{"id":3900,"date":"2017-06-23T15:42:10","date_gmt":"2017-06-23T15:42:10","guid":{"rendered":"http:\/\/thecpr.org.uk\/?post_type=product&#038;p=3900"},"modified":"2017-06-23T15:42:10","modified_gmt":"2017-06-23T15:42:10","slug":"theatre-and-performance-design","status":"publish","type":"product","link":"https:\/\/thecpr.org.uk\/product\/theatre-and-performance-design\/","title":{"rendered":"Theatre and Performance Design"},"content":{"rendered":"<p class=\"lead\"><em>Theatre and Performance Design: A Reader in Scenography<\/em> is an essential resource for those interested in the visual composition of performance and related scenographic practices.<\/p>\n<p>Theatre and performance studies, cultural theory, fine art, philosophy and the social sciences are brought together in one volume to examine the principle forces that inform understanding of theatre and performance design.<\/p>\n<p>The volume is organised thematically in five sections:<\/p>\n<ul>\n<li>looking, the experience of seeing<\/li>\n<li>space and place<\/li>\n<li>the designer: the scenographic<\/li>\n<li>bodies in space<\/li>\n<li>making meaning<\/li>\n<\/ul>\n<p>This major collection of key writings provides a much needed critical and contextual framework for the analysis of theatre and performance design. By locating this study within the broader field of scenography \u2013 the term increasingly used to describe a more integrated reading of performance \u2013 this unique anthology recognises the role played by all the elements of production in the creation of meaning.<\/p>\n<p>Contributors include Josef Svoboda, Richard Foreman, Roland Barthes, Oscar Schlemmer, Maurice Merleau-Ponty, Richard Schechner, Jonathan Crary, Elizabeth Wilson, Henri Lefebvre, Adolph Appia and Herbert Blau.<\/p>\n<p>\u2018<em>\u2026in this fabulous reader Jane Collins and Andrew Nisbet have collected a fascinating range of existing and newly commissioned contributions that explore and expand our understanding of scenography in theatre and performance. A reader of this kind has long been missing and therefore warrants celebration<\/em>.&#8217; <em>\u2013<\/em> Paul Monaghan<em>, <\/em>Australasian Drama Studies<\/p>\n<p>Table of contents<\/p>\n<p>PART I: Looking: the experience of seeing<\/p>\n<p>1 Appearance and reality BERTRAND RUSSELL<\/p>\n<p>2 The simile of the cave PLATO<\/p>\n<p>3 The draughtsman\u2019s contract: how an artist creates an image JOHN WILLATS<\/p>\n<p>4 The camera obscura and its subject JONATHAN CRARY<\/p>\n<p>5 Meditations on a hobby horse or the roots of artistic form ERNST GOMBRICH<\/p>\n<p>6 From Camera Lucida ROLAND BARTHES<\/p>\n<p>7 The most concealed object HERBERT BLAU<\/p>\n<p>8 Fascination and obsession SUSAN BENNETT<\/p>\n<p>PART II: Space and place<\/p>\n<p>9 Of other spaces MICHEL FOUCAULT<\/p>\n<p>10 From The Production of Space HENRI LEFEBVRE<\/p>\n<p>11 For a hierarchy of means of expression on the stage ADOLPHE APPIA<\/p>\n<p>12 A taxonomy of spatial function GAY MCAULEY<\/p>\n<p>13 6 axioms for environmental theatre: axiom three RICHARD SCHECHNER<\/p>\n<p>14 Site-specifics NICK KAYE<\/p>\n<p>15 Dancing in the streets: the sensuous manifold as a concept for designing experience SCOTT PALMER AND SITA POPAT<\/p>\n<p>16 Grounding ANDREW TODD<\/p>\n<p>17 Towards an aesthetic of virtual reality GABRIELLA GIANNACHI<\/p>\n<p>18 The house. From cellar to garret. The significance of the hut GASTON BACHELARD<\/p>\n<p>19 Making and contesting time-spaces DOREEN MASSEY<\/p>\n<p>PART III: The designer: the scenographic<\/p>\n<p>20 Postmodern design 145<\/p>\n<p>ARNOLD ARONSON<\/p>\n<p>21 &#8220;Oh, to make boardes to speak!