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Activating the Inanimate: Visual Vocabularies of Performance Practice
This volume was first published by Inter-Disciplinary Press in 2013.
The dynamic exchange of perspectives that constituted the 2nd Global Conference of Performance: Visual Aspects of Performance Practice demonstrated that the foundational concept of the project is a vibrant platform for sharing and extending ideas within all aspects of scenographic practice in performance. This volume is a compilation of papers that formed the basic structure of that conference.
The first four chapters present a developing schema of visual languages within theatre. From Beckett, Ibsen, Svoboda to Wilson, they navigate the symbolic and visual prioritizing of postdramatic scenographic forms. Part 2 reconsiders the predetermined divisions that deflate experiential encounters with the inanimate. Dance, puppetry and slapstick provide examples of interaction between performers and their environment. Part 3 addresses various renderings of design processes, exploring the role of drawing, fabric and body in creating a narrative. Part 4 negotiates the sensitive interface between public and performance while looking at the Burning Man Festival, flash mobs and opera media casting. The final chapters represent a global collective of process strategies that confront the production and methodologies of meaning. They engage with cultural presumptions and subjectivities in post Cultural Revolution China, Spanish flamenco, American Indian (post)colonial resistances and the traditions of Australian Aboriginal artists.
The dynamic exchange of perspectives that constituted the 2nd Global Conference of Performance: Visual Aspects of Performance Practice demonstrated that the foundational concept of the project is a vibrant platform for sharing and extending ideas within all aspects of scenographic practice in performance. This volume is a compilation of papers that formed the basic structure of that conference.
The first four chapters present a developing schema of visual languages within theatre. From Beckett, Ibsen, Svoboda to Wilson, they navigate the symbolic and visual prioritizing of postdramatic scenographic forms. Part 2 reconsiders the predetermined divisions that deflate experiential encounters with the inanimate. Dance, puppetry and slapstick provide examples of interaction between performers and their environment. Part 3 addresses various renderings of design processes, exploring the role of drawing, fabric and body in creating a narrative. Part 4 negotiates the sensitive interface between public and performance while looking at the Burning Man Festival, flash mobs and opera media casting. The final chapters represent a global collective of process strategies that confront the production and methodologies of meaning. They engage with cultural presumptions and subjectivities in post Cultural Revolution China, Spanish flamenco, American Indian (post)colonial resistances and the traditions of Australian Aboriginal artists.
Celia Morgan is an artist whose varied practice inhabits the interstices between painting, drawing, theatre, performance, philosophy and writing. She has exhibited and performed in New Zealand, Australia, England, USA, and Spain. She has a Bachelor and Masters degree in Fine Arts and is currently a PhD candidate at the University of Sydney, Australia. Her research interests include conceptions of unknowing, the ineffable and absolute nothingness, inspired directly by the Kyoto School of philosophy amongst others.
Filipa Malva is a scenographer. She is a PhD candidate at the University of Coimbra, Portugal. While she is interested in all aspects of scenography, currently her research and writing is devoted to scenography in the context of children’s and young audiences shows. She has a degree in Architecture and an MA in Performance Space and IT Modelling from the University of Kent, and works as a set and costume designer, illustrator and scenic artist with multiple theatre companies across Portugal.
Filipa Malva is a scenographer. She is a PhD candidate at the University of Coimbra, Portugal. While she is interested in all aspects of scenography, currently her research and writing is devoted to scenography in the context of children’s and young audiences shows. She has a degree in Architecture and an MA in Performance Space and IT Modelling from the University of Kent, and works as a set and costume designer, illustrator and scenic artist with multiple theatre companies across Portugal.