How and what can we discern through the aesthetic production of hazy phenomena? Although historically secreted from architectural formats and protocols, scenography deviated from them by advancing visual attenuations, the evanescence of spatial borders, and the malleability of imperceptibility, up to making black box theatre spaces. Intersecting practices and theories from various spatial arts, the thesis inquires into the precedents and legacy of this scenographic gloom to advance an understanding of its sensory and cognitive difficulties. In particular, the work explores how the blurring of bodily and spatial substances pertains to a phenomenal domain of transformative and interactive spatio-corporeality or bodily space. In this fluctuating field, the crisis of visual legibility exerts pressures on perception, representation and language bringing them down to a speculative threshold. By further interrogating this threshold practically and philosophically, the thesis unfolds a reconsideration of experiential and authorial subjectivity in embodied terms that constitute a vertiginous detournement of ontological and epistemological traditions. Resulting from such discursive disorientations, scenography is reposited as an architectural mise en abyme that is a mise en abyss where the gloom sheds light upon an ethical praxis of reciprocal and affective relations and beings.

The thesis is an interrogation of both process and reception of contemporary scenography. The definition 'contemporary' embraces professional public performance since 1980. Theatre design is now more accurately described as scenography, but as theatre designers in. Britain rarely describe themselves as scenographers, both terms are adopted. The thesis is divided into two sections followed by. an appendix. Diagrammatically, we may see the performance product as central. The first section of the thesis - chapters one to four - reflects the process of image reception as a journey, situating the spectator as reader. In chapter one I examine the influence of preproduction visual material and the architectural context of the performance. Chapter two deconstructs the theory of intention as applicable to image. The aim of the third chapter is to point up the deficiencies and limitations of scenographic interpretation in published criticism. This leads, in chapter four, to the provision of an alternative methodology for accurate detailing of both process and intended effect by applying the terminology of classical rhetoric. The perspective changes in the second half with designer as protagonist. Chapters five and six form a debate centred on material from the Appendix interviews. I examine contemporary scenographic theory as offered up by designers as practitioners and investigate the role and function of the theatre designer within the collaborative process of theatre production

As a reaction to developments being made by indie developers in the peripherals of the video game industry, this paper has been authored with intent to contribute to an ongoing discourse on interactive media. This paper details a study of Cardboard Computers project Kentucky Route Zero, and the means by which the player in Kentucky Route Zero has their interactions enabled within the game. A number of select scenes from the games were chosen prior to the actual process of data gathering, and these scenes were then analysed using a custom method by primarily combining methods described by Michel Chion as well as Jesse Schell. The scenes were scrutinised in search of every possibility for player interaction, and then divided into smaller, more manageable chunks where instances of interaction were further isolated and then named after a number of common characteristics. The chunks containing these instances of interaction were then compared to one another in search of functional connections. The results of the study indicates that two major types of interactions, direct and indirect, work in tandem to provide players with a mode of interaction within the game. Further research into the studied field could build on the findings of this study to different types or character of interaction, as well as the functions of more complex interactive systems.

<p>Developments in technology and new aesthetic idioms in the past decades have changed the preconditions for the scenographer’s work in the theatre. Therefore, it has become problematic indeed to describe scenography as the sum of costume and set, although this continues to be the common definition of the concept. This study focuses on the interaction of different features in a theatre performance, such as scenography, actors, light and sound. The aim is to show that scenography, as opposed to set and costume, cannot be separated from the live performance, i.e. the context for which it is created.</p><p>By investigating scenography from the parameters space, time, and movement, the thesis demonstrates that the art is anything but stable. On the contrary, it continuously changes shape, size, and appearance. The actors in particular play an important role in the organization of the space, thus exposing the instability of scenography in action.</p><p>The analytical chapters in the thesis discuss four different movements, or transformations, in scenography, appearing in eight theatre productions staged by Swedish director Ingmar Bergman between 1984 and 1998. The first chapter, "Expansion," discusses how scenography incorporates new spaces, either through the actors’ movements or by quoting architectonic details from other parts of the theatre building. "Revolution" shows different ways of revolving scenography without the aid of technical devises such as the revolve stage. "Perforation," the third chapter, analyses the effects of a perforated set and its consequences for the spectators’ apprehension of scenography. The last chapter, "Metamorphoses," highlights actions that undermine the definition of some central concepts in performance, such as “performers,” “props,” and “spectators,” all of which are intertwined in the analysed productions.</p><p>A concluding part of the dissertation elaborates on the effects of these movements and transformations in scenography, in particular as related to the physical and mental relationship between actor and audience.</p>

