The Art of Scenography: Epistemes and Aesthetics

舞台设计以多种形式出现在当代艺术中；它是一种跨艺术现象，在不同的领域中展现其形式、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。作为一门学术研究的学科，布景学迄今为止一直处于戏剧和艺术科学之间的门槛：在艺术科学中，对美学和布景学知识的研究仍然必须超越现有的方法，因为作为一门事件驱动的艺术，它并没有被集中在那里（参见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fisher - lichte 2005），因此也没有充分考虑到这一点。该项目旨在通过提出一种视角的改变来纠正现有的方法和研究议程：它接受了像海纳·戈培尔（Heiner Goebbels）这样的艺术家的要求，即不把空间、其媒体和舞台对象仅仅理解为背景或装饰，而是将它们理解为“合作伙伴”（如果仔细观察，这是一种自现代以来就已经非常强烈的要求）。换句话说：在表演过程中，媒体、事物和（人类）表演者的存在应该在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，舞台设计和运动概念应该作为相互依存的概念进行分析。该项目的任务是组织一次题为“舞台艺术：知识与美学”的国际会议，该会议将重点讨论舞台配乐和符号。通过这次会议，舞台符号（如草图、舞台脚本、故事板、乐谱）在表演过程中所起的调解、结构和指导作用将首次成为研究的重点。将特别关注对设计文化技术的观察，以分析在草案，处方和实现/转换之间的领域的场景策略和过程（也在“代理”的意义上）。另一个方面将侧重于识别和区分“现象技术”（巴舍拉），以调查在艺术中发现的“场景知识”的形式。在上述方面，舞台布景是一个研究不足的领域和现象：不仅对接受的分析是如此，对生产美学的问题也是如此，特别是后者确实值得特别关注，因为舞台布景的变化，以过程为导向的概念正在出现，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.