“…The academic literature claims that scenography and interior design are closely linked. For example, McKinney (, p. 128) explains the scenographic nature of interior design as “an attempt to evoke, or provoke, through the interplay of bodies, objects, movement, time and space, certain ideas, emotions and sensory responses”. Looking at interior design this way invites us to conceptualize designed space as a negotiation between a built or found environment and the actors within it.…”
Section: Resultsmentioning
confidence: 99%
“…Their realities emerge from interconnection to each other (Philippopoulos‐Mihalopoulos, ). A dramaturgical understanding of the operation of the court is important because it emphasizes the “phenomenological experience of imagery” (McKinney, , p. 128). One can see that the physical setting contributes to the constitution of the players and their ability to perform authority or subordination.One can see that the physical setting contributes to the constitution of the players and their ability to perform authority or subordination. Courtroom performances include several dramaturgical elements.…”
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.
“…The academic literature claims that scenography and interior design are closely linked. For example, McKinney (, p. 128) explains the scenographic nature of interior design as “an attempt to evoke, or provoke, through the interplay of bodies, objects, movement, time and space, certain ideas, emotions and sensory responses”. Looking at interior design this way invites us to conceptualize designed space as a negotiation between a built or found environment and the actors within it.…”
Section: Resultsmentioning
confidence: 99%
“…Their realities emerge from interconnection to each other (Philippopoulos‐Mihalopoulos, ). A dramaturgical understanding of the operation of the court is important because it emphasizes the “phenomenological experience of imagery” (McKinney, , p. 128). One can see that the physical setting contributes to the constitution of the players and their ability to perform authority or subordination.One can see that the physical setting contributes to the constitution of the players and their ability to perform authority or subordination. Courtroom performances include several dramaturgical elements.…”
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.
“…This explains why audiences assumed the sound was live despite the temporal impossibility of this (and the fact that the performers were not always completely in time with their respective soundscapes), as the perceptual system attempted to make sense of what it was seeing and hearing by assuming the same source for both phenomena. It is also reminiscent of McKinney's analysis of how audiences assimilate scenographic images and sensory phenomena to construct meaning within their own imaginations (Mckinney 2005) for understanding how scenography acts on the audience (2017,8). Following this, we might then begin to talk about producing affect through a deliberate scenographic disruption of the senses.…”
In this article I provide an account of how the spectator's senses can be extended and mediated by scenography to argue for an expanded understanding of scenography's affective operation in performance. This is discussed in the context of practice-research project Tower, a site-led performance presented in London in 2017 that is performed in a high-rise building and watched from the street through binoculars, with the audience listening to a binaural recording of the performers' movements through headphones. The binaural soundscape and the binoculars are conceived of as mediating prostheses that extend the bodies of the audience to create a mediated sensory proximity that is experienced in disjunction with the physical distance of the performance. Drawing on perspectives on sensory and spatial perception from phenomenology and cognitive science, I analyse my own experience of the work from my dual perspective as creator and spectator. I argue that the sensory disjunction in Tower produces an affective unreality, which heightens the fictional space of the performance within the real site. I argue that by considering the mediating prostheses as part of the scenography, we open up new ways to think about both mediating technologies and how scenography operates on audiences.
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.
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