&#8221; NICHOLAS TILL<\/p>\n<p>22 Stage designs of a single gesture: the early work of Robert Edmond Jones ARTHUR B. FEINSOD<\/p>\n<p>23 Foreword to The Stage is Set LEE SIMONSON<\/p>\n<p>24 Hope, hopelessness \/ presence, absence: scenographic innovation and the poetic spaces of Jo Mielziner, Tennessee Williams and Arthur Miller LIAM DOONA<\/p>\n<p>25 Brecht and stage design: the B\u00fchnenbildner and the B\u00fchnenbauer CHRISTOPHER BAUGH<\/p>\n<p>26 The diseases of costume ROLAND BARTHES<\/p>\n<p>27 My idea of the theatre TADEUSZ KANTOR<\/p>\n<p>28 Visual composition, mostly RICHARD FOREMAN<\/p>\n<p>29 Defining and reconstructing theatre sound ADRIAN CURTIN<\/p>\n<p>30 On performance writing TIM ETCHELLS<\/p>\n<p>PART IV: Bodies in space 231<\/p>\n<p>31 Docile bodies MICHEL FOUCAULT<\/p>\n<p>32 Eye and mind MAURICE MERLEAU-PONTY<\/p>\n<p>33 Of language and the flesh THOMAS LAQUEUR<\/p>\n<p>34 From Adorned in Dreams ELIZABETH WILSON<\/p>\n<p>35 The actor and the \u00fcber-marionette EDWARD GORDON CRAIG<\/p>\n<p>36 Man and art figure OSKAR SCHLEMMER<\/p>\n<p>37 From Towards a Poor Theatre JERZY GROTOWSKI<\/p>\n<p>38 Woman, man, dog, tree: two decades of intimate and monumental bodies in Pina Bausch\u2019s Tanztheater GABRIELLE CODY<\/p>\n<p>39 The will to evolve JANE GOODALL<\/p>\n<p>40 Glow: an interview with Gideon Obarzanek CRISTIANE BOUGER<\/p>\n<p>PART V: Making meaning<\/p>\n<p>41 The work of art in the age of its technological reproducibility: second version WALTER BENJAMIN<\/p>\n<p>42 Interaction between text and reader WOLFGANG ISER<\/p>\n<p>43 Semiotics LOIS TYSON<\/p>\n<p>44 Limits of analysis, limits of theory and Pavis&#8217;s questionnaire PATRICE PAVIS<\/p>\n<p>45 Sound design: the scenography of engagement and distraction ROSS BROWN<\/p>\n<p>46 Olfactory performances SALLY BANES<\/p>\n<p>47 The naturalistic theatre and the Theatre of Mood VSEVOLOD MEYERHOLD<\/p>\n<p>48 Theatre and cruelty ANTONIN ARTAUD<\/p>\n<p>49 The humanist theatre\/The catastrophic theatre and The cult of accessibility and the Theatre of Obscurity HOWARD BARKER<\/p>\n<p>50 Drawing in rehearsal RAE SMITH<\/p>\n<p>51 Speech introducing Freud ROBERT WILSON<\/p>\n<p>52 From The Secret of Theatrical Space JOSEF SVOBODA<\/p>\n\n<!-- Facebook Like Button v1.9.6 BEGIN [http:\/\/blog.bottomlessinc.com] -->\n<iframe src=\"http:\/\/www.facebook.com\/plugins\/like.php?href=https%3A%2F%2Fthecpr.org.uk%2Fproduct%2Ftheatre-and-performance-design%2F&amp;layout=standard&amp;show_faces=false&amp;width=450&amp;action=like&amp;colorscheme=light\" scrolling=\"no\" frameborder=\"0\" allowTransparency=\"true\" style=\"border:none; overflow:hidden; width:450px; height: 30px; align: left; margin: 2px 0px 2px 0px\"><\/iframe>\n<!-- Facebook Like Button END -->\n","protected":false},"excerpt":{"rendered":"<p>A Reader in Scenography<\/p>\n<p>By Jane Collins, Andrew Nisbet<\/p>\n<p>Paperback. 404 pages<\/p>\n","protected":false},"featured_media":3901,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_links_to":"","_links_to_target":""},"product_cat":[65],"product_tag":[],"_links":{"self":[{"href":"https:\/\/thecpr.org.uk\/wp-json\/wp\/v2\/product\/3900"}],"collection":[{"href":"https:\/\/thecpr.org.uk\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/thecpr.org.uk\/wp-json\/wp\/v2\/types\/product"}],"replies":[{"embeddable":true,"href":"https:\/\/thecpr.org.uk\/wp-json\/wp\/v2\/comments?post=3900"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thecpr.org.uk\/wp-json\/wp\/v2\/media\/3901"}],"wp:attachment":[{"href":"https:\/\/thecpr.org.uk\/wp-json\/wp\/v2\/media?parent=3900"}],"wp:term":[{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/thecpr.org.uk\/wp-json\/wp\/v2\/product_cat?post=3900"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/thecpr.org.uk\/wp-json\/wp\/v2\/product_tag?post=3900"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}