Stage Design

This course surveys the development of theater architectures, stage spaces and technologies from the ancient world through the 21 st century. The course satisfies the interdisciplinary college option. The survey will be contextualized in terms of prevailing social conditions and performance styles.

Creating the Modern Stage: Designs for Theater and Opera examines the extraordinary innovations in scenic design during the twentieth century. Modern technology and materials allowed for innovative approaches to stage sets. New theories concerning the role of the actor and the set in theatrical performances encouraged a radical departure from long standing practices and the literalism of the nineteenth-century stage. Imagination and vision were encouraged and a vital and varied stagecraft emerged throughout England, Europe, Russia, and America.

The rise of pictograms in the 1960s is usually associated with the Olympic games (Tokyo 1964, Mexico City 1968, München 1972 or world exhibitions (Montréal 1967). It is often suggested that the designers of the symbols for these events, played a pioneering role in their development. Remarkably the role of international organizations that contributed to the development of pictograms in these years has seldom been researched. An organization that was most active in this area was the International Council of Graphic Design Associations (Icograda) as it was then known. President Willy de Majo and his close collaborator Peter Kneebone held the opinion that ideally a standardized and tested pictogram set for general traveller information should be developed. Through its activities Icograda eventually contributed to raising awareness about the necessity of standards for public information symbols. By using the archives of Icograda and researching the organizations and individuals it was dealing with including the ICBLB, UIC, Glyphs Inc., Henry Dreyfuss, and ISO, a more balanced picture of the development of pictograms begins to emerge. This study provides a new, more institutional twist to the history of a popular design theme within the graphic design profession.

En 1937, Louis Jouvet publiait un article sur « L'apport de l'électricité dans la mise en scène au théâtre et au music-hall ». Il y livrait des vues pénétrantes sur la lumière au théâtre, sans dissocier technique, histoire et esthétique. C’est dans cette perspective « croisée » que veut s’inscrire le projet de dossier en en actualisant les données.
    En effet, depuis, bien sûr, des chercheurs ont approfondi l’histoire matérielle du théâtre et les créateurs exploité les techniques nouvelles. Bien plus, le concepteur lumière est devenu un créateur à part entière.
    La lumière au théâtre a été l’objet de nombreuses publications, mais qui forment une bibliographie dont les rubriques sont souvent disjointes. Par exemple, on trouve des études esthétiques faisant peu de place aux matériels et aux techniques et à l’inverse des traités précisément, mais purement techniques. Concernant la lumière dans l’ancien théâtre, l’esthétique moderne et contemporaine de l’éclairage, le lecteur se retrouve confronté à une multitude d’études monographiques pointues et dispersées. Beaucoup d’ouvrages intéressants existent, mais écrits en langue étrangère.
    Bref, il manque à l’honnête homme amateur de théâtre et à l’étudiant des arts du spectacle une synthèse accessible des recherches. C’est ce que veut offrir ce projet de numéro.

Kirjassa Kohtaamisia ajassa. Kulttuurihistoria ja tulkinnan teoria
Ollitervo, Sakari; Parikka, Jussi; Väntsi, Timo (toim.). K&h: Turku 2003, 206-321. (e-kirja 2015, Doria):
http://www.doria.fi/bitstream/handle/10024/118582/Kohtaamisia_ajassa.pdf?sequence=2

Η σκηνογραφία, ως εφαρμοσμένη τέχνη, είναι το αποτέλεσμα μίας συνάρτησης ανάμεσα σε τρεις παράγοντες: τον σχεδιασμό του καλλιτέχνη σκηνογράφου, το οικονομικό μερίδιο που της αναλογεί από τον προϋπολογισμό της παραγωγής και φυσικά τη σκηνή που θα τη δεξιωθεί. Το χρήμα και ο χώρος επηρεάζουν και άλλες φορές καθορίζουν το αισθητικό αποτέλεσμα. Επίσης, δίνουν το πλαίσιο μέσα στο οποίο οφείλει να κινηθεί η δημιουργία του καλλιτέχνη-σκηνογράφου. Γι' αυτό, η παρούσα εργασία επιχειρεί να εξετάσει τη σχέση της νεοελληνικής σκηνογραφίας με τους χώρους που τελικά τη δεξιώθηκαν, με αφορμή την επαναλειτουργία της κεντρικής σκηνής του Εθνικού Θεάτρου στο κτήριο Τσίλερ επί της οδού Αγίου Κωνσταντίνου στην Αθήνα. Ως απώτερος στόχος τίθεται η απάντηση στο ερώτημα αν υπάρχει ένας εθνικός χώρος για τη νεοελληνική σκηνογραφία, δηλαδή ένας χώρος που προωθεί και αναδεικνύει την εργασία των Ελλήνων σκηνογράφων και αν ναι, ποιος είναι αυτός.

