El presente proyecto de investigación tiene como objetivo principal realizar un análisis acerca de la presencia de aportes de la dirección de arte a su narrativa fílmica. El caso de estudio será la película peruana Una sombra al frente, dirigida por Augusto Tamayo, en el año 2007. Para desarrollarlo, se toma como punto de partida a las discusiones teóricas sobre la dirección de arte, narrativa fílmica (construcción y perfil de personajes) mencionadas por Augusto Tamayo y Nathalie Hendrickx (2016). Asimismo, por David Bordwell y Kristin Thompson (2002) en sus libros de investigación acerca de los elementos de la dirección de arte. Estas categorías se realizarán a manera de un estado de la cuestión. Además, para la profundización teórica, se revisaron estudios de autores tales como de Deborah Nadoolman, (2014), Bruce Block (2010), José Pérez (2016), Robert Mckee (2004), entre otros, desde una perspectiva audiovisual y cinematográfica. Finalmente, sobre esta base, se propone una investigación con diseño metodológico cualitativo centrado en el análisis de contenido de estas cinco dimensiones (vestuario, utilería, maquillaje, peinado y locación) en la película referida. A través de este proyecto, una vez recopilado los datos y se elabore el análisis, se busca crear y explorar los beneficios que contiene los objetos que utiliza la dirección de arte en el cine, películas, series entre otros. / The main objective of this research project is to carry out an analysis about the presence of contributions from art direction to its film narrative. The case study will be the Peruvian film Una sombra al Frente, directed by Augusto Tamayo, in 2007. To develop it, theoretical discussions about art direction, film narrative (construction and character profile are taken as a starting point) mentioned by Augusto Tamayo and Nathalie Hendrickx (2016). Also by David Bordwell and Kristin Thompson (2002) in their research books on the elements of art direction. These categories will be made as a state of the art. In addition, for the theoretical deepening, studies by authors such as Deborah Nadoolman, (2014), Bruce Block (2010), José Pérez (2016), Robert Mckee (2004), among others, were reviewed from an audiovisual and cinematographic perspective. Finally, on this basis, an investigation with a qualitative methodological design is proposed focused on the content analysis of these five dimensions (costumes, props, makeup, hairstyle and location) in the referred film. Through this project, once the data has been collected and the analysis is prepared, it is sought to create and explore the benefits contained in the objects used by art direction in cinema, movies, series, among others. / Trabajo de investigación

El diseño de producción tiene una importante relevancia en toda producción cinematográfica, enfocándose en la creación de los personajes y su influencia, veremos cómo aporta al desarrollo y creación del mismo. Partiendo desde su apariencia y todo lo que conlleva, los elementos del discurso que representa el personaje, así como sus metas y motivaciones, las cuales se relacionan con lo mencionado anteriormente. / Production design has an important weight in all film production, focusing on the creation of characters and their influence, we will see how it contributes to the development and creation of them. Starting from his appearance and all that it entails, the elements of the speech that the character represents, as well as his goals and motivations, which are related to the aforementioned. / Trabajo de investigación

Utifrån ett posthumanistiskt synsätt, och tillsammans med Karen Barads teori kring agentiell realism och performativitet, vill vi i det här kandidatarbetet bjuda in vår omvärlds fysiska fenomen som medskapare i vår designprocess. Med hjälp av dessa fenomen vill vi utmana och ifrågasätta den antropocentriska designerrollen genom att belysa materialitetens performativa förmåga till kunskapsproduktion och meningsskapande i designprocessen. Vi undersöker hur designprocessen och dess involverade val och handlingar uppstår genom mötet av både mänskliga och icke-mänskliga aktörer; vi beviljas ett inifrånperspektiv som placerar oss mitt i vår världs trassel av intra-aktioner och blir därmed en del i dess tillblivelse. Genom att tillämpa detta förhållningssätt i experiment som utforskar relationen mellan den analoga världen och den digitala, undersöker vi hur dessa möten kan bidra till utformandet av en gestaltande ljudinstallation. / With a posthumanist approach and based on the theory of agential realism and performativity by Karen Barad, we want, in this Bachelor Thesis, to invite the physical phenomena of our surrounding world as co-creators of our design process. With help from these phenomena we would like to challenge and question the anthropocentric designer role by illustrating the performative ability of materiality for producing knowledge and creating meaning in the design process. We explore how the design process and its involved choices and actions emerge through the concurrence of both human and non-human actors; we are granted a from-within perspective that places us in the midst of the entanglement of our world’s intra-actions and therefore become a part of its genesis. By applying this approach to experiments which delve into the relationship between the analog world and the digital, we explore how these concurrences can contribute to the designing of a sound installation.

