Rewa examines the work of seven of important theatre designers, artists who have been responsible for exciting initiatives in design during one of the most dynamic periods in the history of Canadian theatre, from the early 1970s to the late 1990s.
Scenography, the design for live performance, conceives of the creation of an environment rather than merely providing décor or background. Scenography in Canada: Selected Designers, is a new departure in the critical discussion of theatre in Canada, in which Natalie Rewa examines the work of seven of the country's important theatre designers: Susan Benson, Astrid Janson, Mary Kerr, Michael Levine, Ken MacDonald, Jim Plaxton, and Teresa Przybylski. These artists have been responsible for exciting initiatives in design during one of the most dynamic periods in the history of Canadian theatre, from the early 1970s to the late 1990s, when new companies were founded and new theatre facilities were created. Juxtaposing commentary by the artist and her own analysis, Rewa discusses the interactions of light, sets, and costume, and demonstrates how a multifaceted visual text that includes human performance is created in the works of each artist. The volume includes a collection of sketches, photos of work in progress, and completed designs, many of which have not been previously published.
Born in Rosetown, Saskatchewan in 1937, CameronPorteous trained at the Wimbledon College of Art inLondon, England. After returning to Canada in 1969he became Head of Design at the Vancouver Playhouse in1972 under Artistic Director Christopher Newton. Thiscreative partnership continued when Newton becameArtistic Director of the Shaw Festival and appointed himas Head of Design from 1980-1997.Porteous has had a prolific career in theatre and operadesign, working in most major theatres across Canadaas well as designing extensively for film and television.His work combines an international perspective witha distinctly personal style of theatrical design whichflourished during a robust period of Canadian theatrehistory. He led the way in expanding our view of designbeyond traditional models, embracing perspectives frombeyond our borders and anticipating our modern multiculturaland multi-media theatre. He continues to workin theatre, film, and television and has influenced manyemerging designers through his teaching, mentoring, andcreative work.
Shortlisted for the 2019 TaPRA Edited Collection Prize 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.
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.
This ground-breaking book is the first to bring an ecological focus to theatre and performance design, both in scholarship and in practice. Ecoscenography weaves environmental philosophies and practices across genres and fields to provide a captivating vision for the future of sustainable theatre production. The book forefronts leading designers that are driving this emerging field into the mainstream through their relational and reciprocal engagement with place, audiences, materials, and processes. Beyond its radical philosophy and framework, Ecoscenography makes a compelling case for pursuing an ecological ethic in theatre and performance design, not only as a moral imperative, but for the extraordinary possibilities that it offers for more-than-human engagement. Based on her personal insights as a leading ecological researcher and practitioner, Beer offers a rich resource for scholars, students and practitioners alike, opening up new processes and aesthetics of theatrical design that enhance the environmental and social advocacy of the field.
The third edition of Pamela Howard’s What is Scenography? expands on the author’s 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 new investigations of recent production projects from Howard’s celebrated career, including Carmen and Charlotte: A Tri-Coloured Play with Music, full-colour illustrations of her recent work and updated commentary from a wide spectrum of contemporary theatre makers. This book is suitable for students in Scenography and Theatre Design courses, along with theatre professionals.
How have theatre and performance research methods and methodologies engaged the expanding diversity of performing arts practices? How can students best combine performance/theatre research approaches in their projects? This book's 29 contributors provide hands-on answers to such questions. Challenging and debating received research wisdom and exploring innovative procedures for rigorous enquiry via archives, technology, practice-as-research, scenography, performer training, applied theatre/performance, body in performance and more, they create a focussed compendium of future research options.
Costume is an active agent for performance-making; it is a material object that embodies ideas shaped through collaborative creative work. A new focus in recent years on research in the area of costume has connected this practice in vital and new ways with theories of the body and embodiment, design practices, artistic and other forms of collaboration. Costume, like fashion and dress, is now viewed as an area of dynamic social significance and not simply as passive reflector of a pre-conceived social state or practice. This book offers new approaches to the study of costume, as well as fresh insights into the better-understood frames of historical, theoretical, practice-based and archival research into costume for performance. This anthology draws on the experience of a global group of established researchers as well as emerging voices. Below is a list of just some of the things it achieves: 1. Introduces diverse perspectives, innovative new research methods and approaches for researching design and the costumed body in performance. 2. Contributes towards a new understanding of how costume actually 'performs' in time and space. 3. Offers new insights into existing practices, as well as creating a space of connection between practitioners and researchers from design, the humanities and social sciences.