En tanto fenómeno transcultural, el Festival de Eurovisión viene siendo objeto de interés académico recientemente en referencia a los aspectos identitarios (étnicos, nacionales y de género) que expone a través del espectáculo. Sin embargo, tratándose del espacio no deportivo más longevo de la televisión con audiencias millonarias y despliegues técnicos sin parangón, sus dimensiones estéticas-como el diseño escenográfico-apenas han sido analizadas. Desgranaremos entonces qué imaginarios han promovido las distintas sedes del Festival a través de sus escenografías en las ciudades que lo han acogido a partir de los recursos audiovisuales e innovaciones técnicas del momento. Imaginarios que calibrarán problemáticamente la imposición de un determinado marco simbólico por parte del país anfitrión a cada actuación participante, sobre todo durante su primera etapa. De hecho, al ser celebrado el concurso anualmente y contar con 63 años de historia, acotaremos el campo de estudio a un primer periodo, desde su debut en 1956 a 1993, coincidiendo con la firma de los Tratados de Roma y Maastricht. Estos acontecimientos engarzan además con la idea de intercambio y cooperación transnacional que Eurovisión en un inicio propugnó, derivando, a finales de los noventa, en la mediática superproducción meta-europea que conocemos hoy.

The Eurovision Song Contest is gaining ground as a subject of academic research because of the identity aspects (such as ethnic, national and gender questions) it showcases as a transcultural phenomenon. Due to it is the longest-running non-sports show on television, with a millionaire audience and a huge logistical and technical display, we will analyse its aesthetic dimensions, specifically the scenography design, keeping in mind the little bibliography found specifically about these issues. Hence, we will describe which imaginaries the different venues of the Song Contest have promoted through their scenography in its host cities based on audiovisual recourses and technical innovations of the moment. These imaginaries will constantly debate the imposition of a certain symbolic framework by the hosts and a neutral accommodation for each candidate participating on it. Being celebrated annually and having 63 years of history, the field of study will remain limited to a first period, from its debut in 1956 to mid-nineties, coinciding with the signing of European Treaties such as the Rome and Maastricht ones. Treaties linked to the idea of transnational exchange and cooperation Eurovision advocates resulting, in the late nineties, in the meta-European blockbuster media event well known today.

Thinking on contemporary Sicily, as visual and so- cial palimpsest of it historical composition, makes the idea of a stage concept in a possible match with social archeology concerning late XX century and the big betrayed social and cultural projects’ utopia. Cinema and linked stage design, is used as narration instrument in the relationship be- tween human being and landscape and justifies aestethic study, drama’s media depth and didac- tic purpose.
Background is the contemporary Pirandello’s myth filmed by Paolo and Vittorio Taviani and scr- renplaied with Tonino Guerra in Kàos (1984). In particular “Colloquio con la Madre”, pure invention episode adapted from Luigi Pirandello’s novel.
In the Taviani’s movie, an aged Pirandello travels alone by train to Girgenti, his born land. The journey has not a real reason, perhaps not totally sensed, till memories of his mother get personi- fied in her self.
The stage is immersed in a research like a ground- work, in thin and difficult balances between the history weight and contraddictory arises on the issue about fields to grow and worker world. The city of Militello in Val di Catania, open sky mine of sicilian architectonics genius, it’s the place where the screenplay is visually designed.
In this journey into the labyrinth-city’s viscera made by memories, the visual costruction corresponds to a discovery, or re-discovery of the city, working as a modulation of detail, memories, streets and square’s views.
A world, Sicily, where nothing is real surreal: a Sic- ily that is summation of what has been and what it is. About realism all concernes, about Pirendello’s realism or on a Verga’s verism evolution, toward a philosophical avangarde way: Metaverismo, or metaphisical verism, or rather a not satisfied reality, but depth in search the essence through abstration, exasperation and de-structuration.
Finally, this thesis tries to deepen and insist on the experimental use of Cinema, or rather Cinema as reflection place, creative workshop for society, on daily dramaturgy and on never ending questions born from historical and architectonic composition of our cities and the identity of humans who continue to live.