Developments in technology and new aesthetic idioms in the past decades have changed the preconditions for the scenographer’s work in the theatre. Therefore, it has become problematic indeed to describe scenography as the sum of costume and set, although this continues to be the common definition of the concept. This study focuses on the interaction of different features in a theatre performance, such as scenography, actors, light and sound. The aim is to show that scenography, as opposed to set and costume, cannot be separated from the live performance, i.e. the context for which it is created. By investigating scenography from the parameters space, time, and movement, the thesis demonstrates that the art is anything but stable. On the contrary, it continuously changes shape, size, and appearance. The actors in particular play an important role in the organization of the space, thus exposing the instability of scenography in action. The analytical chapters in the thesis discuss four different movements, or transformations, in scenography, appearing in eight theatre productions staged by Swedish director Ingmar Bergman between 1984 and 1998. The first chapter, "Expansion," discusses how scenography incorporates new spaces, either through the actors’ movements or by quoting architectonic details from other parts of the theatre building. "Revolution" shows different ways of revolving scenography without the aid of technical devises such as the revolve stage. "Perforation," the third chapter, analyses the effects of a perforated set and its consequences for the spectators’ apprehension of scenography. The last chapter, "Metamorphoses," highlights actions that undermine the definition of some central concepts in performance, such as “performers,” “props,” and “spectators,” all of which are intertwined in the analysed productions. A concluding part of the dissertation elaborates on the effects of these movements and transformations in scenography, in particular as related to the physical and mental relationship between actor and audience.

La démarche artistique à laquelle se lie ce travail de thèse est le fruit d’interrogations sur ce qui constitue les liens kinesthésiques et perceptuels à l’environnement. Ralliées à ces explorations, les technologies de l’interactivité, issues de la pensée cybernétique et de l’essor de l’informatique, permettent l’instauration de scénographies qui se construisent par interférence avec la corporéité,dans son caractère autopoïétique, au travers des dispositifs d’interfaces. L’interactivité est appréhendéeici dans son volet hypermédia. Cette thèse est l’expression d’un travail de recherches pratiqueset théoriques. Le premier axe de recherche concerne directement les enjeux relationnels entre plasticité etcorporéité. Les premières lignes de notre développement sont consacrées aux modes de relations au sein de la plasticité des installations immersives. Par les scénographies interactives, corps et espace se tissent de façon complexe. Ces scénographies permettent l’apparition de nouveaux possibles kinesthésiques et sensoriels.Le second axe concerne les enjeux d’une spectatorialité spécifique. Par filiation à des démarches antérieures, on identifie un déplacement épistémologique de la notion d’espace qui s’effectue par l’intégration d’espaces computationnels hypermédias à l’espace topologique. Le spectateur devenu interacteur (Couchot, Weisseberg) accède à des conduites auctoriales. Cette idée d’auctorialité n’est-Elle pas à modérer au regard des contraintes exercées par le dispositif ? La dialectiqueentre contrainte et liberté est abordée en termes de territoires d’action programmée en rapport à des territoires d’action individualisée. Les thèses de Steigler permettent de considérer le spectateur comme praticien de l’espace plastique. L’auctorialité spectatorielle fait alors l’objet d’une poïétique de l’empreinte. Le troisième axe est consacré aux enjeux poïétiques (Passseron) des technologies interactives ralliées à une démarche plasticienne. Méta-Outils, l’interactivité et les outils numériques qu’elle sollicite dans la constitution de médias favorisent une nouvelle approche de l’atelier. La multiplicité de compétences que nécessite cette pratique ouvre des considérations poïétiques quant aux pratiquescollectives. L’identification d’une culture propre aux arts numériques comme champ transdisciplinaire souligne l’influence d’un terrain professionnel constitué autour de ces pratiques. La pratique de l’interactivité, par l’expérimentation, se singularise alors au sein d’une démarche de création-Recherche- profession. / The present dissertation partakes of an ongoing inquiry into our kinesthetic experience and the influence of the environment on our perceptions. The technologies of interactivity, which stem from cybernetics and from the rise of computer technology, are major tools in this exploration, as they enable the emergence of scenographies whose specificity is the way they integrate corporeality in its autopoieticdimension, by means of the interface-Based devices.This dissertation is the product of research work of a practical and of a theoretical nature. The first part tackles the question of what is at stake, in relationships, between plasticity and corporeality. A few paragraphs are devoted to modes of interaction in the context of immersive plasticity. In interactive scenographies, body and space are complexly interconnected. The scenographies lead to the emergence of new cognitive possibilities, notably at the level of the sensory-Motor perception patterns. They are explored through the practice of installation. The second part focuses on the stakes of a specific spectaroriality. Following previous approaches, we proposeto identify an epistemological shift of the notion of space which occurs with the integration of hypermedia computationalareas into the topological field. Being thus made an interactor, the spectator becomes a potential author. The notion of auctoriality is tempered in the way of constraint caused by the apparatus. By resorting to systemic thought and relying on theanalysis of our productions, we can define the dialectic between constraint and freedom as programmed action fields inrelation with individual action fields. Steigler’s theory enables us to regard the spectator as a practician-Body in the plasticsphere. The third part deals with the poietics of interaction technologies, on which is brought to bear an approach focusingon plasticity. As metatools, the interactivity and the digital tools it requires in the constitution of media promote a new approach to the worshop. The multiplicity of skills this practice involves leads to poietic considerations as regards collective practices.The identification of a culture specific to digital art as a cross-Disciplinary field underlines the influence of a professional field established around these practices. Interactivity practice, by experimentation, stends out in a creation-Research-Profession process.

