The elements of theater formation that fall within the spatial experience of the scenography of the show, which the directors work in in the imaginary theater, are important and have an aesthetic, ...intellectual and cognitive dimension, working to highlight reality in an aesthetic image surrounding space and space. And its relationship to the distinct, multiple and variable spaces above the stage, to produce theatrical signals and endless meanings through the possibility of infinite reconfiguration of the theater's space and its public and private space through the distribution of a group of blocks within the scenic image.I dealt with in the first chapter (the methodological framework), which includes the research problem identified by the researcher, the importance of the research and the aim of the research, then the researcher determined the limits of the research and defined the terms and then defined them procedurally. The researcher also presented in the second chapter (the theoretical framework) two main topics: "Knowing scenography historically", the second topic is "the meaning of scenography in theatrical performance", and in the third topic "the aesthetics of scenography in the theatrical performance system", and then reviewed the most prominent indicators that resulted from the theoretical framework. The third chapter deals with the research procedures, and determines the research sample, the play "Red Carpet", scripted and directed by Dr. Jabbar Judy. And then in the fourth chapter, the results and conclusions were extracted, and recommendations and suggestions were made, in order to finally fix the references and sources of the research
Neste trabalho, analisa-se o modo como especialistas em dermatologia e cirurgia plástica, representantes da chamada medicina estética, têm feito um uso bastante peculiar do perfil no Instagram para ...divulgar suas atividades profissionais, fato que tem suscitado debates dentro das Sociedades Brasileiras de Cirurgia Plástica e Dermatologia devido a um tipo de comportamento no ambiente digital que muitas vezes não condiz com os códigos de ética das referidas instituições e contradiz o imaginário partilhado a respeito do sujeito médico em uma sociedade como a nossa. Tomando por base os fundamentos teóricos da análise do discurso de linha francesa, identificou-se nas cenografias (Maingueneau, 2006) dos perfis médicos analisados o traço semântico fundamental característico do objeto técnico Instagram: o narcisismo. Em suas recentes contribuições para a AD, Paveau (2021) propõe um método de análise dos tecnodiscursos, aqueles em que as determinações técnicas coconstroem as formas linguageiras, que se mostrou produtivo no exercício das análises. Desse modo, mobilizou-se a noção de extimidade proposta pela autora a fim de demonstrar a presença do narcisismo nos enunciados que emergem dos perfis médicos. Palavras-chave: extimidade; ethos; cenografia.
Set designers’ drawings have a similar instrumental character to painters’ drawings, but unlike painters’ drawings, set designers’ drawings refer to works that are not exhibited in museums, are not ...studied by art historians and, for the most part, are not preserved. These circumstances explain the usual reluctance to approach set designers’ drawings. However, these drawings have similar characteristics to those of contemporary painters and can give a very accurate picture of the spirit of an era. This is the case with the drawings of Charles Ciceri (1782‑1868), chief decorator at the Paris Opera and the most important set designer of the first half of the 19th century. His drawings, of unquestionable mastery, represent a wide repertoire of sets imbued with a romantic spirit: ancient ruins, medieval fantasies, orientalist evocations, picturesque natures, etc. The typology of the drawings is also varied: sketches from life, sketches and drawings as inventions for final works (decorations, in the case of Ciceri) and drawings with an autonomous value. The variety of techniques and typologies of Ciceri’s drawings is similar to that of the most important painters of the time, although they have a number of specifically ‘theatrical’ nuances, such as the framing of the scenes, the variety of lighting effects, especially the underlining, and – perhaps most importantly – the arrangement in successive planes. These drawings are an exemplary combination of romantic evocation and positivist precision. It is no coincidence that Ciceri was a student, son-in-law and friend of the Romantic painter Isabey, and that his closest collaborator in his early years was Daguerre, inventor of the diorama and father of photography. At this crossroads of aesthetic and multidisciplinary convergences, Ciceri’s drawings are undoubtedly a significant expression of the drawing art of his time.
With the increasing rise of the Internet, as well as the democratization of technology, people’s pursuit of entertainment and visual stimulation inspired countless new types of creativity. Social ...media fanatics have surged a myriad of content-creating works that brought this creativity to the forefront; this phenomenon has transformed everyday spaces into settings or backdrops for new narratives. The everyday domesticity we inhabit, such as bodies, activities, objects, furniture, and rooms, have all been involved in the process of creation and work, and these spaces can be described as Everyday Theater. The term scenography is of Greek origin, skēnē, meaning hut or tent, in the theater of ancient Greece, it is a light structure usually at the back of the stage, but over the course of time skēnē underwent fundamental change. The core concept of scenography is the narrative. This core remains even though it is now given a new meaning, as everyday life has become a stage for a new kind of spectacle. In other words, the conventional domestic spaces are re-invented as a setting for new personal narratives and commercial venues. In this context, the domestic spaces have been transformed into a platform, where the performers use their surrounding elements, objects, spaces, homes, and environments as settings for their own narrative. The goal is to create an immersive experience that captures the audience’s attention and transports them into a world that is both familiar and extraordinary.
