Post 715 –by Gautam Shah
Immersive theatre is a form of contemporary performance that may include site-specific architecture, some degree of spatial considerations and improvisations both in expression and audience participation Immersion of the spectator in the narrative is a key factor. These may be achieved not just by audio-visual interest but other sensorial interests.
Scenography is a practice of Stage Craft that includes scenic design, lighting, sound, costume design and various types of shielding or curtain barriers. It creates a specific stage-environments or atmosphere to support the expression or narration. It is also perceived as combination of technological provisions and sensorial effects to support what an acted or spoken narrative cannot do or need not do. It creates a sense of place in a performance that could be indicative, real or hyper real or even bizarre.
The term scenography is of Greek origin, skēnē =stage or scene building, grapho =to describe. It was originally detailed within Aristotle’s Poetics as skenographia. It is now also used as craft of display in museums and merchandising.
Invisible theatre is stage performance in a place where people would not normally expect to see one, for example in the street or in a shopping centre. Performers disguise the fact that it is a performance from those who observe and who may choose to participate in it, thus leading spectators to view it as a real, unstaged event.
Scenography is the seamless synthesis of space, text, research, art, actors, directors and spectators that contribute to an original creation. -Howard, Pamela (2002 -What is Scenography).
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. Joslin McKinney and Philip Butterworth..
Noh Performance > The traditional Japanese Noh stage (butai) Design derived from Shinto worship pavilions (haiden) or dance pavilions (kagura-den) of Shinto shrines. The stage is squared and bounded by Four columns (like the Indian Mandap or Mantapam) for Hindu Marriage or Yagna pooja ceremonies. The four column-roofed entity is placed in open as well as indoor facilities. The stage is a sanctified area for the ritual of performance.
The roof is overpowering element drawing attention to the performance. It also becomes the focus of the hashigakari (suspension bridge), a narrow passage at right upend, used by actors to arrive on the stage.
Noh performance space is open on all sides to offer a participatory area for the performers and the audience. It stays open through the performance, as there are no curtains to declare beginning or end of an act over the central stage (honbutai =main stage). So like Indian Kathakali or street performance of Ramayana, Mahabharat and other classical plays the audience see the preparation of scenes and actors’ entry-exit. This is what happened in Greek open air amphi theatre stage performances. An edgeless performance place.
Some of my own BLOGS on STAGE & PERFORMANCE CRAFT > LINKS
STAGE CURTAINS Part 1 ● Performance Spaces
STAGE CURTAINS – Part 2 (forming the performance spaces)
STAGE CURTAINS -types Part III
SEGMENTING the SPACES -Issues of Design 31
MAKE-BELIEVE in INTERIOR DESIGN
DISTANCE as an ELEMENT of DESIGN -Issues of Design 26
MODELLING of OBJECTS in SPACE -issues of design -20
CONTEXT -Issues for Design -12
INTERVENTIVE SPACES – Issues for Design -2
EXPRESSION and COMMUNICATION -as behaviour in space
The INTERLUDE (intervening space)
VISUAL PERCEPTION of MOVEMENTS
SOUND, SPACE and PERCEPTION
PERCEPTION of SOUND and SPACES
SPATIAL MEMORIES –Issues of Design 29
BALANCE in DESIGN – Part 1
BALANCE in DESIGN – Part 2
SHEER FABRICS and CURTAINS
SPACE and SOUND REVERBERATION