5. Researching Scenography

McKinney, Joslin; Iball, Helen

doi:10.1515/9780748646081-008

Cited by 5 publications

(2 citation statements)

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“…Ten Bosch et al (2013, p. 95) encourage studies "to explore the close ties between scenography and dramaturgy" when dealing with political aspects of the built environment. We suggest that future research could usefully apply scenography (Howard, 2009;McKinney & Iball, 2011) to understand qualitative aspects of the design of criminal courtrooms. Scenography has the potential to contribute important analysis to the nascent interdisciplinary field linking theater, law, and architecture.…”

Section: Discussionmentioning

confidence: 99%

“…The emerging academic literature on scenography is quite preoccupied with its own definition (McKinney & Iball, 2011), commonly reaching beyond the traditional theater stage to consider the multiple ways that performances create meaning in organizations. Howard (2009) defines scenography as the visual material for telling of a story-a mixing together of space, text, aesthetics, actors, directors, and an audience.…”

Section: Discussionmentioning

confidence: 99%

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Performative Interior Design in the Criminal Courtroom

Corrigan

Robertson

Anderson

2018

Journal of Interior Design

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This paper engages with the idea that interior design is a performative practice. The central question of interest is dramaturgical rather than instrumental: How do building interiors “act” and how do these performances construct a particular definition of the situation? We critically bring into play related academic discussions of “political interiors” and “the good organization” by exploring the built environment of the court of law. The good organization is an ideal‐type used to help identify and understand the deficiencies of actual organizations. We show that ontological politics is at work when performative design enables problematic realities. This study relied on a microethnographic research method using participant observation as the data collection strategy. It focused on a Canadian interior design project that implemented a workplace violence assessment in the criminal courtrooms of the Nova Scotia justice system. We use theatrical performance as a research lens, drawing on dramaturgy, as a fruitful way to engage with the concept of political interiors. This expands beyond mainstream epistemological assumptions about the grounds for knowing. We find that criminal courtrooms, as the physical expression of the good organization, are rooted in questionable design assumptions that are seldom examined. The nominalist stance in this paper promotes a more complete understanding of the realities of interior space that are socially constructed through physical settings that create, preserve, and promote hierarchy, personal stigma, and theatricality.

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Section: Discussionmentioning

confidence: 99%

Section: Discussionmentioning

confidence: 99%

Performative Interior Design in the Criminal Courtroom

Corrigan

Robertson

Anderson

2018

Journal of Interior Design

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Gaps, silences and comfort zones: dominant paradigms in educational drama and applied theatre discourse

Omasta

Snyder-Young

2014

Research in Drama Education: The Journal of Applied Theatre and

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Sounding out ‘the scenographic turn’: eight position statements

Curtin

Roesner

2015

Theatre & Performance Design

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Scenography is not without sound. As an 'orchestration' of potentially all that which constitutes theatre (see Butterworth & McKinney), relinquishing the sonic is not the aim of the scenographic. However, the idea of a post-sonic, scenographic turn suggests a move away from sound, an implication that one belies the other. This invites old divisions-of the sonic versus the visual, or ear versus eye-back into the conversation, but perhaps this is for good reason. Sound has recently penetrated theatre-making practices in ways that suggest the opposite turn, a move towards sound, might be the case. The sound designer has, according to Carolyn Downing, 1 recently emerged from the 'tech box' and, taking a position within the rehearsal room, has embedded the sonic in the mix of theatre making. This, in turn, has brought sound designers as theatre artists to the fore, Melanie Wilson and Adrienne Quartly to name but two. This attention to the sonic is not merely a trend, often dismissed as the happenstance of technological advances, or as symptomatic of collaborative practice models. These instances of sonic scenography are emerging because of possibility: theatre makers are drawn to the potential of sound for its ability to generate scenography where visuality falls short.

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5. Researching Scenography

Cited by 5 publications

References 0 publications

Performative Interior Design in the Criminal Courtroom

Performative Interior Design in the Criminal Courtroom

Gaps, silences and comfort zones: dominant paradigms in educational drama and applied theatre discourse

Sounding out ‘the scenographic turn’: eight position statements

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