In a retrospective approach of the whole work of the visual and performance artist Steven Cohen (1962‑ …), this paper questions different forms of transition which appears in it and contribute to ...transform the artist into an original “wandering queer”. Firstly, based on a focus on the performance and installation The Wandering Jew (2010) through its traces, the author consider how the mythical figure of the wandering jew influence Cohen’s aesthetic and affect his relation to space, movement, gender and history, going far beyond a simple reference to Jewish culture. From public activism to perfoming arts, from visual or cinematographic to real presence, interweaving traumatic memories (Apartheid, Shoah), Steven Cohen defines a specific queer aesthetic, based on dispersion and ectasis rather than only gender subversion or parody.
The increase of the scenographic designer role on account of the character of the director in the Iraqi theater constituted a clear phenomenon that has been manifested in many shows, which ...necessitated a stance on the nature of this relation and delimiting the work space for each one of them inside the theater show. The research focuses on determining the work relation between the directorial vision and the scenographic proposal in the Iraq theater show. The research is divided into four chapters, the first one addressed the methodological framework, where the research problem was stated in the following question (has the scenographic designer been able through his scenographic proposal to remove the director from his position being the owner of the overall vision and the first creator of the theatrical show?). The research importance lies in the fact that the researcher diagnosed those working in the two fields of direction and scenography as the most prominent beneficiaries from the research. The research aims at determining the kind of creative relationship between the director and the scenography designer in the Iraqi theater show. The researcher put limits for the research and identified the terms used and then defined them procedurally. The second chapter (theoretical framework) consists of two sections: the first addressed (the development of the concept of direction in theatrical show industry), while the second addressed (the visual composition between the director and scenography designer). The researcher presented the most prominent indicators resulting from the theoretical framework. The third chapter has been dedicated for the research procedures. The research population consists of the play (the Darkness) which is intentionally chosen to be representative of the study population using the descriptive method in the analysis of the sample. The researcher specified the analysis tools and then analyzed the sample. The fourth chapter includes the results based on indicators resulting from the theoretical framework. The most important results are as follows: scenography came to dominate the operational system of the directorial vision in most of the visual discourse area through exaggeration and the technical review, which led it to be overwhelming over the pillars of the directorial vision. The research ended with a list of references and sources used by the researcher in this study and an abstract in English
The operative system of theatrical performance depends on the construction of the scenographic space, as it constitutes the most aesthetic effect of the recipient, and the body of the theatrical ...discourse that contains the signs of the show, and it comes as an embodiment of the directing vision of the show director, so most of the world directors resorted to attention to the output treatment to establish the scenographic space, and thus it possesses a contrast in The embodiment of the directing vision according to the stylistic and hermeneutical dimension of the director, so the two researchers found the importance of studying the topic, and the study came under the title (Directing Treatments of the Scenographic Space in the Iraqi Theatrical Show - Shakespeare Texts as a Model) , so the research included the introduction and it included the research problem and it answers the following question: How did the director treat Theatrical scenography in Shakespearean texts?, And the importance of the research and the goal of the research that aims to reveal the stylistic aesthetics in the making of the scenographic space of the Shakespearean text externally, as well as included the boundaries of research and defining terms, and then the research contained two topics, the first topic came under the title of the semantic employment of scenography in the theatrical presentation As for the second topic, titled Aesthetic Work of Scenography in Theatrical Experiments International, and then the research procedures and sample analysis, and the sample was from two theatrical performances, namely (Macbeth) written by William Shakespeare and directed by Salah the Reed and the second (The Blood Horse) prepared and directed by Jabbar Judy, which is prepared on several Shakespeare plays, and the results of the research came, the most prominent of which are: The directing vision was based on the lived reality For the recipient in establishing the aesthetic system of the presentation came in the sample (Macbeth) on the philosophical space that formed the dominant reality over the recipient, as well as in the performance of the play (Blood Horse) that political reality dominated the construction of the scenographic space in the show, and the research concluded with a list of sources
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