<p>Pojam scenskog dizajna označava oblast<br />profesionalnog, umetničkog, kustoskog,<br />teorijsko-kritičkog i edukativnog delovanja<br />koja je nastala pro&scaron;irenjem pojma i oblasti<br />scenografije. Kao polje profesionalnog<br />delovanja u pozori&scaron;tu, scenski dizajn<br />obuhvata različte oblasti scenskog<br />stvarala&scaron;tva, objedinjenih u procesu<br />nastanka prostora pozori&scaron;ne predstave.<br />Kao kompleksna umetnička i kustoska<br />disciplina, scenski dizajn pripada polju<br />ukr&scaron;tanja pozori&scaron;ta, arhitekture i vizuelne<br />umetnosti u interdisciplinarnu umetnost.<br />Osvajanjem prostora &bdquo;između&ldquo; uspostavljen<br />je otvoreni model umetničkog istraživanja i<br />delovanja, pa ovakvu vrstu pro&scaron;irenja<br />možemo smatrati pokretačem velikog broja<br />novih ili transformisanih stvaralačkih praksi.<br />Delo scenskog dizajna može nastati u<br />svakom stvaralačkom procesu koji<br />podrazumeva scenski način mi&scaron;ljenja i<br />upotrebu scenskih sredstava, a koji za cilj<br />ima realizaciju prostora scenskog<br />događaja. U radu je prikazano, analizirano i<br />vrednovano deset studija slučaja<br />umetničkih i kustoskih praksi u oblasti<br />scenskog dizajna, čime je ukazano na<br />raznovrsnost ishoda, umetničkih formi i<br />sredstava, različitost ambijenata u kojima<br />su dela izvedena, vrste publike i javnosti<br />kojima se obraćaju, kao i specifičnosti<br />načina njihovog nastanka i raznovrsnost<br />upotrebe medijskih linija. Takođe, prikaz<br />razvoja scenskog dizajna van prostora<br />pozori&scaron;ta omogućio je ustanovljavanje tri<br />njegove ključne karakteristike &ndash;<br />vi&scaron;emedijsku prirodu scenskog dizajna,<br />posebnu ulogu prostora u delima scenskog<br />dizajna i uspostavljanje specifičnog odnosa<br />između izvođača i publike.</p> / <p>Term scene design relates to professional,<br />artistic, curatorial, theoretical and<br />educational practices developed from the<br />expanded meaning of scenography &ndash; as<br />semantic category and artistic discipline. In<br />professional theatre practice, scene design<br />connects several artistic disciplines, joint<br />together in the process of creating a space<br />for theatre performance. As a complex<br />artistic and curatorial practice, scene design<br />stands at the crossroads of theatre,<br />architecture and visual arts, united in the<br />field of interdisciplinary art. By taking the<br />space &ldquo;in between&rdquo; disciplines, scene<br />design becomes an open model for artistic<br />research and practice, serving as a core<br />drive for a large number of new or<br />transformed artistic and curatorial works.<br />Every creative process which includes<br />scenic way of thinking and scenographic<br />means of expression, and aims at<br />realisation of performing space, can be<br />defined as scene design artwork. The<br />research included presentation, analysis<br />and evaluation of ten case studies of artistic<br />and curatorial practices of scene design.<br />The analysis aimed at showcasing diversity<br />of artistic outcomes, forms and means of<br />expression, variety of performing<br />environments and types of audience, as<br />well as specific circumstances in which<br />works were created or diversity of media<br />used. At the same time, insight into<br />development of scene design works outside<br />theatre practice resulted in establishing<br />three of its key characteristics &ndash; multimedia<br />nature of scene design, essential role of<br />space in scene design works and specific<br />relation between performer and audience.</p>

