Scenography

The representation of Mexico in France through three exhibitions since 2014, is the subject of
this memory. The exhibitions studied are: "Maya: revelation of an endless time", (Museum
Quai Branly, October 2014-February 2015); "Mexico: Living it to believe it" (La Villette,
July 2015) and "Mexico (1900-1950): Diego Rivera, Frida Kahlo, Jose Clemente Orozco
and the avant-gardes "(Grand Palais, October 2016-January 2017).
The body of this memoir is a comparison between three exhibitions, three commissioners, three
different exhibition venues, three scenographers, different target audiences, and three visions
different from the same country. Similarly, the thesis focuses on understanding interculturality
between Mexico and France, and the strategy of each commissioner to show a Mexico
real.
The result of this thesis is to highlight the different challenges for the professionals of the
museum, specifically, the scenographers, for the creation of an exhibition that represents the
Mexico in France, through stereotypes or prejudices.

Resumen: La vida del quinto duque de Portland es la historia de una obsesión por el camuflaje y la ocultación, lo que lo llevó a inventar con ingenio una serie de espacios y artilugios para crear en su casa un escenario digno para un juego de invisibilidad y engaño: un coche de caballos especialmente ideado para desplazarse sin ser visto, trampillas, dobles puertas, sistemas de comunicación con el personal, pasadizos y corredores ocultos bajo el suelo, atajos secretos, entre otros. Este artículo da cuenta de la ciudad doble que el Duque diseñó y construyó en Welbeck Estate para vivir su vida entorno a la idea de la ocultación, mientras reflexiona sobre la forma en la cual el tiempo y el espacio se pliegan y repliegan sobre sí mismos en función de las necesidades y de las cualidades creativas de una persona. Palabras claves: espacio oculto, invisibilidad, escenografía, Welbeck Estate, John William Cavendish-Scott-Bentinck Abstract: The life of the fifth Duke of Portland is the story ...

This essay sets forth a nuanced interpretation of Baldassare Peruzzi’s stage design for La Calandria (1514) that addresses the spatial disassociations found in the drawing in relation to active modes of visual engagement. Eschewing traditional and overarching generalizations about scenography in the sixteenth century, like the pictorial manifestation of Aristotle’s theory of unity through single-point perspective, it shows that Peruzzi presents a multifarious and het- erogeneous space, not a defined place in which the action is contained. Using as a fulcrum the flattened, disproportional and paradoxical arrangement of the ruins of Rome, the space in the drawing can be understood to present Rome as a monumental concept. Peruzzi’s drawing thus articulates an interplay of relations that, maximizing the artificial by conjuring an anomalous space, displaces the phenomenological expectations of the viewers in order to create a fantastic albeit impossible space that is, ultimately, truer to Rome than any mimetic instantiation of the city.

For scenic designers, the building of a scenic model is not merely a component of one's practice-it is an act of creation. Handcrafted from pieces of this and that, the model's purpose is to imagine whole worlds in miniature that, in turn, inspire fantasies and daydreams. But when this purpose is ignored, and the model is regarded as simply a tool for communication, it is seen as having outlived its usefulness and often thrown away. On the stage our work exists only briefly and then it is gone (i.e., the bittersweet, ephemeral nature of theatre) but the model need not meet the same fate. The life of the scenic model, like any life spent in the service of art, is worthy of more consideration. We must imagine a better afterlife for it. In this article, I examine an exhibit of my own discarded scenic models titled Please Touch: Revitalizing Scenic Models through Play. Displayed in their ruined state, detached from their original duties as tools for production, I invited audiences to play with the models; to touch and examine them; and to move or rearrange them, as a way to revitalize them through engagement so that they might live again.

Este artigo busca apresentar o processo de trabalho da equipe de curadoria da Mostra dos Estudantes Brasileiros na Quadrienal de Praga de 2019, expondo as etapas de curadoria durante o período compreendido entre a nomeação da equipe (2017) e a exposição internacional.Palavras-chavesMostra dos Estudantes. Design da Performance. Cenografia. Curadoria.

Durante el siglo XVII una serie de artistas como Parigi, Torelli y Sabbattini consolidaron la profesión del Escenógrafo, como expresión del artista global y polifacético, a través de una ingente labor especulativa, plasmada en una tratadistica específica: libretos y tratados, de la misma forma que lograron articular el lenguaje simbólico de la Fiesta Barroca, cuya manifestación apoteósica por excelencia era la Ópera dramática, con una inmensa experiencia práctica en la organización de espectáculos de amplio espectro.