[English abstract below]
Bien que la «Neuvième livraison» des planches de L’Encyclopédie (1772) consacrée au théâtre et à ses machines suggère d’abord une démarche positiviste, voire mécaniste, l’ensemble des planches constitue surtout aussi un document précieux sur l’imaginaire du théâtre classique. Ce volume semble proposer une vision raisonnée des  moyens dont diposait alors le théâtre le mieux équipé, l’Opéra de Paris, pour concrétiser sur la scène l’univers merveilleux baroque. Or, au-delà de la première impression de technicité, prometteuse d’un savoir concret et pratique, les schémas de machine s’avèrent tout à fait insuffisants à faire comprendre au non-spécialiste comment les dispositifs fonctionnent en réalité. Le rôle de ces planches est de dresser le catalogue des lieux communs scénographiques, le lexique d’un idiome vieux de presque deux siècles qui trouve ici son ultime transcription; loin de constituer un document vivant de la pratique théâtrale de leur époque, elles offrent au lecteur l’image nostalgique et figée d’un imaginaire classique qui était déjà irrémédiablement voué à la disparition.

Although the ninth set of plates for L’Encyclopédie (1772) devoted to theater and its machines seems at first to promote a positivistic, and even mechanistic vision, this set of illustrations really constitutes a precious document on the French “classical” imagination. This volume apparently proposes a rational approach to the means then available to a sophisticated playhouse such as the Paris Opera for materializing on stage the wondrous universe of baroque drama. However, beyond the initial impression of technical accuracy and its promise of concrete, practical knowledge, the machinery schematics turn out to be quite insufficient when it comes to understanding, as a non-specialist, how the devices actually worked. In fact, these plates were really designed to provide a catalog of stagecraft commonplaces, a lexicon for a two-century old idiom that is transcribed here for the last time. Far from being a living document on theatrical practices of their time, the engravings offer the reader the stilted, nostalgic image of a classical imagination that was already fading into obsolescence.

ABSTRACT: Over the first half of the 20th century, avant-garde painters delved into theatre art and conceived innovative designs they put forward to break through the prevailing naturalism of the time. Spanish painter Maruja Mallo (1902-1995) also took an interest in stage design, first through her reciprocally influenced work with Rafael Alberti and then on her own. She produced designs that have been recorded in both her own and others' photographs and in comments attesting to her work in this field.
Both the silence of her former lovers (Rafael Alberti and Miguel Hernimdez) in this regard and traditional
attitudes about women on the part of other intellectuals of the time together, coupled with the tragedy of the Spanish Civil War and exile have left very few vestiges of her interesting stage design work, to which she had attached a great deal of importance before the war.
This article highlights Maruja Mallo's unique stage designs, her identity as compared to other influential artists, and her influence and legacy, in addition to explaining these designs' links to architecture.

Resumen: Las vanguardias pictóricas de la primera mitad del siglo XX acometieron la investigación en el teatro de arte y concibieron propuestas innovadoras para superar el naturalismo dominante. La pintora española Maruja Mallo (1902-1995) también se interesa por la escenografía, primero en un camino de colaboración recíproca con Rafael Alberti y después independientemente. Realizó propuestas que han quedado registradas en algunas fotografías y comentarios, propios y ajenos, que dan fe de su trabajo en este área.
El silencio sobre ella por parte de sus ex amantes (Rafael Alberti y Miguel Hernández), el tradicionalismo sobre la mujer de otros intelectuales coetáneos, la tragedia de la Guerra Civil Española y el exilio han dejado pocos vestigios de su interesante labor escenográfica previa al conflicto bélico, una actividad a la cual dio gran importancia.
Este estudio destaca la singularidad de las escenografías de Maruja Mallo, su identidad frente a las obras de otros artistas, las influencias y legado, así como también proporciona sus conexiones arquitectónicas.

