I want to be clear that the audience that is discussed here is not a group of people who have any involvement in the creative process of the scenography work, but instead participate in the finished product.
The scenery will help the audience to understand how they relate to the play work.
The zoning of the space usually places the viewers interacting, in a more or less evident way, with elements which are distributed around the performing space: the stage, seats, or some objects. The illumination of certain areas and/or the addition of sound, helps to direct attention to the areas of interest. At other times, the actors themselves will lead the people to consider the position they should take. Finally, the very architecture and topography of the place has the power to inform the audience.
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“Being creative is not so much the desire to do something as the listening to that which wants to be done: the dictation of the materials.”
“As basic rules of language must be practiced continually, and therefore are never fixed, so exercises toward distinct color effects never are done or over. New and different cases will be discovered time and again.”
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“It is necessary to recover the primeval force of the shock taking place at the moment when opposite a man (the viewer) there stood for the first time a man (the actor) deceptively similar to us, yet at the same time infinitely foreign, beyond an impassable barrier.”
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Scenographers can be a bridge between a scenic director and the receptors. To do it, we use aesthetic communication to induce an emotional response in the public.
We feel comfortable working from a second row, behind or next to others, creating athmospheres that surround the action, and also giving to the public and the actors the kind of space they need to feel and percive the scene work.
We believe we can improve the relationship citizens will have with the scene arts. So, we’ll stand there, working on it behind the scenes…
Continue reading “SCENOGRAPHERS ARE”