As ‘a maddeningly elastic phenomenon’ (Kraidy), hybridity presents cultural distinctions as porous – especially since it denotes a dynamic process over a static state. Consequently, addressing hybridity in conjunction with live performance foregrounds the associative character of consciousness. For theatre is uniquely suited to generate authenticity through ‘the happening of the interface’ (Giannachi) – i.e. by staging its hypermediacy to highlight its hybridizing potential. Almost as schizophrenic, the principle of morphing then provides another platform to reflect on matters of authenticity in the digital age due to its ‘uncanny dramatization of a process metaphysics’ (Sobchack). Especially when considering the collaboration between choreographer Frédéric Flamand with architects Diller+Scofidio on Moving Target (1996), an encounter between physical bodies and a techno-architectonic stage environment where performers morphed ‘live’ on stage.

Since cinema's earliest days, literary adaptation has provided the movies with stories; and so we use literary terms like metaphor, metonymy and synecdoche to describe visual things. But there is another way of looking at film, and that is through its relationship with the visual arts – mainly painting, the oldest of the art forms.

Art History for Filmmakers is an inspiring guide to how images from art can be used by filmmakers to establish period detail and to teach composition, colour theory and lighting. The book looks at the key moments in the development of the Western painting, and how these became part of the Western visual culture from which cinema emerges, before exploring how paintings can be representative of different genres, such as horror, sex, violence, realism and fantasy, and how the images in these paintings connect with cinema.

Preview the book here: http://bit.ly/318MAXN

Blogging Art History for Filmmakers on Facebook https://www.facebook.com/arthistoryfilm/

Analyses the dramaturgical use of forestage doors and wing entrances in early Restoration plays, demonstrating that models of Restoration theatre stages based on a widely-reproduced drawing attributed to Christopher Wren are potentially erroneous.

This article looks at the pioneering of performance design teaching and practice in New Zealand, considering new attitudes to scenography that have taken form there over the past 10 years and connecting these observations to the unique geography, Pacific Island cultures, and pioneering practices of the region.

To achieve Sense of Presence (SOP), 1920's Bauhaus scenography is presented as inspiration for a design language for immersion in virtual environments (VE). The discipline's tradition of immersion, raumempfindung, is the construction of space to facilitate a tangible experience. It is mapped into five categories for VR: movement, externals, tone, time, and topology. This language informed the design of Ares, a room-scale VR experience. A user study assessed the approach and results indicated that the Bauhaus methodology benefits immersion to support SOP.

La place de la métaphore dans le discours philosophique est une question aussi vieille que la philosophie. Cet article fait l'examen et le relais de réflexions menées à ce propos par Paul Ricoeur et Jacques Derrida. Il aborde la relation intime de la philosophie à la métaphore en ayant le souci de ne pas assimiler les deux, ce qui aurait pour conséquence d'enlever à la philosophie tout critère de distinction. Sa proposition de base est de considérer les métaphores comme un élément qui s'articule à la "scène de pensée" du texte philosophique. De cette façon, leur relation à la philosophie se discerne: elles donnent à penser, ou pas, en fonction de ce qu'elles font sentir au lecteur qui regarde la scène, en vertu des sensations de tension qu'elles lui laissent. Ces tensions poussent à s'interroger, activent la pensée. Considérées sous cet angle, les métaphores de la construction, centrales dans le Discours de la méthode de René Descartes, montrent toute leur force. Elles font vivre les tensions intenables du maître-constructeur; ne laissent pas tranquille; imprègnent le lecteur des ambiguïtés du projet cartésien; et font penser.

The role of metaphor in philosophical discourse is a question as old as philosophy. This article considers and relays some of Paul Ricoeur's and Jacques Derrida's propositions on the issue. It tackles the intimate relation linking philosophy to metaphor, in a perspective which do not assimilate them. The consequence of an assimilation would be an impossibility for philosophy to preserve any singular criterion. Its general claim is to consider that metaphors are an element articulated to the ''scene of thought'' of the philosophical text. This way, their connection with philosophy appears: they give rise to thinking, or not, according to the way they affect the feelings of the reader watching the scene, according to the sensations of tension they leave in him. These tensions push us to interrogate ourselves, activate and feed thoughts. Considered in this way, metaphors of construction, at the core of René Descartes’ Discourse on the Method, can fully show their strength. They make feel the unbearable tensions the master builder have to live with; they trouble; allow the ambiguities of the Cartesian Project to permeate the reader; and make him think.

