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• Illustrations Contributors Acknowledgements Foreword - Arnold Aronson
• Introducing `Expanded' Scenography - Joslin McKinney and Scott Palmer
• Section 1: TECHNOLOGICAL SPACE
• 1 Devices of Wonder: globalizing technologies in the process of scenography - Christopher Baugh (University of Leeds, UK)
• 2 Screen Space: Bearing Witness & Performing Resistance - Dorita Hannah (University of Tasmania, Australia)
• Section 2: ARCHITECTURAL SPACE
• 3 Between Symbolic Representation and New Critical Realism: Architecture as
• Scenography and Scenography as Architecture - Thea Brejzek (University of Technology, Sydney, Australia)
• 4 City as Site: Street Performance and Site Permeability during the Festival Internacional Teatro a Mil, Chile, 2012-2015 - Marcela Oteiza (Wesleyan University, CT, USA)
• Section 3: AGENCY
• 5 Scenography Matters: Performing Romani Identities: Strategy and Critique - Jane Collins (University of the Arts, London, UK) and Ethel Brooks (Rutgers University, NJ, USA)
• 6 Scenographic Agency: A Showing-doing and a Responsibility for Showing-doing - Kathleen Irwin (University of Regina, Canada)
• 7 Thinking that Matters: Towards a Post-Anthropocentric Approach to Performance Design - Maaike Bleeker (Utrecht University, Netherlands)
• Section 4: AUDIENCES
• 8 Audience Immersion, Mindfulness and the Experience of Scenography - David Shearing (University of Leeds, UK)
• 9 Cognitive Approaches to Performance Design, or How the Dead Materialize and Other Spectacular Design Solutions - Stephen Di Benedetto (University of Miami, FL, USA)
• Section 5: MATERIALITY
• 10 The Matter of Water: Bodily Experience of Scenography in Contemporary Spectacle - Nebojsa Tabacki (University of the Arts, Berlin, Germany)
• 11 Ecologies of Autism: Vibrant Space in Imagining Autism - Melissa Trimingham (University of Kent, UK) Bibliography Index.
• (source: Nielsen Book Data)

Scenography Expanded is a foundational text offering readers a thorough introduction to contemporary performance design, both in and beyond the theatre. It examines the potential of the visual, spatial, technological, material and environmental aspects of performance to shape performative encounters. It analyses examples of scenography as sites of imaginative exchange and transformative experience and it discusses the social, political and ethical dimensions of performance design. The international range of contributors and case studies provide clear perspectives on why scenographic design has become a central consideration for performance makers today. The extended introduction defines the characteristics of 21st-century scenography and examines the scope and potentials of this new field. Across five sections, the volume provides examples and case studies which richly illustrate the scope of contemporary scenographic practice and which analyse the various ways in which it is used in global cultural contexts. These include mainstream theatre practice, experimental theatre, installation and live art, performance in the city, large-scale events and popular entertainments, and performances by and for specific communities.
(source: Nielsen Book Data)

• Preface
• Part 1: Rooms: An Introduction
• 1. Box Sets
• 2. Caste and Caste
• 3. The Addiction to Dwelling
• 4. The Lapsed and the Lost: The Pillars of Society
• 5. Inside and Outside A Doll's House
• 6. Notes on Nora's Experience of the Room
• 7. Close Quarters: The Phenomenal Room
• 8. Lavender, Dried Roses and Death: Hedda Gabler
• 9. The Back Room: The Wild Duck 10.Making Room: The Master Builder
• 11. A Note on Ibsen's Radicalism
• 12. The Shelf Life of Dramatic Realism
• 13. Realism and Scenic Space
• 14. The Structure of Meaning in Dramatic Realism
• Part 2: Specimens
• 15. Suburban House: Candida
• 16. Living Room: A Raisin in the Sun
• 17. What's Right: Two Trains Running
• 18. Standing for Something: A Long Day's Journey into Night
• 19. Long Night's Journey into Day: A Delicate Balance
• 20. The Dump: Who's Afraid of Virginia Woolf?
• 21. Domus Lugubris: Translations
• 22. Darker In than Out: The Room
• 23. Keeping House: The Birthday Party
• 24. Dungheap: Curse of the Starving Class
• 25. No Refuge: The Lower Depths
• 26. Speed Therapy: The Iceman Cometh
• 27. Upstairs: The Dumb Waiter
• 28. The Something Else: Miss Julie
• 29. Economic Betterment: Oleanna
• 30. The Good Life: 'night, Mother
• 31. Natural Habitat: The Slave
• Part 3: Variations
• 32. Ghost Rooms: The Cherry Orchard
• 33. Sleepers Awake: Heartbreak House
• 34. The Big House: Summer
• 35. Eviction: The Three Sisters
• 36. Settling: Fifth of July
• 37. Their Master's Voice: Aristocrats
• 38. Outside Inside: Dancing at Lughnasa
• 39. The Usual Darkness: All My Sons
• 40. The Office: Uncle Vanya
• 41. Gardens: Mrs. Warren's Profession
• 42. Control Booth: Ma Rainey's Black Bottom
• Part 4: Interventions
• 43. Mom's House: True West
• 44. Ghosts: The Piano Lesson
• 45. Recumbency: Plenty
• 46. Out of Bounds: A Streetcar Named Desire
• 47. It All Happens: Old Times
• 48. Out Back: Buried Child
• 49. The Inside of his Head: Philadelphia, Here I Come!
• 50. Diamonds in the Dark: Death of a Salesman
• 51. Sitting in the Dark: Fefu and her Friends
• 52. Visitors: "Heart's Desire"
• 53. Exit through the Window: The Swan Addendum: Amour Works Cited.
• (source: Nielsen Book Data)