Darbe apžvelgiama spektaklių vaikams raida Lietuvoje nuo XX a. antrosios pusės iki XXI a. pradžios, aptariamas scenografijos, kaip vizualios komunikacinės priemonės, poveikis jaunajam žiūrovui. Darbe nustatoma scenografijos, kaip teatrinės erdvės organizavimo raiškos priemonės, situacija bendrame spektaklio kontekste. Aptariamas spektaklio, kaip vizualios komunikacinės priemonės, poveikis jaunajam žiūrovui. / On the basis of J. Huizinga, H. G. Gadamer and Friedrich Shiller theories and concepts of game, this master thesis will be aimed at analysis of theatrical, game and improvisational features, to ascertain impact of spectacle, as visual communicative media, for juvenile viewer, and set situation for scenography, as theatrical space organizational tool, in overall context of spectacle. In modern spectacles for children different attitude towards audience is noticeable. Many new forms of scenography are included into play, regarding to the evolution of technology in our modern times. Contemporary spectacles are more imaginative, according to R. Oginskaite. Scenography nowadays is not a simple mere show – it becomes important part of spectacle. Thus, regarding to evolution of spectacles, they can be more accommodated to fast imagination development, early – age ability to perceive an image, and many more theories which are analyzed in this master thesis.

Scenovaizdžių maketai ir kostiumų eskizai. / Scenographic models and sketches of costumes.

Dans le cadre d'une démarche d'analyse de discours, cette thèse se donne pour objectif d'établir le mode de fonctionnement du discours des guides touristiques en tant que point de connexion entre production discursive et lieu social. Au-delà d'un discours de description d'un référent donné, il s'avère un véritable système d'explicitation de soi dans un contexte bien plus large d'énonciation.Notre étude se concentre essentiellement sur deux guides touristiques : le Guide du Routard et le Guide Gallimard. Nous tâcherons de les inscrire dans une double dynamique : d'abord dans une dynamique institutionnelle : le genre. Convention discursive, il est le cadre à la fois structurant et contraignant et il s'ancre dans un environnement contextuel fortement imprégné de représentations socioculturelles, qu'il contribue en retour à conforter ou à transformer. Ensuite, dans une dynamique individuelle : la recherche de positionnements énonciatifs différenciateurs à travers une mise en scène de sa parole spécifique et le déploiement d'un ethos propre à l'instance énonciatrice.Ces deux dynamiques sont en constante interaction et révèlent la connexion entre prise en charge, texture énonciative et contexte.Le discours des guides touristiques se considère alors comme un vecteur de représentations qui s'inscrivent dans la construction d'un savoir partagé. Il propose ainsi un transfert inter-discursif qui permet une approche discursive de l'identité et de l'altérité. Ce système de représentations s'avère poreux aux pratiques communicationnelles et tisse par là-même une passerelle entre le discursif et extra-discursif, la clef de voûte de notre étude. / As part of an approach to discourse analysis, this thesis sets out to establish how the discourse of tourist guides functions as a connector between speech production and social context. More than a mere descriptive discourse of a given referent, it is in reality a genuine system of the explanation of the self in a much broader context of enunciation.Our study essentially focuses on two guides: The Guide du Routard (The Rough Guide) and the Guide Gallimard. We shall endeavour to include them in a dual dynamic: first, in an institutional dynamic - the discourse genre. This discursive convention is both structuring and constraining and it is anchored in a context deeply influenced by socio-cultural representations, which in turn is reinforced or transformed by it . Then, in an individual dynamic- the search for differentiating enunciative positioning through a staging of the specific word and the deployment of an ethos proper to the moment of enunciation .These two dynamics are in constant interaction and reveal the connection between management , the enunciation texture and the context .The discourse of travel guidebooks is thus considered as a vector of performances that are part of the construction of shared knowledge. It proposes an inter-discursive transfer and approach to identity and otherness. This system of representation is porous to communication practices and thereby builds a bridge between the discursive and the extra-discursive, the keystone of our study

