The Art of Scenography: Epistemes and Aesthetics

风景学以多种形式出现在当代艺术中；它是一种跨艺术现象，它在不同的领域展示其形式、参数和设计：范围从剧院风景学和‘环境风景学’，也包括电影和媒体风景学到展览设计、商业‘企业风景学’和空间设计。作为学术研究的主题，场景学迄今一直处于戏剧和艺术科学之间的门槛：在艺术科学中，对美学和场景学的认识论的研究仍然必须超越现有的方法，因为--作为一种事件驱动型艺术--它没有得到关注(参看。博恩/威尔哈姆，2009,2011)。在戏剧研究中--由于表演分析特别侧重于表演者、演员、舞者(以及他们与观众之间的‘反馈回路’)，参看。Fischer-Lichte 2005)--它也没有得到足够的考虑。该项目旨在通过提出视角的改变来纠正现有的方法和研究议程：它接受了海纳·戈培尔等艺术家的要求，即不将空间、其媒体和舞台物品仅仅理解为背景或装饰，但也将这些理解为“合作参与者”(如果仔细观察，这是一种自现代以来就已经有害的要求)。换句话说：在表演过程中，媒体、事物和(人)表演者的存在应从对称关系的意义上进行调查(参见。B.Latour)，因此，在项目开发和排练的层面上，场景设计和运动的概念应该被分析为相互依存的概念。该项目的任务是组织一次题为“场景摄影的艺术：书信和美学”的国际会议，重点是场景记谱和记法。通过这次会议，场景符号(例如，素描、场景剧本、故事板、乐谱)在表演过程中所起的调解、组织和指导作用将首次成为研究的重点。将特别注意对设计的文化技术的观察，以便分析在起草、规定和实现/转变之间的区域的景观战略和过程(也在“代理”的意义上)。另一个方面将集中于识别和区分‘现象学技巧’(学士)，以便调查在艺术中可以找到哪些形式的‘场景知识’。在上述方面，风景学是一个研究不足的领域和现象：这不仅是关于接受的分析，也是关于生产美学的问题，特别是后者确实值得特别关注，因为正在出现的、以过程为导向的风景学概念正在出现，并在艺术中变得突出。

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.