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
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:311339 |
| Date | January 2000 |
| Creators | Parker, Ellie |
| Publisher | University of Bristol |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://hdl.handle.net/1983/86ac157c-fbef-4c8d-bc99-eda9f967a791 |
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