À l'automne 1968, lorsque les architectes américains Robert Venturi et Denise Scott Brown se rendirent à Las Vegas avec leur assistant Steven Izenour et leurs étudiants de la Yale University pour étudier la forme de cette ville de l'Ouest américain orientée sur la voiture, ils ne pouvaient guère prévoir les conséquences que leur projet de recherche aurait sur le discours architectural 1 . Cette étude était sans aucun doute conçue autant comme une provocation contre l'establishment architectural que comme l'inventaire sans préjugés d'un statu quo urbain. Mais rien ne permettait de prévoir que L'Enseignement de Las Vegas 2 électriserait le discours professionnel bien au-delà de sa publication en 1972. En réalité, plus qu'aucun autre texte de théorie architecturale, cette étude touchait une corde sensible de l'époque. Si l'architecture, sous le signe des conditions de production du capitalisme tardif de l'après-guerre, était entrée en crise, L'Ensei-

Bir Sinema Filmi; senaryo (metinsel altyapı), mekan tasarımı, dekor, kostüm, kameranın kullanımı, ışık tasarımı (görsel altyapı), ses&müzik tasarımı (işitsel altyapı) gibi pek çok sanat disiplinini toplayarak, sentez yaparak yeni bir görsel dil, dünya kurgular. Sinemanın yedinci sanat olma özelliği ve gücü Resim, Heykel, Enstalasyon, Fotoğraf, Mimari, Tiyatro, Dans&Hareket, Senaryo, Müzik&Ses gibi sanat disiplinlerini içinde barındırmasından kaynaklanmaktadır. Sinema sanatının dilini oluşturan bu sanat disiplinlerindeki imgeler gerçekliğin yerini tutmaktadır. Yani kurgulanan gerçeğin yanılsamasını yaratan mekanlar birer gösterge değil gösterilene, orjinal değil kopyayı ifade etmektedir. Film senaryosunda tamamen hayal olan dünyanın, sahnelerin; tasarım ve çekim aşamasında, iç ve dış mekan tasarımı ve tasarlanan mekanın (dekorun) üç boyutlu olarak uygulanması (realizasyonu), gelişen dijital teknolojileri kullanarak yeşil veya mavi fonda çekilen ve daha sonra post-prodüksiyon aşamasında bilgisayarda yerleştirilen mekan tasarımı sinemanın görsel tasarımının temelini oluşturmaktadır. Bir filmde kameranın gördüğü her türlü mekan, obje senaryoda sunulmak istenilen gerçekliğin, hikayenin, duygunun, konseptin araçlarıdır. Bu noktada sinemada yaratılan kurgulanmış hikayenin ve bu yolda hazırlanan mekan tasarımının enstalasyon sanatıyla ilişkilendirilebilir. Saniyede 24 kare fotoğraf, resim olan filmle fotoğraf sanatının ilişkisinde; fotoğraf sanatı genellikle görüntüleri olduğu gibi gösterirken, sinemada görüntüler bir tasarım süreci sonucunda oluşmaktadır.

Last week we took a look at how aperture and f/stop settings work on your camera to restrict and control the elements in your photos that are in focus. The goal for our weekly challenge was to get you comfortable with adjusting the f/stop numbers for the amount of focus you desire in your photos. With a week's worth of practice, we hope that you are now more knowledgeable about how f/stops work and which f/stops produce certain kinds of looks.

A Featured Film assembles the scenario (textual infrastructure), interior design, decor, costumes, use of camera, lighting design (visual infrastructure), sound & music design (audial infrastructure) and many other art disciplines; and creates a new language, a new world by synthesizing them. The power of cinema to establish itself as the seventh art arises from the way it brings several different art disciplines together; Painting, Sculpture, Installation, Photography, Architecture, Theatre, Dance&Movement, Screenplay, Music & Sound and as such. The images within these disciplines, which build up the language of cinema together, compensate for reality. In other words, the space in cinema as an illusion of a fictional reality refers to what is being shown, to the copy, not the original. The script of a film is consisted of an imagined world and imagined scenes. The design of interior and exterior design and three-dimensional implementation (realization) of the imagined space (decor) at the stages of production design and shooting forms the basis for the visual design of cinema in addition to the growing use of digital technologies, installing the space design to the scene later on the computer during the post-production stage. Everything captured by the camera; any space or objects are the tools used to create a reality, emotion and concept. At this point, the production design regarding the fictional story of the film may be associated with the installation art.