Dramatic Realism, since its birth in the hectic late years of the nineteenth century, gave theatrical and thematic energy to the interaction between a play's text and the way that it looked on the stage. Characters began to find themselves in rooms and settings that played an active and changing role in the drama, and their dialogue and reactions evolved in time with these changes. As life itself became more elaborate during the 20th Century, so these rooms were invaded and then defined by the outside world. Fred Miller Robinson's enjoyable and stimulating essays on this enduring genre tackle the dreams and anxieties of the middles classes of the Industrial Revolution - dreams of domestic comfort and refuge, and anxieties about how entrapping that comfort could be. Moving from Ibsen to Chekhov and onwards into later plays in which the reality of 'Realism' comes under scrutiny, this is a book to dip into before a performance or to study during a class.
(source: Nielsen Book Data)

• Preface Acknowledgements I. Beginnings
• *
• Chapter 1 - What is Design?
• *
• Chapter 2 - Content and Context
• *
• Chapter 3 - Genre
• *
• Chapter 4 - Style
• *
• Chapter 5 - Structure and Format
• II. Elements of Design
• *
• Chapter 6 - Line
• *
• Chapter 7 - Shape/Form/Mass/Space
• *
• Chapter 8 - Value
• *
• Chapter 9 - Color
• *
• Chapter 10 - Texture
• *
• Chapter 11 - Creating the Illusion of Depth on a flat Surface
• III. Principles of Design
• *
• Chapter 12 - Unity and Variety
• *
• Chapter 13 - Balance
• *
• Chapter 14 - Repetition/Pattern/Rhythm
• *
• Chapter 15 - Scale and Proportion
• *
• Chapter 16 - Emphasis and Subordination
• IV. Core Principles for the Theatrical Designer *
• Chapter 17 - Collaboration
• *
• Chapter 18 - Analysis
• *
• Chapter 19 - Conceptualization
• *
• Chapter 20 - The Design Process
• *
• Chapter 21 - The Role of the Critique
• *
• Chapter 22 - Drawing as Our Common Language
• *
• Chapter 23 - Rendering Techniques
• V. Individual Design Areas *
• Chapter 24 - Costume Design
• *
• Chapter 25 - Scene Design
• *
• Chapter 26 - Lighting Design
• *
• Chapter 27 - Sound Design
• *
• Chapter 28 - Projection Design
• Glossary Bibliography Index.
• (source: Nielsen Book Data)

The Art of Theatrical Design: Elements of Visual Composition, Methods, and Practice addresses the core principles that develop the student designer into a true artist, providing a foundation that ensures success with each production design. This text concentrates on the skills necessary to create effective, evocative, and engaging theatrical designs that support the play contextually, thematically, and visually. It gives students the grounding in core design principles they need to approach design challenges and make design decisions in both assigned class projects and realized productions. This book features: * In-depth discussions of design elements and principles for costume, set, lighting, sound, and projection designs * Coverage of key concepts such as content, context, genre, style, play structure and format, and the demands and limitations of various theatrical spaces * Essential principles, including collaboration, inspiration, conceptualization, script analysis, conducting effective research, building a visual library, developing an individual design process, and the role of the critique in collaboration * Information on recent digital drawing tool technology, such as the Wacom(R) Inkling pen, Wacom(R) Intuos digitizing tablets and digital sketching, and rendering programs such as Autodesk(R) Sketchbook Pro and Adobe(R) Photoshop(R) * Chapter exercises and key terms designed to provide an engaging experience with the material and to facilitate student understanding.
(source: Nielsen Book Data)

• 1. The Theatre Designer's Job
• 2. Traditions of Stage Design
• 3. The Vocabulary of Visual Thinking
• 4. The Artistry of the Set
• 5. The Artistry of the Costume
• 6. The Artistry of Light
• 7. The Artistry of Sound
• 8. The Collaborative Process. Glossary. Bibliography. Index.
• (source: Nielsen Book Data)

