Scenographic Design Drawing: Performative Drawing in an Expanded Field

Description

This enlightening study explores the set design drawings for theatre and live performance, highlighting their unique qualities within the greater arena of drawing practice and theory. The latest volume in the Drawing In series, Scenographic Design Drawing encourages an interdisciplinary dialogue in the field of drawing with the inclusion of illustrations throughout. Scenographic design drawings visualize the images in the designer’s “mind’s eye” early in the design process. They are the initial design tool in the creative engagement with theatre, opera, dance, and non-text-based performance. It is, in particular, this body of drawings that is unique as both a performative and a theatrical representation of multiple worlds within the “stage space”. Sue Field illuminates this illustration process and identifies how these drawings have functioned and developed over time. Scenographic Design Drawing serves to satisfy an emerging global curiosity and a thirst for new knowledge and understanding in relation to the drawings executed by the historical and contemporary scenographer. This work addresses a critical research gap and shows how the scenographic design drawing continues to be a principal site of innovation, subjectivity, originality, and authorship in theatre and live performance. Title Page Copyright Page Contents Illustrations Figures Plates Acknowledgments Introduction Chapter 1: Drawn behind the Fourth Wall Scenography Worlding Theory Scenographic Design Drawing The Thinking Drawing The Scenographic Thinking Drawing The Peacham Drawing The Exploratory Rehearsal Drawing The Digital Presentational Drawing The Performative Scenographic Design Drawing Performative Anti-theatricality Theatricality Chapter 2: Creating a Scene The Second Scenographic Turn Natalia Goncharova: Le Coq d’Or, 1914 Pablo Picasso: Parade, 1917 Dorothea Tanning: The Night Shadow, 1946 The Ballet Russes in Australia, 1936–40 Arthur Boyd: Elektra, 1963 The Playful Aesthetic of David Hockney A Glimpse into the Past Chapter 3: Staging Architecture Norman Bel Geddes Frederick John Kiesler Elizabeth Diller and Ricardo Scofidio: The Slow House (1989) Aldo Rossi Frank Gehry Chapter 4: Drawn to Perform An Emergent Field: Expanded Drawing Gosia Wlodarczak The Performative Scenographic Design Drawing William Kentridge Gabriela Tylesova Dan Potra 1927 Suzanne Andrade and Paul Barritt Chapter 5: The Drawn Absence The Field of Post-dramatic Theatre Punchdrunk Huis Clos The “Look” as an Action of Grasping The Voyeuristic Gaze of the Theatre-Going Spectator No Exit (2017) Definition of Presence An Absent Presence in No Exit (2017) The Video No Exit The Scale Scenographic Model Theatricality in No Exit The “Room of Imagination” and the “Room of Memory” The Set Model of the Hypothetical mise-en-scène within the Black Model Box The Model as an Epistemic Tool The Hybrid Genre: The Drawn Absence Chapter 6: Drawn into the Future The Simultaneity of the Image Digital Scenography and Worlding Theory Digital Scenography The Digital Drawing The Freehand Thinking Drawing Authorship, Authenticity, and Autograph Drawn to the End Notes Introduction Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 References Index