The Theatre Times: Scenography is generally considered an element of secondary importance in theatre since its main function is to represent the settings for dramatic works. It is not surprising, therefore, that it has long been associated with the depiction of an illusory idealized world within a carefully organized theatrical environment. However, in these last years, scenography has developed the ability to operate not merely as a backdrop or as a by-product of theatre but rather as an element independent of the performance or text.
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This article caught my eye because of all the recent talk about sending CMU students to the upcoming Prague Quadrennial. The photos and writing about the Swiss contributions to the increasingly visible field of scenography only added to my excitement about the prospect of going to PQ. Though an undeclared DP, I am currently most interested in sets-- more broadly, spaces. This article opened my eyes to some of the ways that the international theatre design community necessarily pushes the conventions that I am familiar with in the US. Theatrical designs that transcend the walls of a theater are necessarily described more broadly and abstractly, with words like “event space,” “spatial platform,” and “a living and fluid organism reflecting the mutability of our natural environments.” These designs can be backdrops to something greater or be standalone works of art, and I am so excited to see the ways in which the boundaries and capacities of scenography are pushed at the Prague Quadrennial.
Scenography has always been an interesting concept from, and I now know many people that are looking into it or are currently studying the practice. This article looks at the quadrennial in Prague and some of the works that are going to be displayed. The significant thing here is the overall composition of the work and seeing how everything comes together to produce such an integrated work. All aspects of working together to help compose the image are what it is truly about. they said it best by saying "Now, more than ever, space might be considered an “aesthetic praxis” that, rather than delineating spatial boundaries, allows the viewer to “experience experience”, to become both a physical and an intellectual player, to extend the perception of space itself. [iv] In other words, space has become the yardstick of the passage from medium-specificity into medium multiplicity." the use of things in new ways and whole compositions are becoming more and more important.
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