This introduction to theatre design explains the theories, strategies, and tools of practical design work for the undergraduate student. Through its numerous illustrated case studies and analysis of key terms, students will build an understanding of the design process and be able to: * identify the fundamentals of theatre design and scenography * recognize the role of individual design areas such as scenery, costume, lighting and sound * develop both conceptual and analytical thinking * Communicate their own understanding of complex design work * trace the traditions of stage design, from Sebastiano Serlio to Julie Taymor. Demonstrating the dynamics of good design through the work of influential designers, Stephen Di Benedetto also looks in depth at script analysis, stylistic considerations and the importance of collaboration to the designer's craft. This is an essential guide for students and teachers of theatre design. Readers will form not only a strong ability to explain and understand the process of design, but also the basic skills required to conceive and realise designs of their own.
(source: Nielsen Book Data)

• PART I: Looking: the experience of seeing 1 Appearance and reality BERTRAND RUSSELL 2 The simile of the cave PLATO 3 The draughtsman's contract: how an artist creates an image JOHN WILLATS 4 The camera obscura and its subject JONATHAN CRARY 5 Meditations on a hobby horse or the roots of artistic form ERNST GOMBRICH 6 From Camera Lucida ROLAND BARTHES 7 The most concealed object HERBERT BLAU 8 Fascination and obsession SUSAN BENNETT PART II: Space and place 9 Of other spaces MICHEL FOUCAULT 10 From The Production of Space HENRI LEFEBVRE 11 For a hierarchy of means of expression on the stage ADOLPHE APPIA 12 A taxonomy of spatial function GAY MCAULEY 13 6 axioms for environmental theatre: axiom three RICHARD SCHECHNER 14 Site-specifics NICK KAYE 15 Dancing in the streets: the sensuous manifold as a concept for designing experience SCOTT PALMER AND SITA POPAT 16 Grounding ANDREW TODD 17 Towards an aesthetic of virtual reality GABRIELLA GIANNACHI 18 The house. From cellar to garret. The significance of the hut GASTON BACHELARD 19 Making and contesting time-spaces DOREEN MASSEY PART III: The designer: the scenographic
• 20 Postmodern design 145 ARNOLD ARONSON 21 "Oh, to make boardes to speak!" NICHOLAS TILL 22 Stage designs of a single gesture: the early work of Robert Edmond Jones ARTHUR B. FEINSOD 23 Foreword to The Stage is Set LEE SIMONSON 24 Hope, hopelessness / presence, absence: scenographic innovation and the poetic spaces of Jo Mielziner, Tennessee Williams and Arthur Miller LIAM DOONA 25 Brecht and stage design: the Buhnenbildner and the Buhnenbauer CHRISTOPHER BAUGH 26 The diseases of costume ROLAND BARTHES 27 My idea of the theatre TADEUSZ KANTOR 28 Visual composition, mostly RICHARD FOREMAN 29 Defining and reconstructing theatre sound ADRIAN CURTIN 30 On performance writing TIM ETCHELLS PART IV: Bodies in space 231 31 Docile bodies MICHEL FOUCAULT 32 Eye and mind MAURICE MERLEAU-PONTY 33 Of language and the flesh THOMAS LAQUEUR 34 From Adorned in Dreams ELIZABETH WILSON 35 The actor and the uber-marionette EDWARD GORDON CRAIG 36 Man and art figure OSKAR SCHLEMMER 37 From Towards a Poor Theatre JERZY GROTOWSKI 38 Woman, man, dog, tree: two decades of intimate and monumental bodies in Pina Bausch's Tanztheater GABRIELLE CODY 39 The will to evolve JANE GOODALL 40 Glow: an interview with Gideon Obarzanek CRISTIANE BOUGER PART V: Making meaning
• 41 The work of art in the age of its technological reproducibility: second version WALTER BENJAMIN 42 Interaction between text and reader WOLFGANG ISER 43 Semiotics LOIS TYSON 44 Limits of analysis, limits of theory and Pavis's questionnaire PATRICE PAVIS 45 Sound design: the scenography of engagement and distraction ROSS BROWN 46 Olfactory performances SALLY BANES 47 The naturalistic theatre and the Theatre of Mood VSEVOLOD MEYERHOLD 48 Theatre and cruelty ANTONIN ARTAUD 49 The humanist theatre/The catastrophic theatre and The cult of accessibility and the Theatre of Obscurity HOWARD BARKER 50 Drawing in rehearsal RAE SMITH 51 Speech introducing Freud ROBERT WILSON 52 From The Secret of Theatrical Space JOSEF SVOBODA.
• (source: Nielsen Book Data)