New spaces open up when you lose someone. A disappearance is the beginning of an emergence. This project is about mourning the loss of my nai nai (paternal grandmother in Mandarin) and the spaces that have opened up during the process. Through personal experience and by mapping my psychogeography of the place where I grew up with nai nai, Visättra, this project deals with the meaning of places, memories and objects. I have worked with the translation between immaterial and material things while reflecting on contemporary questions such as: attachment to places and objects, highlighting placeness that is entangled with culture, identity and politics, and situating a subjective experience in a larger narrative. What happens to the places that are attached to the memories of a person after their death? What kind of new places are born out of grief and loss? How are they manifested through different scales—from the personal to the universal and the psychological to the geographical? I have explored my questions intuitively along with theoretical frameworks followed by a process of tracing, collecting, translating and recreating carriers of memories, revealing scenes of a dichotomy between brokenness and wholeness—from then to now and from there to here.

Längst ut på piren i Värtahamnen har jag velat skapa Operastaden, en mikrostadsdel som är en egen värld helt uppbyggd kring opera. Hit skulle alla operarelaterade verksamheter flytta, såsom operahögskolan och baletthögskolan.  Mellan byggnaderna skulle folk springa i sina scenkläder, dekorer skulle lastas in och ut, och sångarna skulle värma upp sina stämmor på gården. Platsen skulle genomsyras av operaproduktion, och ta intryck av den dramatiska omgivande produktionsmiljön i hamnen. Inåt platsen skulle allt vara smyckat som dekorer, och scenografier och olika miljöer skulle vara uppbyggda för att vara experimentscener, där det blir oklart om vem som är besökare och vem som är skådespelare. Ta ett bad poolen i Mallis-miljö, eller picnica vid sjön bland tonerna från Verdi, operans förtrollade värld gör att du inte längre behöver bry dig om vad som är fantasi eller vad som är verklighet.  Opera är inte längre begränsat till om du har råd att betala en biljett, eller om du är för rastlös för att sitta i stolen genom alla tre akter.

Scenic Designs of High Baroque in the National Collections of the Czech Republic The thesis deals with the Baroque scenic designs which are situated in public collections of the Czech Republic. These are mainly the works by Josef Hager and Josef Redlmayer, whose production was inspired by the Italian baroque scene designer Giuseppe Galli Bibiena. The aim of the thesis is to describe inspirational sources which influenced the artists and to comprehensively classify their production within the European context of the Baroque period. The diploma work also explains the history of Baroque theatres in Bohemia as well as in the whole Europe. It shows their connection with the pompous cellebrations so popular in Baroque period. The thesis also informs about the progress of Italian scenography and scenic designs with the explaination of stage decorations. The thesis is divided into five general chapters which show the local and time consequences. The first part brings the general introduction into the baroque theatre and baroque theatrality. It explains the beginning, genres and technical issues of the baroque theatre. This information is extended further during the thesis. The second chapter deals with the baroque celebrations and their tight connections with the theatre. The third part deals with...

