The Potentials of Spaces: The Theory and Practice of Scenography and Performance - Softcover

Softcover

ISBN 10: 1841501379 ISBN 13: 9781841501376

Verlag: Intellect Books - IPSUK, 2006

Inhaltsangabe

The Potentials of Spaces interrogates the relationship between scenography and performance in contemporary dramatic activities. The book provides an illuminating platform for discussion concerning the interrelations between theatrical movement and gesture in physical space. In exploring territories of performance, the author equally combines theoretical research with details of dramatic methods and performances, thus providing a valuable insight into working practices. Avant-garde and experimental approaches towards sensory, spatial and visual aspects of the stage are described and explored.

Through a discussion regarding the performance possibilities viable through technological development and new media in recent years, the book aims to challenge tradition and inspire new creative directions upon the stage. The book breaks new ground on dramatic and spatial awareness within the tropics of theatre. An essential text for those interested in, or studying, theatrical practice and scenography.

Über diesen Titel

Über die Autorinnen und Autoren

Alison Oddey is professor of contemporary performance and visual culture at the University of Northampton. Christine White teaches at Anglia Ruskin University, Cambridge.

Christine White is head of narrative and interactive arts in the School of Art and Design at Nottingham Trent University.

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The Potentials of Spaces

The Theory and Practice of Scenography & Performance

By Alison Oddey, Christine White

Intellect Ltd

Copyright © 2006 Intellect Ltd
All rights reserved.

ISBN: 978-1-84150-137-6

Contents

Acknowledgements, 
List of Illustrations, 
Introduction: The Potentials of Spaces Alison Oddey & Christine White, 
PART I Different Beginnings, 
1 Directors and Designers: Is there a different direction? Pamela Howard (UK), 
2 Different Directions: The potentials of autobiographical space Alison Oddey (UK), 
3 Collaborative Explorations: Reformulating the boundaries of scenographic practice Roma Patel (UK), 
4 Flatness and Depth: Reflections Nick Wood (UK), 
PART II Performance Potentials, 
5 Digital Dreams: Sleep Deprivation Chamber Lesley Ferris (USA), 
6 Re-Designing the Human: motion capture and performance potentials Katie Whitlock (USA), 
7 Smart Laboratories: New media Christine White (UK), 
8 A Place to Play: Experimentation and Interactions Between Technology and Performance Scott Palmer (UK), 
PART III Aesthetic Visions, 
9 Scenographic avant-gardes: Artistic Partnerships in Canada Natalie Rewa (Canada), 
10 Codes and Overloads: The Scenography of Richard Foreman Neal Swettenham (UK), 
11 Spatial Practices: The Wooster Group's Rhode Island Trilogy Johan Callens (Belgium), 
12 Physicality and Virtuality: Memory, Space and Actor on the Mediated Stage Thea Brejzek (Germany), 
Selected Bibliography, 
Biographies of Authors, 
Index, 

CHAPTER 1

Directors and Designers

Is there a different direction?

Pamela Howard

The visionary architect Adolphe Appia saw that 'creation' meant the synthesis of space, light and performance achieved by one total personal vision. Diaghilev introduced the painter to the theatre and artisan scene painters such as Vladimir Polunin, previously a bespoke decorator, became an interpreter. In 1935 Robert Edmond Jones observed, "the excitement that should be in theatres is found only in baseball parks, arenas, stadiums and racecourses." In the twentieth century and twenty-first century the move out of playhouses into new spaces demands an exploitation of the architecture before relying on design. Logically this results in the work of designer and director merging to become a single and unique creator of text and vision.

