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.

Zooplankton carcasses are an important, yet understudied, pathway of the biological gravitational pump. To understand their contribution to the downward carbon flux in the subantarctic, carcasses of the copepod Neocalanus tonsus were analyzed for carbon content, microbial remineralization rates, and sinking velocities. In addition, the sensitivity of carcass flux to varying mortality, microbial turnover, and sinking velocity rates was analyzed and compared to carbon flux measurements from sediment traps. Microbial decomposition rates (between 0.02 and 0.16 d−1) were comparable to those of marine snow, highlighting the importance of carcasses as microbial hotspots. High sinking velocities (730 ± 182 m d−1) suggest that particulate organic carbon flux to the deep ocean is substantial. Carcass flux is sensitive to a change in sinking velocity but appears less sensitive to fluctuations in microbial decomposition rate. More research on zooplankton mortality and the factors that influence carcass sinking through the water column is needed to quantify the carcass‐mediated carbon export and enable their inclusion in marine ecosystem and biogeochemical models.

How was medieval English theatre performed? Many of the modern theatrical concepts and terms used today to discuss the nature of medieval English theatre were never used in medieval times. Concepts and terms such as character, characterisation, truth and belief, costume, acting style, amateur, professional, stage directions, effects and special effects are all examples of post-medieval terms that have been applied to the English theatre. Little has been written about staging conventions in the performance of medieval English theatre and the identity and value of these conventions has often been overlooked. In this book, Philip Butterworth analyses dormant evidence of theatrical processes such as casting, doubling of parts, rehearsing, memorising, cueing, entering, exiting, playing, expounding, prompting, delivering effects, timing, hearing, seeing and responding. All these concerns point to a very different kind of theatre to the naturalistic theatre produced today.

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