La dirección de arte tiene un papel importante en la elaboración de una producción audiovisual. Se divide en tres categorías, la primera es el diseño de vestuario que contribuye a la construcción estética de un personaje; la segunda es el maquillaje y peinado que caracteriza al actor como el personaje; y la tercera es el diseño de locaciones, que incluye la utilería y el decorado de un ambiente. El objetivo es analizar el rol de la dirección de arte en la representación de la pobreza que se construye en el cine peruano, tomando como ejemplos dos películas peruanas: Rosa Chumbe (2015) y Canción sin nombre (2019). En estas veremos cómo los personajes de bajos recursos son representados mediante las diferentes áreas de la dirección del arte, vestuario, maquillaje y peinado, y escenografía. Esta investigación es de carácter cualitativo, puesto que se utilizarán entrevistas personales como instrumentos de recolección de datos. Asimismo, la investigación contribuye a demostrar si la dirección de arte influye o no en la construcción de estereotipos respecto a la pobreza. / Art direction has an important role during the process of elaboration of an audiovisual production. It is divided into three categories: the first one is costume design which contributes to the aesthetic construction of a character; the second one is hair and makeup that distinguishes the actor as the character and, the last one, set design which includes props and decoration of a location. The main objective is to analyze the role of art direction in the representation of poverty constructed in Peruvian cinema, taking as cases of study two Peruvian movies: Rosa Chumbe (2015) and Song Without a Name (2019). Within these we will see how low-income characters are represented through different areas of art direction: costume, hairstyle and makeup, and scenography. This research is qualitative by nature, due to personal interviews being used as instruments to recollect data. In addition, this research contributes in demonstrating if art direction influences or not in the construction of stereotypes regarding poverty. / Trabajo de investigación

En este trabajo de investigación se tiene como principal objetivo explicar las carácteristicas que presentan las simbologías en la película Más Allá de los Sueños. Este film fue dirigido por Vincent Ward en el año 1998. En este caso, se analizarán los elementos que abarcan las escenografías dentro de la película, como la utilería, el color y la iluminación. Con todos estos puntos mencionados, se podrá entender a más profundidad las simbología presentes en cada una de las escenografías. Finalmente, al ser una invstigación cualitativa se realizará análisis de contenido y para ello, se han elegido escenas donde se observarán los elementos a estudiar. / The main objective of this research work is to explain the characteristics that the symbols present in the film What dreams may come. This film was directed by Vincent Ward in 1998. In this case, the elements that comprise the scenography within the film will be analyzed, such as props, color and lighting. With all these points mentioned, it will be possible to understand in more depth the symbols present in each of the scenographies. Finally, as it is a qualitative investigation, content analysis will be carried out and for this, scenes have been chosen where the elements to be studied will be observed. / Trabajo de investigación

El presente proyecto de investigación tiene como objetivo principal realizar un análisis acerca de la evolución en la dirección de arte del cine peruano del 2013 al 2018. Para ello se tiene como muestras de estudio a cuatro películas peruanas de género comedia, las cuáles son “Asu Mare”, “A los 40”, “Ceviche de Tiburón” y “Soltera Codiciada”. Se buscará tener como base a los  elementos de la dirección de arte y sus componentes que aportan en la construcción narrativa. Con la finalidad de realizar un trabajo que demuestre la evolución de la dirección de arte en las escenas de las películas elegidas que presentan una destacada dirección de arte con el vestuario,  utilería, escenografías/espacio y también detectar el uso adecuado del color tanto en sus elementos como la propuesta de paleta de color del film. Finalmente, analizar y observar cómo los elementos mencionados aportan en la construcción narrativa. Esta investigación cualitativa busca analizar y explicar de manera minuciosa y crítica por medio  de conceptos claros que se encuentran distribuidos por variables referentes al tema y de este modo comprender los cambios de la dirección de arte y su aporte en la narrativa. / The main objective of this research project is to carry out an analysis about the evolution in the art direction of  Peruvian cinema from 2013 to 2018. For this, we have as study samples four Peruvian films of the comedy genre, which are “Asu Mare ”,“ A los 40'', `` Ceviche de Tiburón ”and“ Soltera codiciada ”. It will seek to have as a basis the elements of the art direction and its components that contribute to the narrative construction. In order to carry out a work that demonstrates the evolution of the art direction in the scenes of the chosen films that present an outstanding art direction with the costumes, props, scenographies / space and also detect the appropriate use of color both in their elements such as the proposed color palette of the film. Finally, analyze and observe how the aforementioned elements contribute to the narrative construction. This qualitative research seeks to analyze and explain in a meticulous and critical way through clear concepts that are distributed by variables related to the subject and thus understand the changes in the art direction and its contribution to the narrative. / Trabajo de investigación