In reality the collaboration between directors and designers is often uneasy. In 1988 at a conference organised by The Society of British Theatre Designers on this subject at Riverside Studios, an entire panel of invited directors declared that they never had 'any trouble' collaborating with designers, and described a life of sweetness and light with ideas flowing freely back and forth culminating in, as they saw it, riveting and groundbreaking productions. A packed house, mostly of designers listened thoughtfully, their minds focussing on the panel of designers who would soon be asked to respond. Many designers had refused to be on such a panel, fearing that were they to voice their views on the director/designer relationship truthfully, they would probably never work again. However, there were some senior designers willing to be on that panel with a large enough reputation to make them able to speak out, and voice the thoughts of many of their more vulnerable colleagues. What emerged were two very different views of the same experience. When a director felt that there was a good 'shorthand' with the designer, the designer often had taken the easiest way out just to avoid conflict. 'Designer speak' and intricate subterfuge was quickly revealed. When a designer saw that the agreed space could be better used, the suggestion to the director had to be framed within a question, "Do YOU think it would be a good idea if. ..." Above all, it emerged, a designer had to be like a wife – supportive, a friend and a partner, ready to co-operate at all times and on all occasions, good with money, decorative, good sense of humour, and accepting that no relationship is finite and when someone else came along, you would be passed over.

At this time there were hardly any designers who were also directors – the one exception being Philip Prowse at the Glasgow Citizens Theatre. Prowse was part of a triumvirate with Giles Havergal and Robert David MacDonald who teamed up in the early 1960s at the Palace Theatre, Watford. They worked on the principle that the most important thing was to be able to do the plays they were passionate about. Their passion would communicate directly to the audience. From 1978 to 1985, they produced plays that could not be seen anywhere else in Britain, and confounding all box office myths, they played to capacity audiences. They educated themselves as well as the audiences, exploring drama, and playing out their individual passions – each of the three making work in their own visual language. They created a generation of daring actors, and used young designers straight out of college that they thought could add to their stable. But Philip Prowse had a very clear individual vision, and at this famous meeting at Riverside Studios he was able to state that, "the best conversation I ever had with a director was with myself in bed at night". In fact Philip Prowse was not really interested in the concept of 'designing'. He did not do elaborate drawings or renderings, rarely made scale models, but created around him a team of interpreters who understood his visual vocabulary which, used similar elements over and over again in different combinations. He was only interested in how to stage plays that he was able to choose himself, and he was prepared to take full responsibility for success or failure. The most original of the Glasgow Citizens' productions, and in particular Philip Prowse's, were usually reviewed as being 'European' and that became the euphemism for designers who dared to break out of their boxes.

In retrospect, it can be seen that Philip Prowse was doing no more than following a vision presented by the visionary architect and theatre-maker Adolphe Appia at the turn of the century. Appia saw that 'creation' meant the synthesis of space, light and performance achieved by one personal vision. The Czech architect and scenographer Josef Svoboda (1920–2002) used exactly the same words in 1973 to define his own works. Although the obituaries carefully used the word 'co-operated' rather than 'collaborate', Svoboda worked with several directors, notably Alfred Radok, but his true contribution to the advance of theatre-making was in his self-authored productions. Here, in total control, he was able to combine direction and design in one creative statement. Working autonomously, he invented and patented lighting and projection techniques that sculpted the dark void of the stage space where creation always meant starting from zero. "Scenery", Svoboda said, "is not an end in itself, but a logical component of the complementary arts of the stage. The scenic artist collaborates on equal terms with the author and the director."

In his note to the third edition of The Development of the Theatre, Allardyce Nicholl describes his, "belief that we stand in an age where there is urgent need of a boldly fresh orientation toward stage form, involving an abandonment of worn out devices, and the creation of new theatrical concepts." In the preface he draws attention to the American stage pioneers Lee Simonson, Donald Oenslager, Jo Mielziner and Robert Edmond Jones, crediting the American public...

Details zur Ausgabe

• Verlag: Intellect Books - IPSUK
• Erscheinungsdatum: 2006
• Sprache: Englisch
• ISBN 10: 1841501379
• ISBN 13: 9781841501376
• Einband: Taschenbuch
• Anzahl der Seiten: 188
• Herausgeber: Oddey Alison, White Christine
• Kontakt zum Hersteller: Nicht verfügbar
• Verantwortliche Person: GPSR Kontakt; gpsr@libri.de; ; Friedensallee 273; Hamburg; 22763; Deutschland