ÖZ 21. yüzyılda uluslararası çapta büyük ölçekli sahne gösterilerinin tasarımcısı olarak anılan Es Devlin, tiyatro, opera, konser ve moda tasarım sahneleri arasında bir köprü vazifesi görmektedir. Tasarladığı sahneler ile bir yandan tiyatro dramatizasyonuna hizmet ettiği kadar, diğer yandan müzik ve eğlence sektörü için de ışıltılı, görkemli mekanlar yaratmaktadır. Ekibiyle beraber yarattığı görsel şölen ile hem izleyicileri hem de oyuncu ve şarkıcıları etkilemektedir. İngiltere'de Kraliyet Operası ve Ulusal Tiyatro için tasarladığı sahnelerle birçok ödülün sahibi olmuştur. Onun çerçeve sahnede yarattığı bu atmosfer örnekleri, dünya çapında tanınmış şarkıcıların da dikkatini çekmiş ve bu sayedeillüzyon yaratmadaki sınırlarını genişletmiştir. Stadyum ölçeğinde konser sahneleri ve olimpiyat seremonilerini tasarlayarak, günümüzün en önemli tasarımcılarından biri haline gelmiştir. Bu çalışmada, Es Devlin'in sahne tasarımı kariyerinde geçirdiği aşamalar, tasarım odakları ve estetik tercihleri ele alınarak, sanatçının sahne tasarımı anlayışı üzerine fikir verilmesi amaçlanmıştır. ABSTRACT World famous stage designer Es Devlin, who is known for her large-scale stage designs, acts like a bridge between theatre, opera, concert and fashion design sets in 21st century. The scenes of her design serves both for the dramatization of theatre and create sparkling and spectacular effects for entertainment and music business. These intense designs cast a spell on both the audience and the actors/singers. She was awarded multiple times for her Royal Opera House and National Theatre works in London. Her proscenium set designs were noticed by world famous musicians and she developed breathtaking stage shows for them later on. In recent years, she completed stadium scale concert scenes and Olympic ceremony stages thus becoming one of the most important designers. This study aims to deliver a brief framework of Es Devlin's stage design career, design approach and aesthetic choices via examination of past and present works.

El fenómeno de asimilación e interacción entre televisión e internet está creciendo de forma significativa en los últimos años. Eso se está traduciendo en un impulso en la penetración de la televisión conectada e híbrida, hasta el punto de la irrupción en escena del estándar HbbTV (Hybrid Broadcast and Broadband TV). En este artículo analizamos las claves de este estándar y realizamos un estudio cuantitativo sobre sus implicaciones en la audiencia, en términos de calidad de contenidos, sinergias internet-televisión-redes sociales, inclusión de publicidad interactiva y otros parámetros del nuevo escenario.

Directions for Directing: Theatre and Method. Routledge, 2019.

Directions for Directing: Theatre and Method lays out contemporary concepts of directing practice and examines specific techniques of approaching scripts, actors, and the stage. Addressed to both young and experienced directors but also to the broader community of theatre practitioners, scholars, and dedicated theatre goers, the book sheds light on the director’s multiplicity of roles throughout the life of a play – from the moment of its conception to opening night – and explores the director’s processes of inspiration, interpretation, communication, and leadership. From organizing auditions and making casting choices to decoding complex dramaturgical texts and motivating actors, Directions for Directing offers practical advice and features detailed workbook sections on how to navigate such a fascinating discipline. A companion website explores the work of international practitioners of different backgrounds who operate within various institutions, companies, and budgets, providing readers with a wide range of perspectives and methodologies.

Sahne tasarımında gerçekçi anlayış, seyirci üzerinde gerçeklik yanılsaması yaratma hedefi doğrultusunda, sahnede gerçek yaşamı olduğu gibi göstermek gerektiğini ileri sürer ve sahne tasarımındaki tüm unsurlarda gerçeğe benzerliği gözetir. Sahne tasarımında karşı gerçekçi anlayış ise, gerçek yaşamın olduğu gibi yansıtılmasının olanaksız olduğunu; ayrıca sahne üzerindeki unsurlarda gerçeğe benzerliğin seyirci üzerinde gerçeklik yanılsaması yaratmaya hizmet etmeyeceğini; aksine, gerçeklik yanılsamasını tahrip edeceğini savunur. Bu bağlamda, karşı gerçekçi sahne tasarımı, gerçekliğin benzerinin yaratılması yerine, gerçekliğin stilize edilmesi gerektiğini; stilize edilen gerçekliğin, taklit edilen gerçekliğe kıyasla, seyirci üzerinde çok daha güçlü bir gerçeklik yanılsaması yaratılmasını sağlayacağını iddia eder. Bu çalışmada, gerçekçi ve karşı gerçekçi sahne tasarımı anlayışlarının, seyirci üzerinde gerçeklik yanılsaması yaratılmasına hizmet etme bağlamında karşılaştırılması amaçlanmış; bu doğrultuda, birbirine karşıt bu iki anlayış, sahne tasarımında başvurdukları yöntemler ve bu yöntemlerin seyirci üzerinde yarattığı etkiler açısından karşılaştırmalı bir biçimde analiz edilmiş; yapılan analiz sonucunda elde edilen bulguların ışığında, gerçekçi ve karşı gerçekçi sahne tasarımı anlayışlarının, seyirci üzerinde gerçeklik yanılsaması yaratma bağlamında işlevsellikleri değerlendirilmiştir.

