create a highty conttatod and controlable environment. The machine\ke character and physical real-ime transformations of OMAs Syracuse project ‘allowed fr tho slage to act as a prociso sconograpic entity able to anticipate, act and react physically on the drama’s fecton, thus suggesting @ mulitude of spaces, The abstracted sculptural and architectural objects by architect-scenographers thus are able fo realize wnat Foucault calls ‘heterotopas’, and of whieh theatre Is one, namaly, a place that is comprised of several unrelated spaces and temporaties” (Foucault [1967], 1084 8) The iconic architects’ scenographic, symbol ‘machines! introduced here, though, remain in the purely smbotc reaim and reuse an in depth engagement with the ‘elatonship between dramatic narrative and social realty Similarly, Polsh-American architect Danie! Libeskind has esigned symbole scenogrephic machines that were able to produce a space (that) is not just one space, but 2 plurality ‘and heterogeneity of spaces’ (Libeskind in Salter 2010. 60) Sconography Expanded Aa Intoduction to Contemporary Performance Design {and that wer, nan expansion of scenography towards the turban condton, a ‘paradigm of the city’ (Libeskind in Wise 2003), Libesknd’s architecture, his set designs and ‘machines, ‘ate both symbolic and narrative and demand to be read as leds that are often the outcome of the architects intense engagement with the ‘istorcal destiny of architecture (Uibeskind 1085), Tho scuptural clemonts of Lbeskind’s sot esign for Olver Messiaens rarely performed opera Saint Frangois dAssise at Deutsche Oper Berln in 2002 point back fo @ much eater work by the architect, namely the construction and installaion of three machines at the 1985 Venice Architecture Biennale According fo Lbeskind, the four sided wooden cubes of the Venice Whiting Architecture machine 95 tho third of his tree chiectural lessons? industiaize to postes of architecture’ (1085) (see Plato 4) ‘The rotating cubes that comprise 2,652 mobile pats, ence ‘ates, types of buildings, gods, signs, sans, imaginary beings, foxgotten reales’ (1985) reappear as central scenograpnic = TQ 6 laments in his 2002 Berin staging of Sait Frangois c'Assise {forming an insurmountabie topography In esponse fo Messiaen's musical text, | used the tex of atchtecture generated by the constalaton of rotating cubes ‘By moving the mati of the Toursome’ as physical obec, 1 fell @ connecton with their non-physical’ presence. Thus | understood that just because something is @ non-existent reaMly, doesnt obiterate the fact that is a realty nevertheless. The parallel yet independent relation between musiestoy and the architecturally spiraling Score i for me the core ofthis fact. (Libeskiné 2002) Fr Libeskind, both architecture end music crew thee ‘omotonal impact ffom the treatment of a chosen narrative, which marks the foundation of both practices. Scenography ‘and architecture meet in thei abil t0 invest space with ‘meaning though tne ereaton of a readable, almost tex-ike construction ofa spatial narrative w7-0/257 Scenasrapty Expanded, An introduction t Contemporary Prformonce Design Famously, Libeskind 2 tained pianist drew his competion enty forthe Berin Jewish Museum on music manuscript paper fand called it ‘Between the Lines’. The building iso was conceptualized a5 en architectural articulation of the las Uunstiten act of Schonber’s opera fragment Moses and Aaron and is designed around a vod, om which four axes represent the forced journey ofthe Jewish people into exile. Libesknd's Jewish Museum is a highly narrate and scenographic architecture and a spate narrative of charged emation. His opera work on the other hand has been citcized for its

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