Eds. Andrew Filmer and Juliet Rufford
Bloomsbury / Methuen Engage series eds. Enoch Brater and Mark Taylor-Batty

BOOK DESCRIPTION
Performing Architectures examines the relationships that exist between theatre, performance and architecture within an expanded field of spatial and artistic practice. The essays that make up the collection ask what new terms, what modes of thinking, and what techniques and practices have emerged (or might emerge) through encounters between architecture and performance. This enquiry is located in three key areas. First, the book focuses on theatre projects – that is: built, speculative or utopian architectural projects for theatre and performance. Second, it focuses on interdisciplinary practices that critically re-examine and transform our experiences of architecture, performance and the built environment. Third, it focuses on interdisciplinary pedagogies that are driven by the question of what is gained for students of one discipline in the encounter between that discipline and the other. The volume provides an essential introduction to the ways in which performance and architecture – as socio-spatial processes and as things made or constructed – operate as generating, shaping and steering forces in understanding and performing the other.

CONTENTS
Essays by a distinguished list of international authors including: Himanshu Burte, Dorita Hannah, Klaus Van Den Berg, Evelyn Furquim Werneck Lima, TAAT collective, Andrew Filmer, Mike Pearson and Cathy Turner, David Roberts, Natalie Rewa, Alex Schweder, Juliet Rufford, Beth Weinstein and Robert Wilson.

PRAISE FOR THE BOOK
This wide-ranging and stimulating collection offers major new insights into our performative relationship with the world around us. 
Marvin Carlson, City University of New York, USA


A provocative volume that reaches across the world and through time to offer new theoretical and practical perspectives on architecture, dramaturgy and scenography.
Joanne Tompkins, The University of Queensland, Australia


This well conceived and implemented volume brings together thinking on the complex relationship between performance and architecture. Timely and fascinating, Performing Architectures works towards an architectural dramaturgy appropriate for our post-dramatic concerns and practice.
Maurya Wickstrom, City University of New York, USA

Η σκηνογραφία, ως εφαρμοσμένη τέχνη, είναι το αποτέλεσμα μίας συνάρτησης ανάμεσα σε τρεις παράγοντες: τον σχεδιασμό του καλλιτέχνη σκηνογράφου, το οικονομικό μερίδιο που της αναλογεί από τον προϋπολογισμό της παραγωγής και φυσικά τη σκηνή που θα τη δεξιωθεί. Το χρήμα και ο χώρος επηρεάζουν και άλλες φορές καθορίζουν το αισθητικό αποτέλεσμα. Επίσης, δίνουν το πλαίσιο μέσα στο οποίο οφείλει να κινηθεί η δημιουργία του καλλιτέχνη-σκηνογράφου. Γι' αυτό, η παρούσα εργασία επιχειρεί να εξετάσει τη σχέση της νεοελληνικής σκηνογραφίας με τους χώρους που τελικά τη δεξιώθηκαν, με αφορμή την επαναλειτουργία της κεντρικής σκηνής του Εθνικού Θεάτρου στο κτήριο Τσίλερ επί της οδού Αγίου Κωνσταντίνου στην Αθήνα. Ως απώτερος στόχος τίθεται η απάντηση στο ερώτημα αν υπάρχει ένας εθνικός χώρος για τη νεοελληνική σκηνογραφία, δηλαδή ένας χώρος που προωθεί και αναδεικνύει την εργασία των Ελλήνων σκηνογράφων και αν ναι, ποιος είναι αυτός.

This article discusses playable spaces language and creation processes - in particular the Parque Lúdico do SESC, in São Paulo city - observed by the interrelation among environment, architecture and design. It is based on environmental perception theories and in the visual communication one, with emphasis in the cultural and education approach.