How has light influenced the staging of theatre throughout history?
What does light contribute to performance?
How does it make meaning?

This collection explores the creative potential of light in the theatre. Through a wide range of extracts from historical accounts, new research and rare documents, some presented for the first time in English, Scott Palmer provides new ways of thinking about lighting as a creative performance practice.

Focusing on elements such as:

• the emergence of lighting design in the theatre
• equipment and techniques
• the dramaturgy of light
• its impact on actor, audience and playhouse
• the semiotics and phenomenology of light in performance,

the book reveals why light has such a profound effect on the audience's experience of a theatrical event.

Recife 4 TODOS OS DIREITOS RESERVADOS. Proibida a reprodução total ou parcial, por qualquer meio ou processo, especialmente por sistemas gráficos, microfílmicos, fotográficos, reprográficos, fonográficos e videográficos. Vedada a memorização e/ou a recuperação total ou parcial em qualquer sistema de processamento de dados e a inclusão de qualquer parte da obra em qualquer programa juscibernético. Essas proibições aplicamse também às características gráficas da obra e à sua editoração.

‘I want theatre in Kenya to be truly professional. You, as an actor, can be a brand. And make money…The quality of the shows has really gone high because the professionalism of the performers.’ – David Opondoe, Managing Director of Phoenix Theatre, speaking at the Kenya Cultural Centre in August, 2013

This unparalleled analysis of Kenyan theatrical activity and the lessons we can learn from other theatre communities, like Broadway, is invaluable for thespians, art critics, theatre students and  other stakeholders.

A educação deve ser pensada de forma ampla. O aprendizado dá-se não somente no âmbito dos muros da escola, mas também com a tecnologia, com a família, com os amigos e com o convívio em sociedade e, ainda, com, para e através dos meios de comunicação. Vive-se em meio às Tecnologias da Informação e Comunicação e faz-se necessário entendê-las e inseri-las no cotidiano, seja na educação formal ou informal, tanto como fonte de conhecimento ou como ferramenta para a geração de novos conteúdos.
O uso das mídias e das tecnologias tem exigido cada vez mais espaço nas práticas cotidianas, transformando não somente as relações interpessoais, mas também o processo de ensino-aprendizagem. As possibilidades trazidas pelas novas tecnologias têm propiciado, além disso, um novo olhar para a educação, fazendo com que pesquisadores desenvolvam trabalhos especialmente focados na acessibilidade dos conteúdos. A inclusão, neste contexto, vem ganhando alternativas e ferramentas cada vez mais modernas, ampliando e facilitando a formação dos sujeitos. Percebe-se, a partir das pesquisas aqui apresentadas, que as novas tecnologias e as ferramentas midiáticas estão se tornando muito mais do que somente um espaço de socialização, mas, principalmente, o ponto chave para o desenvolvimento de estratégias de aprendizagem e transformação social.
O uso do computador, da internet, da televisão, da ficção seriada, das histórias em quadrinhos, do cinema, dos ambientes virtuais e hipermídia, das redes sociais temáticas e de tantos outros meios e formatos apresentam-se além de simples produtos ou tecnologias. Todas estas alternativas, e também os usos destas mídias, chegam para mudar a concepção da aprendizagem formal e da necessidade exclusiva de um espaço institucionalizado para o ensino. As tecnologias e todas as ramificações derivadas estão a todo o tempo ressignificando os papéis dos atores envolvidos no processo de ensino-aprendizagem. O aprimoramento e a criação de novos formatos têm se mostrado urgente e emergente frente aos desafios que estão surgindo em detrimento do acelerado desenvolvimento tecnológico e, especialmente, das novas práticas de consumo das mídias pelos sujeitos.
Diante deste contexto, os primeiros quatro capítulos deste livro apresentam pesquisas com foco nas relações e no processo de aprendizagem pelos sujeitos, sejam eles crianças, jovens ou adultos, e também nas práticas e nos usos das mídias. Do quinto ao último capítulos questões relativas à acessibilidade, às ferramentas de ensino-aprendizagem e ao desenvolvimento de ambientes hipermídia são abordadas a partir de diferentes e inovadoras vertentes.

