Staged Experiences


Staged Experiences


Edited by Arthur Maria Stein, Ana Penjak and Celia Morgan

Year: 2014

Format: eBook

This volume contains diverse theoretical and creative essays discussing and reconsidering both traditional perspectives and controversial aspects of the visual within performance from an interdisciplinary perspective.

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148mm x 210mm

The term ‘performance practice’ houses within it a diversity of practices and artists whose work extends and interrogates the boundaries between theatre and nearly all other creative art forms. This volume contains diverse theoretical and creative essays all of which manifest a commitment to exploring the complexity of relationships between performer, space, and audience. The work investigated is not subsumed within disciplines, but cuts across and between disciplinary vocabularies providing new synergies, domains, and inter-disciplinary possibilities. Revolutionary innovations and experimentations are presented in the fields of motion graphics, design and scenography. Readers will discover the challenges and ingenuities of the imaginary, and the dynamics of performance as it intersects with the physical construction of space. The mysteries of what denotes ‘liveness’ will be unveiled, The Barber of Seville will be re-imagined through juvenile intervention, and Shakespeare is viewed through the hypnagogic imagination against the nothingness of Venetian mystique.

Ana Penjak

Part I Image, Metaphor and Imagination in the Dynamics of Performance

Hypnagogia and Imagination: Scenographic Constructions of Venice in The Merchant of Venice
Lilja Blumenfeld

Part II Performance Practice Addressing Educational, Cultural and Social Contexts

Language in Performance
Sadia Zoubir-Shaw

The Scenographic Creative Process as a Youth Educational Tool
Sofia Pantouvaki

Part III The Digital and the Mediated in Live Performance

Life and Liveness: Using Film in Theatre
Bilha Blum

Imagined Spaces: Motion Graphics in Spatial Experience Design
Arthur Maria Steijn

Part IV Reading and Understanding Costume Narratives and Cultures

The Narrative of Dress in Performance
Hilary Baxter

From Lucile’s Showroom to Ziegfeld’s Stage: Fashion, Celebrity and Theatre Spectacle
Anne Reilly

Brazilian Extravaganza and Social Reflections Behind It: Men, Women and Drag
Fausto Viana

Costume Identity in the Globalised World
Rosane Muniz

Part V Bodily Movement and the Ritual in the Creation of Images and Space

From Butoh to Butohs: Xavier Leroy and the Becoming of a Body Practice in Images
Catherine Girardin

Part VI Inter-Disciplinary and Inter-Textual Visual and Spatial Narratives

Hotel Pro Forma: The Demand for Flat Images in a Three-Dimensional Space
Maria Manuel Teixeira Carneiro

Part VII Creative Processes: From Concept to the Physical Space of Performance

Drawing the Scene
Filipa Malva

De-Signing for a Dancer/Choreographer’s Visual Literacy: What Would Happen if Choreographic Processes Began with Visual Stimuli, Utilizing Predetermined Scenography as a Departure Point?
Helen Gee Markstein

Part VIII Spatial Meanings and Interactions Between the Architectural Space and the Performed Event

From Scenography to Creative Practice for Narrative Environments
Ekavi-Louise Whitlock-Blundell

Situated Vagrancy
Benedict Anderson

Part IX Artist and Audience; Experience and Perception of the Performed Artwork

Abstraction and Performance through the Visual Traces
Adele Anderson

Experience and Perception of the Audience: Momentums of Intimacy within Performance
Haya Cohen

Part X Readings and Interpretations: Making Performance

Performance in the Text
Ulla Kallenbach

Hamlet Domesticus: Three Directors’ Productions of Hamlet on the Modern Croatian Stage
Ana Penjak

Arthur Maria Steijn is an artist, lecturer and PhD-fellow at The Royal Danish Academy of Fine Arts, School of Design in Copenhagen, Denmark. At the dept. of production design he teaches compositing, motion graphics and animation. His recently started research project Motion graphics in spatial experience design aims at developing design methods relevant for motion graphics in spatial contexts.

Ana Penjak works at Department of Foreign Languages, Faculty of Kinesiology, University of Split, Croatia. Her professional interest is focused on the image of women in literature with the particular emphasis on Shakespeare’s presentation of women in his plays, i.e. on the analysis of the female body in his plays.

Celia Morgan, PhD, is an artist and independent scholar. Her practice ranges from painting to knotting, writing, and performance. She has exhibited, published and performed internationally. Recent research interests include the creative state of unknowing as a methodology and painting or non-narrative theatre through scenographic metaphor.