Cette recherche s’inscrit dans le contexte actuel où bon nombre de disciplines créatrices cherchent à redéfinir le contour de leur activité. La scénographie n’en fait pas exception. Dans une période très récente, des questions sur les limites de la scénographie et son rapport avec les autres arts se sont posées. Cette thèse prétend démontrer que les bouleversements à l’œuvre ces dernières années sont majeurs en affectant le rôle même du scénographe. Il nous a paru cohérent de concentrer la recherche sur la 12e édition de la Quadriennale de Prague en 2011. En effet, cette édition fut le premier événement qui effectua un changement terminologique, introduisant dans ce contexte le terme de Performance Design en le substituant le terme traditionnel de scénographie. L’accent mis sur ce concept prétendait inclure de nouvelles formes de créations émergeantes. Ce changement provoqua des échos importants et suscite depuis de nombreux débats dans le domaine des arts de la scène. Il semblait donc nécessaire de déterminer les nouveaux contours de la discipline. Quelles sont les fonctions actuelles du scénographe ? Quelles compétences doit-il avoir aujourd’hui pour répondre aux enjeux propres de la mise en scène ? Quels sont les domaines où le scénographe exerce sa pratique ? Quelles sont les limites de la scénographie ? Ou encore, quels sont les nouveaux espaces, au-delà des domaines traditionnels, qui s’ouvrent comme champs de pratique ? Interroger le statut actuel du scénographe exige inévitablement de revenir sur ses définitions historiques. Cette recherche ne prétend pas être une étude exhaustive de l’histoire de l’évolution du rôle du scénographe. Cela nous a cependant permis d’isoler trois fissures dans son évolution. Nous proposons de développer cette analyse à partir de trois catégories : fonction, domaine, et compétence. Afin de compléter un débat somme toute théorique, nous avons souhaité entendre les voix de scénographes de différents pays dans le monde. Cette diversité d’entretiens nous a permis d’avoir un exemple vivant de la réalité particulière de ceux qui exercent la discipline aujourd’hui. / This research fits into the current context in which many creative disciplines seek to redefine the outline of their activity. The scenography is no exception. In recent years, questions have arisen about the limits of scenography and its relationship with other arts. This thesis aims to show that the upheavals at work in the last years have profoundly affected the role of the scenographer. It has seemed coherent to us to focus the research on the 12th edition of the Prague Quadrennial in 2011. Indeed, this edition was the first event that made a terminological change, introducing in this context the term Performance Design substituting the traditional term of Scenography. The emphasis on this concept had the purpose of including new forms of emerging creations. This change provoked important echoes and has been the subject of many debates in the field of the performing arts. It therefore seemed necessary to determine the new contours of the discipline. What are the current functions of the scenographer? What skills must he have today to respond to the specific challenges of staging? What are the areas where the scenographer practices? What are the limits of the scenography? Or again, what are the new spaces, beyond traditional domains, that open up as fields of practice? To question the current status of the scenographer inevitably requires a reconsideration of his historical definitions. This research does not claim to be an exhaustive study of the evolution of the scenographer's role. Nonetheless it has allowed us to isolate three cracks in its evolution. We propose to develop this analysis by means of three categories: function, domain, and competence. In order to complete a theoretical debate, we wanted to hear the voices of scenographers from different countries around the world. This diversity of interviews has allowed us to have a living example of the particular reality of those who exercise the discipline today.