Theatre and Performance Design: A Reader in Scenography is an essential resource for those interested in the visual composition of performance and related scenographic practices. Theatre and performance studies, cultural theory, fine art, philosophy and the social sciences are brought together in one volume to examine the principle forces that inform understanding of theatre and performance design. The volume is organised thematically in five sections: looking, the experience of seeing space and place the designer: the scenographic bodies in space making meaning This major collection of key writings provides a much needed critical and contextual framework for the analysis of theatre and performance design. By locating this study within the broader field of scenography - the term increasingly used to describe a more integrated reading of performance - this unique anthology recognises the role played by all the elements of production in the creation of meaning. Contributors include Josef Svoboda, Richard Foreman, Roland Barthes, Oscar Schlemmer, Maurice Merleau-Ponty, Richard Schechner, Jonathan Crary, Elizabeth Wilson, Henri Lefebvre, Adolph Appia and Herbert Blau.
(source: Nielsen Book Data)

• Preface-- Part I. Elements:
• 1. What is scenography?--
• 2. Twentieth-century pioneers of scenography-- Part II. Processes of Scenography:
• 3. Text as conditioner of image--
• 4. Recognising and realising space--
• 5. Technology as performance-- Part III. Realisation and Reception:
• 6. Analysis of scenography--
• 7. Reception of scenography--
• 8. Completion and exchange of the image.
• (source: Nielsen Book Data)

Scenography - the manipulation and orchestration of the performance environment - is an increasingly popular and key area in performance studies. This book introduces the reader to the purpose, identity and scope of scenography and its theories and concepts. Settings and structures, light, projected images, sound, costumes and props are considered in relation to performing bodies, text, space and the role of the audience. Concentrating on scenographic developments in the twentieth century, the Introduction examines how these continue to evolve in the twenty-first century. Scenographic principles are clearly explained through practical examples and their theoretical context. Although acknowledging the many different ways in which design shapes the creation of scenography, the book is not exclusively concerned with the role of the theatre designer. In order to map out the wider territory and potential of scenography, the theories of pioneering scenographers are discussed alongside the work of directors, writers and visual artists.
(source: Nielsen Book Data)

• List of Illustrations Acknowledgements World View Introduction
• 1. Space
• 2. Text
• 3. Research
• 4. Colour and Composition
• 5. Direction
• 6. Performers
• 7. Spectators Afterword Postscript Index.
• (source: Nielsen Book Data)

Pamela Howard's "What is Scenography?" has become a classic text in contemporary theatre design and performance practice. In this second edition, the author expands on her holistic analysis of scenography as comprising space, text, research, art, performers, directors and spectators, to examine the changing nature of scenography in the twenty-first century. The book includes: case studies and anecdotes from Howard's own celebrated career; illustrations of her own recent work, in full colour throughout; an updated 'world view' of scenography, with definitions from the world's most famous and influential scenographers; and, a direct and personal response to the question of how to define scenography by one of the world's leading practitioners. "What is Scenography?" continues to shape the work of visual theatremakers throughout the world.
(source: Nielsen Book Data)

• Postmodern design
• One hundred years of stage lighting--why we cannot light as Appia did
• New homes for new theater
• Theater technology and the shifting aesthetic
• Behind the screen door
• Technology and dramaturgical development--five observations
• (Sceno)graphic style
• Can theater and media speak the same language?
• Looking into the abyss
• The scenography of Chekhov
• Architect of dreams--the theatrical vision of Joseph Urban
• Richard Foreman as scenographer
• The Wooster group as cartographers
• Design for Angels in America--envisioning the millennium
• The art of transition--David Rockwell and theater
• The stage is a dangerous machine--the designs of George Tsypin.

Scenography is becoming a universally used term in professional theatre practice and education, but what exactly is it? This volume is a very personal and direct response to this question by one of the world's leading scenographers. The result is a provocative re-evaluation of the traditional role and methods of theatre designers, pointing towards a more holistic approach to making theatre. Pamela Howard examines scenography from many different perspectives including: Space Text Research Colour and Composition Performers Spectators. Part polemic and part critical analysis, the text is enriched with anecdotes and case studies taken from Howard's career and extensive research into the subject. Illustrated with brilliant examples of Pamela Howard's own work, this book is a must for all visual theatremakers.
(source: Nielsen Book Data)

This book considers the contribution of costume, settings, props and lighting to stage productions and explains the purposes and processes involved in their design. It covers all aspects of the subject, from theatre building and visual design to new design technologies and critical evaluation. Written following the author's years at London's Central School of Art and Design where he is in charge of theatre design, this book is aimed at aspiring and practising theatre designers. The Stage Lighting Handbook, "The Staging Handbook" and "Theatre Administration" are also by Francis Reid.".
(source: Nielsen Book Data)