Die Psychoanalyse ist die wohl nachhaltigste der neuen Anthropologien, die das 20. Jahrhundert hervorbringt. Zunächst ist sie eine Anthropologie, die den Menschen grundsätzlich in Relation denkt, in Relation zu einem anderen, das immer doppelt da ist: als anderes in ihm, in seinem Inneren selbst, als Eros und Thanatos, und als anderes in seinem Außen, als soziale Relation, als Relation zu Dingen, als Eingebettetsein in kulturelle Überlieferung. Das Ich ist nicht Herr im eigenen Haus, wie es Sigmund Freud formuliert hat1, es ist aber auch nicht Herr der Bedeutungen der kulturellen Traditionen und Äußerungen, wie Freud in seinen Interpretationen so vieler Formen der Religion und der Kunst immer wieder deutlich gemacht hat. Es gibt für Freud keine Äußerung des Subjekts, deren Intentionalität dem Subjekt vollständig transparent wäre, es gibt auch keinen sozialen oder kulturellen Ausdruck, dessen Bedeutungen sich vollständig erschließen lassen würden, und zwar nicht nur in dem Sin-ne, dass das Subjekt die fremde Äußerung nie vollständig wird verstehen oder entschlüsseln können, sondern auch in dem Sinne, dass ihm nie vollständig transparent werden kann, was die Äußerung mit ihm macht. Das Subjekt ist inmitten einer Konstellation, einer Szene. Und es wäre ein allzu eitles Ziel, sie beherrschen zu wollen. Aber es ist möglich, sich selbst in dieser Szene zu ver-ändern und damit auch die Szene selbst. Das ist der Anspruch der psychoana-lytischen Kur, die ja zugleich die einzigartige und nur in ihrer Verbindung mit der Theorie mögliche Empirie der Psychoanalyse ist. Freuds Anthropologie stellt keine gesonderte Medientheorie heraus. Doch sind die impliziten Annahmen und die expliziten Bezüge auf die Medialität so vielfältig, dass es hier auch nur darum gehen kann, einige zentrale Aspekte aufzuzeigen. Zu den impliziten Annahmen Freuds gehört nicht nur, dass jedes Ding, mit dem wir es zu tun haben, zu einem Medium werden kann, wie es Fritz Heider 1926 in einem erst Jahrzehnte später wirklich beachteten Aufsatz schrieb 2 , sondern vor allem, dass die Bedeutungen selbst immer vielschich-tig und vor allem veränderlich sind. Es geht der Psychoanalyse Freuds dabei 1 Sigmund Freud, ,,Eine Schwierigkeit der Psychoanalyse", in: ders. Gesammelte Werke, Frank-furt a m Main 1972

Ecoscenography seeks to design temporary event spaces and
places, with a focus on positive contribution to social and
ecological function and evolution. This paper explores the
potential of ecoscenography to contribute to creative
placemaking, using a practice-led case study (The Living Stage
NYC) that examines how community-engaged performance
spaces can foster dialogue and build social-ecological capital. The
Living Stage is a global initiative which combines stage design,
horticulture and community engagement to create recyclable,
biodegradable, biodiverse and edible performance spaces. Part
theatre, part garden and part growing demonstration, the New
York project took place at Meltzer Park on the Lower East Side of
Manhattan in collaboration with a vibrant cohort of linguistically
and ethnically diverse seniors, fifth graders and neighbouring
residents. Over the course of six weeks, the asphalt lined park was
transformed into a space of lush greenery, along with vibrant art
installations and eclectic performances that celebrated the
community’s identity and potential. Drawing upon literature from
placemaking, expanded scenography and ecoscenography, this
paper explores the opportunities and challenges of creative
placemaking, as well as the changing role of the scenographer in
seeking out possibilities for political, social, cultural and ecological
revitalisation beyond the confines of the theatre building.

This article examines the destabilizing efficacy of costuming in contemporary theatre in relation to naturalized genders. It focuses on selected portions of Suzan-Lori Parks’ Venus, In the Blood and Topdog/Underdog that are noteworthy within the context of costuming, illuminated by Judith Butler’s theories on gender performativity. The article places at the centre of its investigation subversive images that Parks’ dramaturgy promotes for the stage, and argues for the important role that directors and designers play in executing the dramatist’s interrogation of abiding genders. I argue that, in the work of this playwright, intersecting gendered, racial and social categorizations can all be shown to encompass layers of cultural meaning that fossilize over time to give the appearance of fixity. Parks’ plays have the potential, through costuming opportunities, to make these layers visible, revealing their cultural and historical materialization and showing that they are, in fact, divisible.

