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relations that affect how individuals design and experience the assemblage of place. This could be the role of directed sound systems in cultivating a feeling of isolation; the usage of a tightly focused lantern to re-orientate the spatial dimensions of a place; the scent of an old well-worn desk; along with how costumes mould relations between bodies and stage environments. In practice, Hann argues that it is the interrelations between these distinct methods of scenography (costume, scenery, light, sound) that give rise to an act of scenography, where "scenography is neither exclusively visual nor spatial"
260:. My intention is to map how these evidently related concepts apply to artistic and social scenarios beyond institutional conceptions of theatre. I attempt to dissuade the reader from understanding notions of scenographic as singular and monolithic. My adoption of scenographics stresses the inherent plurality and multiplicities that sustain a scenographic encounter. Consequently, scenographic traits result from a combination of orientating stimuli that exceed strict ontologies of empiricism and complicate the neat separation of theatrical crafts."
272:. These traits draw attention to "orders of world" by employing methods that sculpt or irritate how distinct worlding orientations (whether that of materiality and texture, familiarity and proximity, as well as ideologies of nation and identity) sit together as part of a broader geography. Hann consolidates this position by arguing that to "speak of staging is to speak of how scenographics enact an 'othering' of place". Scenographics are "interventional acts of orientation that complicate, reveal or score processes of worlding".
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stages become manifest through the place-orienting traits of scenographics (rather than the other way around). The implications of this are that all theatre is scenographic - even if it has no defined objects or 'setting' - as all theatre is performed on a stage. Hann summarises this position by using the hybrid 'stage-scene' when discussing the tensions between the histories of these practices, particularly with reference to original Greek
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222:, within the construction and reception of meaning. The practice of scenography is thereby a holistic approach to the composition of performance and can be applied to the design or curation of events within, and outside of, the conventional theatre environment. Or, as Pamela Howard states in her book
731:- the largest scenography event in the world - presenting contemporary work in a variety of performance design disciplines and genres - costume, stage, light, sound design, and theatre architecture for dance, opera, drama, site specific, multi-media performances, and performance art, etc., Prague, CZ
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Lastly, Hann proposes that scenographics are formative to all staged atmospheres by arguing that there "are no stages without scenographics". This is based on the argument that "all stages are also scenes" that challenges the "deterministic assumption that stages precede scenography". In this model,
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This approach positions scenography as a "crafting of place orientation" and a theatre-making strategy, alongside dramaturgy and choreography. The usage of place orientation as the loci for scenography seeks to capture an understanding that is inclusive of the physical as well as metaphysical
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is the practice of crafting stage environments or atmospheres. In the contemporary
English usage, scenography can be defined as the combination of technological and material stagecrafts to represent, enact, and produce a sense of place in performance.
238:"Scenography is not simply concerned with creating and presenting images to an audience; it is concerned with audience reception and engagement. It is a sensory as well as an intellectual experience, emotional as well as rational."
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was a pedigree of scenographic artistry that emerged in late-seventeenth-century
Bologna, but spread throughout northern Italy to Austria and Germany. Another large family known for theatrical scenography were members of the
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While there is no one theory of scenography, Rachel Hann has argued for a distinction between 'scenography' and 'scenographics'. Hann introduces this framework by plotting the usage of key terminologies:
182:, and the brothers Mofta of Modena, among others. A review of the history of Italian-influenced scenic painting, architecture, and design up to the nineteenth century, was provided by Landriani.
206:, etc.) from the term 'scenography', which is an artistic perspective concerning the visual, experiential, and spatial composition of performance. Influenced by the work of Modernist pioneers
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Scenographics are a collection of place-orienting traits that are often explicit in theatre, yet are also present within other scenographic cultures such as
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230:"Scenography is the seamless synthesis of space, text, research, art, actors, directors and spectators that contributes to an original creation."
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Caimi goes on to mention practitioners of scenography in the second half of the 18th century and early 19th century in
Lombardy, including:
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and set design, scenography is a holistic approach to the study and practice of all aspects of design in performance. It also includes
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Making the Scene: A History of Stage Design and
Technology in Europe and the United States
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Scenography
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depictions of architecture on ceilings or walls). Caimi also calls this
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Theatre and
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Theatre design including lighting, sound, set, and costume design
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Scenography / Szenografie - Making spaces talk / Narrative Räume
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Storia e
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Master's Degree in Scenography at the University of Kansas
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Adolphe Appia: Artist and Visionary of the Modern Theatre
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While also aligned with the professional practice of the
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Brockett, O. G., Mitchell, M. and Hardberger, L. (2010)
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Landriani, Paolo (1830). Dottore Giulio Ferrario (ed.).
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Glossary of Art, Architecture & Design since 1945
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Space in Performance: Making Meaning in the Theatre
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The History and Theory of Environmental Scenography
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589:. p. 63.
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1700:Video design
1634:Running crew
1533:Sound design
1488:Curtain Call
1474:
1409:Variety show
1336:20th century
1331:19th century
1277:Neoclassical
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1168:Video design
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1148:Running crew
1136:Other fields
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68:scénographie
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1892:WikiProject
1758:Electrician
1523:Performance
1475:Scenography
1404:Radio drama
1297:Romanticism
1282:Restoration
1127:Prompt book
1088:Accessories
1040:Instruments
820:scenography
254:orientating
200:environment
176:Angelo Moja
76:museography
22:Scenography
1923:Stagecraft
1882:Wiktionary
1566:Management
1470:Stagecraft
1324:Postmodern
1309:Naturalism
1104:management
1078:Striplight
975:Barn doors
905:Fly system
837:Theatrical
829:Scene shop
816:Stagecraft
366:, 3rd. ed.
346:References
335:Dramaturgy
96:quadratura
1819:Orchestra
1807:Musicians
1748:Carpenter
1733:Stagehand
1644:Stagehand
1597:Technical
1558:Personnel
1493:Rehearsal
1435:Indonesia
1319:Modernism
1302:Melodrama
1083:Spotlight
995:Cyclorama
985:Color gel
910:Platforms
753:1743-6117
288:the stage
266:gardening
115:surname.
1917:Category
1862:Category
1844:Glossary
1753:Fly crew
1718:Call boy
1614:Fly crew
1341:timeline
1287:Augustan
1250:Medieval
1112:Blocking
968:Hardware
895:Curtains
883:Hardware
703:Journals
294:See also
258:crafting
42:costumes
1872:Commons
1793:Dresser
1418:Regions
1379:Tragedy
1314:Realism
1232:History
1224:Theatre
1184:Outline
1025:Top hat
980:C-clamp
920:Weights
869:Rigging
839:scenery
315:Costume
204:costume
113:Quaglio
82:History
63:Poetics
1668:Design
1460:Poland
1455:Persia
1399:Circus
1394:Ballet
1374:Comedy
1292:Weimar
942:Fields
890:Batten
847:Fields
751:
58:grapho
40:, and
1498:Stage
1450:Korea
1445:Japan
1440:Italy
1430:India
1425:China
1389:Opera
1359:Drama
1352:Types
1245:Roman
1240:Greek
1102:Stage
1073:Scoop
1015:Snoot
900:Flats
710:Scene
283:skene
196:light
186:Usage
54:skēnē
38:sound
1364:Play
1158:Prop
1000:Gobo
818:and
749:ISSN
587:ibid
573:ibid
559:ibid
545:ibid
531:ibid
517:ibid
503:ibid
489:ibid
475:ibid
268:and
218:and
210:and
1483:Cue
1117:Cue
290:'.
178:,
1919::
1778:A2
362:.
226::
202:,
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36:,
1472:/
1216:e
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