The Art of Scenography: Epistemes and Aesthetics

场景设计的艺术：认识与美学

• 批准号: 268757079
• 负责人: Privatdozentin Dr. Birgit Elke Wiens
• 金额: --
• 依托单位: Institut für Medienkultur und Theater
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2015
• 资助国家: 德国
• 起止时间: 2014-12-31 至 2019-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/268757079?language=en
• 关键词: Art; Scenography; Epistemes; Aesthetics

Scenography appears in contemporary art in multiform ways; it occurs as an interart phenomenon that unfolds its forms, parameters and designs within diverse fields: The spectrum ranges from theatre scenography and 'environmental scenography', also film and media scenography to exhibition design, commercial 'corporate scenography' and spatial design. As a subject of scholarly research, scenography has hitherto fallen into the threshold between theatre and art science: In art science, research into aesthetics and the epistemes of scenography still has to be undertaken beyond the available approaches, since - as an event-driven art - it has not been focused on there (cf. Bohn/Wilharm 2009, 2011). In theatre studies - since performance analysis focuses especially on the performer, the actors, the dancers (and respectively on the 'feedback loop' between them and the audience, cf. Fischer-Lichte 2005) - it has also not been sufficiently taken account of. The project aims to provide a corrective to existing methods and research agendas by proposing a change in perspective: It takes up the demand by artists such as, for example, Heiner Goebbels to not understand space, its media and the staged objects just as the backdrop or as decoration, but to comprehend these as 'co-players' as well (and if one looks closer, this is a demand that has already been virulent since the modern age). In other words: In performative processes, the presence of media, things and (human) performers shall be investigated in the sense of symmetric relations (cf. B.Latour), and as a consequence - at the level of project development and rehearsal - scenographic design and concepts of movement should be analysed as interdependent concepts. The project's task is to organize an international conference, entitled "The Art of Scenography: Epistemes and Aesthetics", which shall focus on scenographic score and notation. With this conference, the mediating as well as structuring and steering functions that scenographic notation (e.g. sketches, scenographic scripts, storyboards, scores) takes on in performative processes will be, for the first time, brought into the focus of research. Special attention will be put on observations of cultural techniques of design in order to analyze scenographic strategies and processes (also in the sense of 'agency') in the area between draft, prescription and realisation/ transformation. Another aspect will focus on identifying and differentiating 'phenomeno techniques' (Bachelard), in order to investigate what forms of 'scenographic knowledge' are to be found within the arts. Under the mentioned aspects, scenography is an under-researched field and phenomenon: This is true not only concerning the analysis of reception but also the questions of the aesthetics of production, and especially the latter does deserve particular attention given the changed, process-oriented concepts of scenography which are emerging and have become eminent in the arts.

场景设计以多种形式出现在当代艺术中;它作为一种艺术间现象出现，在不同领域中展开其形式，参数和设计：范围从剧院场景设计和“环境场景设计”，也从电影和媒体场景设计到展览设计，商业“企业场景设计”和空间设计。作为学术研究的一个主题，透视法迄今为止一直处于戏剧和艺术科学之间的门槛上：在艺术科学中，对美学和透视法的认识的研究仍然必须超越现有的方法，因为-作为一种事件驱动的艺术-它还没有被集中在那里（参见第10章）。Bohn/Wilharm 2009，2011）。在戏剧研究中，由于表演分析特别关注表演者、演员和舞者（以及他们与观众之间的“反馈回路”，参见“表演分析”）。Fischer-Lichte 2005）--它也没有得到充分考虑。该项目旨在通过提出一种观点上的改变来纠正现有的方法和研究议程：它接受了艺术家的要求，例如，Heiner Goebbels不理解空间，它的媒体和舞台对象只是作为背景或装饰，而是将这些理解为“共同参与者”（如果仔细观察，这是一个自现代以来就已经致命的需求）。换句话说：在表演过程中，媒介、事物和（人类）表演者的存在应该在对称关系的意义上进行研究（参见《表演者的存在》）。B.Latour），因此，在项目开发和排练的层面上，透视设计和运动概念应作为相互依存的概念进行分析。该项目的任务是组织一次国际会议，题为“舞台艺术：认识和美学”，将侧重于舞台配乐和符号。在这次会议上，透视图符号（例如草图，透视图脚本，故事板，分数）在表演过程中的中介以及结构和指导功能将首次成为研究的焦点。特别注意将放在设计的文化技术的观察，以分析透视策略和过程（也在“代理”的意义上）之间的草案，处方和实现/转换的区域。另一个方面将集中在识别和区分“现象技术”（巴什拉），以调查什么形式的“透视知识”是在艺术中找到。在上述方面，透视是一个研究不足的领域和现象：这不仅涉及接受的分析，而且涉及生产美学的问题，特别是后者确实值得特别关注，因为透视的变化，过程导向的概念正在出现，并在艺术中变得突出。