[English abstract below]
Bien que la «Neuvième livraison» des planches de L’Encyclopédie (1772) consacrée au théâtre et à ses machines suggère d’abord une démarche positiviste, voire mécaniste, l’ensemble des planches constitue surtout aussi un document précieux sur l’imaginaire du théâtre classique. Ce volume semble proposer une vision raisonnée des  moyens dont diposait alors le théâtre le mieux équipé, l’Opéra de Paris, pour concrétiser sur la scène l’univers merveilleux baroque. Or, au-delà de la première impression de technicité, prometteuse d’un savoir concret et pratique, les schémas de machine s’avèrent tout à fait insuffisants à faire comprendre au non-spécialiste comment les dispositifs fonctionnent en réalité. Le rôle de ces planches est de dresser le catalogue des lieux communs scénographiques, le lexique d’un idiome vieux de presque deux siècles qui trouve ici son ultime transcription; loin de constituer un document vivant de la pratique théâtrale de leur époque, elles offrent au lecteur l’image nostalgique et figée d’un imaginaire classique qui était déjà irrémédiablement voué à la disparition.

Although the ninth set of plates for L’Encyclopédie (1772) devoted to theater and its machines seems at first to promote a positivistic, and even mechanistic vision, this set of illustrations really constitutes a precious document on the French “classical” imagination. This volume apparently proposes a rational approach to the means then available to a sophisticated playhouse such as the Paris Opera for materializing on stage the wondrous universe of baroque drama. However, beyond the initial impression of technical accuracy and its promise of concrete, practical knowledge, the machinery schematics turn out to be quite insufficient when it comes to understanding, as a non-specialist, how the devices actually worked. In fact, these plates were really designed to provide a catalog of stagecraft commonplaces, a lexicon for a two-century old idiom that is transcribed here for the last time. Far from being a living document on theatrical practices of their time, the engravings offer the reader the stilted, nostalgic image of a classical imagination that was already fading into obsolescence.

Abstract

The main aim of this research project is to investigate the power of theatrical storytelling and image over children’s everyday lives, examining theatrical performances by and for children in the Theresienstadt ghetto during World War II.
The historical research develops based on the unique case of the ‘model ghetto-town’ of Theresienstadt (Terezín) in former Czechoslovakia, which, being neither a ghetto neighbourhood within a city nor a concentration-extermination camp, is recognised today as a huge ‘workshop’ where all manner of art was developed under occupation. This study focuses on children’s theatrical creation and explores the dynamics of theatrical action, storytelling and scenography in children’s lives under these specific coercive conditions. The elements of theatrical performance produced by and for the young inmates in the ghetto are documented by original diary entries, notes, posters, drawings and archival testimony from survivors, as well as by a series of original interviews with Theresienstadt survivors conducted as part of this study. The research provides the first detailed documentation of children’s performances in Theresienstadt as well as an in-depth analysis of the staging of the two main children’s productions staged between 1941 and 1945: the opera Brundibár and the dance-musical performance Little Fireflies.
The researcher’s own artistic identity as a scenographer has been a key element defining the point of view of this study, which also explores how a theatrical/visual metaphor can express the ineffable. Furthermore, the interaction between reality and fantasy through theatre providing ways to experience and deal with reality with the support of our imagination is investigated. The effects of theatre on the children of Theresienstadt are examined from four points of view, i.e. from a cultural, educational, sociological and psychological perspective, arguing theatre as a means of enhancing freedom of spirit, as well as enriching children’s upbringing.
The thesis concludes with a contemporary evaluation of the research results pertaining to this part of European cultural and theatrical history, pointing to the important function of theatre as a motivating power providing spiritual support in life.