Appia “müzik partitur için neyse, ışık da temsil için odur,” der, “akılcı bir anlam taşıyan öğelerin aksine, saf duygunun bir öğesidir.” Bu önemli ifade öğelerini, tiyatronun temeli olan seyirci için anlaşılır kılabilecek tek kişi oyuncudur. İdeal tiyatroda proskene kemerinin gerisi (hatta zemini, tavanı ve duvarları) tamamen esnek olmalıdır. Böylece her dram kendi özgün performans alanında geliştirilebilecektir. Bu Appia’nın yirminci yüzyılda çok önemli hale gelen bir fikridir. Appia genelde arı gerçekçi sanat anlayışına karşı çıkmış, özelde sahnelemeye yenilik getirmiştir. Tüm sahne örgütlemesini tiyatronun merkezine oturttuğu oyuncudan türeten Appia, sahne düzenini, mekan kurmak, ışıklamayı da atmosfer yaratmak amacı ile kullanarak bu öğelere çağdaş anlamda yaklaşan ilk tiyatro adamı olmuştur.

Sahneleme anlayışında mekân kullanımı icracılara pek çok alternatif sunmaktadır. Tarihsel süreçte tiyatro sahnesi, anlatılan hikâyeyi veya eylenen aksiyonu seyirciye en iyi şekilde aktaracak yapısal çözümlerin arayışında şekillenmiş ve zaman zaman belirli kalıplar içine sıkışmıştır. Kullandığı öğeler açısından birçok duyuya hitap eden sahne sanatları, seyirciyle olan sağlıklı iletişiminden güç aldığı için zaman ve mekân paylaşımını ona göre düzenleme çabası içerisindedir. Bu anlamda tiyatro en temel unsurları olan oyuncu ve seyircinin buluşma noktası olan gösterim alanı, anlatının veya performansın biçimine göre tercih edildiği gibi, seçilen mekânsal özellikler de yapıtın işleyişini ve aktarımını etkilemektedir. Sadece gösterime olanak sağlayan bir zemin veya bir boşluk olmaktan öte, hareket eden beden (uzam) ve seyreden gözün (illüzyon) şekillendirdiği bu çok katmanlı gerçek veya hayali mekanlar, sınırlı süredeki bir deneyim için kurgulanmaktadır. Makalede, temsil ve performans ihtiyaçlarına göre tercih edilen mekânlar, özellikle oyuncu-seyirci ilişkisi üzerinden değerlendirilecek ve sahne yapılarının fiziksel/ideolojik değişimlerinin tarihsel süreci üzerinden mekân çözümlemesi ve kullanımı üzerinde durulacaktır. İnsan bedeninin kapladığı ve aynı zamanda hareketle yarattığı sahne mekânı, gerek çerçeve yapısında, gerek buluntu mekânda gerekse çevresel tiyatroda anlatıya ve seyre göre biçimlenerek değişim sürecine devam etmektedir.

Contemporary ecological concerns bring with them an opportunity
for innovation; to rethink traditional practices and forge ecologically inspired approaches that push intellectual and creative boundaries. This article investigates contemporary notions of ecology and materialism (‘ecomaterialism’), which abandon traditional disciplinary divides and seek to unify the human self with  the broader system of ecological organisation. Using a practice-based research example (Strung), I examine the potential for ecomaterialism to lead to new modes of
practice in scenography, where expanded ideas of material entanglement, across bodies, ecosystems and built environments, are central to sustainability in performance  design.

... Agradezco la amabilidad de los señores Reynaldo, Rolando, Marina y la ... En la actualidad resultados semejantes podemos encontrar en los estudios de Lescano, 2001; Padilla de Gil, 2000; Schufer, Necchi, 1998; Merchán, 1995; Zuloaga, Soto y Jaramillo, 1995; Cueca ...