Scenographic ImaginationSIU Press, 1993 - 328 pàgines In this enlarged and thoroughly revised third edition of his widely used text, Darwin Reid Payne explores the principles and philosophies that shape the visual elements of theatre. Payne sets out to discover who scenographers are and to define their responsibilities. He sees scenographers as not merely craftspersons but artists with "a special vision that spans all the arts." Such artists are in a position to "extend and amplify underlying meanings of the production." The proper goal of beginning scenographers, according to Payne, is one day to be able to approach the job as artists in full command of their craft. Payne seeks to instill in beginning scenographers a basic core of knowledge: an understanding of theatre history and the development of drama; a knowledge of art history and an understanding of periods and styles of architecture, painting, sculpture, furnishings, and costume; and a familiarity with the principles, techniques, and materials of pictorial and three-dimensional design. This new edition contains 248 illustrations, 38 more than the second edition. Payne's goal, certainly, is to teach students what to do and how to do it; equally important, however, is Payne's view that scenographers must know why. To Payne, "Scenography is an art whose scope is nothing less than the whole world outside the theatre." Scenographers must read not only in their own field but in others as well. Payne has incorporated into his text many suggestions for outside readings, quoting passages and even entire chapters from important works. Stressing research, Payne argues that without knowledge of the literature of their own and related arts, scenographers cannot grow. And that is the emphasis of this book: to present aspiring scenographers with an approach and a set of concepts that will enable them to grow. Toward that end, Payne establishes five priorities, the first of which is to develop in students what he calls "time vision," or the ability to "see" the historical past as a living place with living inhabitants. The second priority is to bring about an awareness that allows students to "see" beneath the surface of objects and events. Third, students must be helped to recognize and appreciate the difference between the "concept of space as it exists outside the theatre and the concept of space as it is used within the theatre." The fourth priority is to ingrain in students an understanding of the importance of imagery to the scenographer, and the final priority is to teach those technical skills necessary to carry out the concepts of the scenographer. |
Continguts
The Scenographic Artist | 1 |
Design for an opera by Joseph Galli Bibiena | 2 |
Nineteenthcentury Romeo and Juliet | 4 |
Design for The Seagull | 6 |
Design for Man of La Mancha | 7 |
Design for The Front Page | 8 |
Design for La Bohème | 9 |
Design for Don Carlos | 10 |
Effect of light on threedimension forms | 98 |
The Scenographer and the Written Text | 102 |
Scene from Ivan the Terrible | 106 |
Scene from Ivan the Terrible | 107 |
Sketch by Eisenstein | 108 |
Makeup for Mr Hyde | 109 |
Sketch by Eisenstein | 110 |
Scene from Ivan the Terrible | 111 |
Design for The Crucible | 11 |
Design for Aïda with projections | 12 |
Design for The Boy Friend | 13 |
Design for Home | 14 |
Design for Oedipus | 15 |
Diagram of scenery style | 16 |
Design for A Christmas Carol | 17 |
Chart showing scenographic drawing emphasis during past | 32 |
Chart showing progress of stage work | 33 |
Chart of functions of scenographer in production | 34 |
The Scenographer and the Physical Stage | 37 |
Diagram showing elemental actoraudience relationship | 38 |
Twopart actoractoraudience relationships | 39 |
Tyrone Guthrie Theater | 40 |
Design for The Caretaker | 42 |
Open stage The Caretaker | 43 |
Proscenium theater stageaudience relationship | 45 |
Movement possibilities on the proscenium stage | 46 |
Proscenium theater mechanics | 48 |
Scenic arrangement for Kordian | 50 |
acting levels | 54 |
the floor as scenery | 55 |
acting levels | 56 |
४ Illustrations 40 Drawing of setting | 57 |
Setting for La Parisienne | 58 |
Door height possibilities for Oedipus | 60 |
Doors for Oedipus | 61 |
Recommended source picture | 64 |
Design for The Physicists | 65 |
Edward Keinholz | 66 |
Design from Ivan the Terrible | 67 |
Coronation thrones | 68 |
Scene from The Caretaker | 69 |
Scene from The Seagull | 70 |
Scene from Ivan the Terrible | 71 |
Actors use of furniture | 72 |
Property used in Othello | 75 |
Costume construction pattern | 76 |
Shirt of Marquis de Sade | 77 |
Costume for Madame Rosepettle | 78 |
Degas drawing | 79 |
Urban rat | 80 |
Chart showing dictatorial approach to production | 82 |
Chart showing directors relationship to scenographer | 83 |
Diagram showing movement pattern | 92 |
Diagram showing movement pattern | 93 |
Golfer at rest | 95 |
Scene from Crime on Goat Island | 96 |
Spatial influences of scenographer | 97 |
Dynamo sketch by Eugene ONeill | 116 |
Chronological chart of Hamlet | 124 |
Scene from Russian film of Hamlet | 127 |
Skull of Yorick | 128 |
Action by Marguerite | 134 |
Action by Marguerite | 135 |
Action by Marguerite | 136 |
Prisoners railing and altar railing | 137 |
Votive candle rack | 138 |
Warm and cool areas of light | 139 |
Model of the church scene in Faust | 140 |
Design of the church scene in Faust | 141 |
Photograph of La Môme Bijou | 142 |
Creative Research in the Theater | 145 |
Diagram of visual elements | 149 |
Drawing of illogical form | 150 |
Setting for A Streetcar Named Desire | 151 |
Abe Burrows by Al Hirschfeld | 156 |
The Ambassadors by Holbein | 158 |
Detail from The Ambassadors | 159 |
Photograph of a Spanish building | 160 |
Fourteenthcentury sculpture | 162 |
Portrait of Sir Thomas More | 163 |
Detail from portrait of Sir Thomas More | 164 |
Setting for Antigone | 165 |
Detail from the Great Altar at Pergamon | 166 |
Model for Antigone | 167 |
Scenographic sketch for The Caucasian Chalk Circle | 168 |
Production photograph for The Caucasian Chalk Circle | 169 |
Scene from A Night at the Opera | 170 |
Fifteenthcentury Flemish painting | 171 |
Scenographic sketch for Home | 172 |
Setting for Rabelais | 173 |
Seventeenthcentury medical drawing | 174 |
Scenographic design for Cat on a Hot Tin Roof | 175 |
Ruined plantation house | 176 |
Hogarth print The Strolling Actress | 181 |
Scene from A Streetcar Named Desire | 186 |
A London Street by Gustave Doré | 189 |
Chart of nineteenthcentury production philosophy | 194 |
Design process diagram | 198 |
Forces and influences that affect scenographic design | 199 |
Diagrammatic map for Hamlet | 202 |
Diagrammatic map for The Tempest | 203 |
Diagram of sevenring labyrinth | 204 |
The Scenographic Vision Employed | 236 |
Bibliography | 315 |