Abstrak Wayang kulit adalah satu persembahan tradisional masyarakat Melayu Kelantan. Persembahan wayang kulit Melayu Kelantan merupakan medium hiburan utama masyarakat Melayu tradisional hingga mencapai kemuncak penerimaannya pada awal tahun 60-an. Hal ini menjadikan persembahan wayang kulit Melayu Kelantan mempunyai interpretasi kepercayaan dan nilai budaya masyarakat dalam setiap aspek persembahannya. Aspek rekabentuk sesebuah pementasan wayang kulit Melayu Kelantan ini terdiri daripada panggung dan peralatannya merangkumi cahaya, kelir, patung, dalang dan muzik. Asas utama persembahan wayang kulit adalah cahaya, kerana persembahan ini merupakan aksi dan gerakan patung oleh dalang di kelir hasil bayang daripada lampu. Oleh itu, boleh dikatakan bahawa pengcahayaan merupakan aspek penting yang mendasari rekabentuk pementasan persembahan wayang kulit Melayu Kelantan.Namun, seiring dengan perubahan zaman, wayang kulit Melayu Kelantan semakin terpinggir dengan kemunculan medium hiburan moden yang lebih menarik perhatian generasi muda. Para pengamal persembahan terpaksa bersaing dengan tuntutan zaman dalam memastikan persembahan ini terus hidup di kalangan masyarakat. Hal ini melibatkan tolak ansur dan pengolahan aspek pementasan persembahan untuk memenuhi selera masyarakat. Proses ini dikatakan menghilangkan simbol dan nilai asal kepercayaan masyarakat tradisional dalam aspek persembahan wayang kulit Kelantan. Kertas penyelidikan ini bertujuan untuk menganalisis aspek pengcahayaan dalam rekabentuk pementasan wayang kulit Kelantan semasa yang berlangsung di Gelanggang Seni Kota Bharu, Kelantan selama 12 minggu (Mac – Jun 2015). Penyelidikan ini melibatkan pendekatan kualitatif melalui pemerhatian, wawancara, dokumentasi foto dan video. Hal ini bagi mengenalpasti kewujudan simbol dan nilai kepercayaan masyarakat tempatan melalui penggunaan jenis lampu dan peralatan serta fungsinya. Melalui penyelidikan ini, dapat dipastikan sejauh mana aspek pengcahayaan pementasan persembahan wayang kulit Melayu Kelantan masih mempunyai simbol dan nilai tradisional.

Διαβάζοντας την εργασία αυτή ο αναγνώστης θα περιηγηθεί καταρχάς στις προσωπικότητες που επηρέασαν το Γιάννη Τσαρούχη ως εικαστικό και ειδικότερα ως σκηνογράφο, καθώς και στα σημεία αναφοράς για αυτόν, τα σημεία της περιρρέουσας ατμόσφαιρας από τα οποία άντλησε υλικό και κατόπιν μετουσίωσε σε Τέχνη. Πρόκειται για τα στοιχεία που αποτελούν ερμηνευτικά κλειδιά της σκηνογραφικής του Τέχνης. Η παρούσα εργασία φιλοδοξεί, επίσης, να αποτελέσει μια συνοπτική παρουσίαση των σκέψεων και δοκιμών του Γιάννη Τσαρούχη πάνω στην όψη του αρχαίου δράματος. Η τελευταία ενότητα είναι αφιερωμένη σε μια πιο ενδελεχή παρουσίαση των δυο πιο σημαντικών δοκιμών του, οι οποίες θεωρούνται σημαντικοί σταθμοί στην αναβίωση του είδους μεταπολεμικά. Αναφέρομαι στις παραστάσεις των Ορνίθων του Θεάτρου Τέχνης του 1959 και των Τρωάδων του 1977. Στόχος είναι να εξετάσουμε πώς ο δημιουργός τους μετουσιώνει τις σκέψεις του σε θεατρική πράξη και γιατί οι εν λόγω παραστάσεις θεωρούνται από τους ειδικούς ορόσημα στην ιστορία του μεταπολεμικού μας θεάτρου.

This paper discusses how these materials create a sensual and emotional experience through what I will say, 'selective visuality'. The paper is an attempt to understand materials and light through, placement, interaction, social value, mood, emotion, and motivation. This paper also examines how these scenographic elements evoke a certain emotion, experience, and unexpectedness in theatre and performance practices. By placing light and material, the paper explores the politics and aesthetics of material and materiality in performances. Before going to make any broader claim, it would be a good idea to characterize the term 'material' and 'light' in the context of scenographic. My employment of the term material in this paper always suggests 'visual material' in the arena of performance. The material could be in any form and any shape like a set, costume, props (wood, leather, mud, plastics, and garbage), and so on. Similarly, with light, any source of light which are used in pay/performance has been considered as theatre light. For analysis, the paper includes Abhilash Pillai's Peer Gynt (2015), Helen (2007), Anuradha Kapur's Virasat (2013), 409 Ramkinkars and Deepan Sivarman's Dr. Caligori (2015), Ubu Roi (2013) to intended to explore the different material and diverse lighting composition. It is interesting to see how the director has used different types of material and lighting for expression, communication, and meaning-making process.

