Our understanding of scenography has, over the course of the twentieth century, changed radically from stage design as decoration, depicting a location of a (written) play, to the scenic\/spatial construction (or intervention) of the place and site of performance – scenography as a dynamic element in the creation of performance dramaturgy.<\/p>\n
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Introduction
\nSodja Lotker, Richard Gough
\npp. 3 – 6
\nPrologue : Scenography at Home
\nVesela Kucheva
\npp. 1 – 2
\nMise en Plate : The scenographic imagination and the contemporary restaurant
\nJoshua Abrams
\npp. 7 – 14
\nBetween Nothing and Everything : The summit of Mount Everest
\nGavin Carver
\npp. 15 – 18
\nDisrupting the ‘Silent Complicity’ of Parliamentary Architecture
\nAndrew Filmer
\npp. 19 – 26
\nMaritime Scenography and the Spectacle of Cruising
\nAnita Gonzalez
\npp. 27 – 31
\nBlasted at the Queens Hotel : Coincidence of sign and site
\nJames Hudson
\npp. 32 – 37
\nThe Performative Museum and the Site-Constructive Work of Mkultra
\nPeader Kirk
\npp. 38 – 46
\nConversations over the Gap
\nRenee Newman-Storen, Ryan Reynolds
\npp. 47 – 53
\nThe Politics of Scenography : Disrupting the stage
\nSigrid Merx
\npp. 54 – 58
\nCronulla NSW 2230 Australia : A Fotonovela [artists’ pages]
\nThea Brejzek, Lawrence Wallen
\npp. 59 – 62
\nScenography, Spectacle and the Body of the Spectator
\nJoslin McKinney
\npp. 63 – 74
\nScenographic Paradigms : Some principles of perception and interpretation
\nFreddie Rokem
\npp. 75 – 83
\nTime and Space on the Stage
\nArnold Aronson
\npp. 84 – 94
\nThinking Scenography : Inventing a building
\nAnne Karin Ten Bosch, Liesbeth Groot Nibbelink, Trudi Maan, Nienke Scholts, Nienke Scholts
\npp. 95 – 105
\nBody Never Lies [artists’ pages]
\nMonika Ponjavic, Marina Radulj
\npp. 106 – 108
\nOut of Space : The rise of vagrancy in scenography
\nBenedict Anderson
\npp. 109 – 118
\nThe Object Animates : Displacement and humility in the theatre of Philippe Quesne
\nRichard Allen
\npp. 119 – 125
\nScenography in the Staging \/ on the Stage \/ in the Mind of the Audience
\nBoel Christensen-Scheel, Christina Lindgren, Anette Therese Pettersen
\npp. 126 – 134
\nIn actu Negotiations of the Stage as a Spectrum of Im\/possible Movements : Grounding alternative spatio-temporal experience in Philipp Gehmacher\u2019s series walk+talk
\nConstanze Schellow
\npp. 135 – 143
\nTerra Nullius : The nomad and the empty space
\nSam Trubridge
\npp. 144 – 153
\nTo Set and Not To Set : Destabilizing abstraction in scenography
\nSimon Donger
\npp. 154 – 160
\nPerforming Architectures : Closed and open logics of mutable scenes
\nBeth Weinstein
\npp. 161 – 168
\nSetting the Fractal Clock(s) : The coordinates of a spatial expression
\nRichard Downing
\npp. 169 – 178
\nScenography of Death : Figuration, focalisation and finding out
\nMieke Bal, Michelle Williams Gamaker
\npp. 179 – 186
\nFound Scenography of DoMA\/at Home [artist’s pages]
\nHoward Lotker
\npp. 187 – 189
\nEmbodying Scenography
\nStephen Di Benedetto
\npp. 190
\nThe Parts and the Whole Performance and Scenographic Ecosystems [artist’s page]
\nNick Hunt
\npp. 191 – 191
\nAudible Scenograohy
\nJohannes Birringer
\npp. 192 – 193
\nChoreographic Scenography : Structuring movement within the LCLS
\nAngrette M. McCloskey
\npp. 194 – 194
\nScenography : Separating the inseparable?
\nSteve Tromans
\npp. 195 – 196
\nScenography of Virtual Sound-Stages
\nCharlotte Gruber
\npp. 197 – 197
\nFigures of Speech [artist’s pages]
\nTansy Spinks
\npp. 198 – 199
\nProtest Scenography (review)
\nStephen Duncombe
\npp. 200 – 201
\nThe Contested Scenography of Revolution (review)
\nTania El Khoury
\npp. 202 – 205
\nNotes on Contributors
\npp. 206 – 209
\nEpilogue : The Swan Boat
\nMatthew Goulish
\npp. 210 – 214<\/p>\n\n\n