The rising global consciousness of environmental degradation brings with it an opportunity to rethink current practices in cultural sectors. In the performing arts, many design methods have little regard for their environmental impact, and are largely unsustainable. This paper will discuss the application of ecological design for performance, with a focus on The Living Stage; a project that explores the potential of ecological strategies to influence the creative process, and deliver new modes of artistic expression. A centrepiece of the 2013 Castlemaine State Festival (Australia), The Living Stage combined stage design, permaculture and community engagement to create a recyclable, biodegradable and edible performance space. The paper has been written to accompany a film on The Living Stage and reveals how the project was achieved through the application of Sim Van der Ryn and Stuart Cowen’s ecological design principles. Moving beyond recycling and efficiency, this enquiry poses a more radical question: ‘Can we create designs that not only enrich our audience, but our community and environment as well?’

To see film: http://vimeo.com/117488908

Ssenari yazmağın qaydaları, formaları, üslubu haqqında istər
Azərbaycan dilində, istərsə də başqa dillərdə müxtəlif əsərlər nəşr
edilib, əlinizdəki bu kitab da onlardan biridir. Əsasən Feridun
Akyüreyin [Türkiyə] “Ssenaryo yazarı olmak” və Linda Sergerqin
[Amerika] “Yaxşı ssenarini daha yaxşı etməyin qaydaları” [Making
a good script great] kitablarından tərcümələrlə yanaşı ədəbiyyat
siyahısındakı bəzi əsərlərdən də istifadə olunmuşdur.
Dərs vəsaiti kimi nəzərdə tutulmuş “Ssenari yaradıcılığının
əsas istiqamətləri” kitabı Azərbaycan Dövlət Mədəniyyət və
İncəsənət Universitetinin “Ədəbi iş” ixtisası üzrə təhsil alan
tələbələri üçün nəzərdə tutulmuşdur.

«The present work approaches the possibility of music festivals to integrate the field of Arquitecture, sharing the sphere of Scenography. Here are established and treated the concepts taken as fundamentals to the theme study and framework as, among others: the Ephemeral, and so, related with Ephemeral Architecture; and Festivals. Regarding the subject, substances and materials as light and sound are ree- valuated in a different approach of the commun regularly given by architecture. Lastly, a methodology approach, nonexistent by now, is essayed and esta-blished to deal with the study cases, its caracterization and inventory - which can
later be used to build a structured database containing the information and data
acquired from the selected festival cases, allowing to support, in the future, a deeper and elaborated research.»
|
«Neste trabalho aborda-se a possibilidade de os festivais de música integrarem
o campo da Arquitetura em partilha solidária com o campo da Cenografia.  Aqui são definidos e tratados conceitos entendidos como fundamentais para
o estudo e enquadramento do tema, tais como, entre outros: o de Efémero, associado
à Arquitetura Efémera; e o de Festival. Neste âmbito reavaliam-se algumas matérias como luz e som, abordadas de forma distinta da arquitetura
comum.
Este trabalho pretende por fim contribuir para o estabelecimento de uma
metodologia de abordagem do tema, até agora inexistente, o que passa pelo levanta-
mento e caracterização de casos, constituindo-se fichas que poderão vir a constituir
uma base de dados estruturada com a informação e os dados recolhidos sobre os
festivais tratados, para um futuro estudo mais profundo e elaborado»

This article demonstrates that in Demain j’aurai vingt ans (“Tomorrow I will be Twenty”) Alain Mabanckou, while talking about his childhood in Pointe Noire in Congo, also talks about justifying his adhesion to the littérature-monde movement. In the main, fictional works of Alain Mabanckou portray his vision of African literature, Verre Cassé being a perfect example of this. While this earlier novel only highlights this vision, Demain j’aurai vingt ans tries to prove that this vision is the only pertinent one. In this regard, Mabanckou attempts to deconstruct the argument that the upholders of littérature-monde, to which he belongs, are westernized and too remote from African realities. The article further examines and analyses the strategies of the author based on the notions of paratopy and scenography as developed by Dominique Maingueneau in Le discours littéraire. Paratopie et scène d’énonciation (“Literary Discourse. Paratopy and enunciation scene”).
Keywords: Alain Mabanckou, Dominique Maingueneau, littérature-monde, paratopy, scenography