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List of contents
Acknowledgments
Introduction
Scenography as theatre-making
Theatre after cinema
Scenography after performance
Chapter outline
Chapter 1: Place Orientation, Scenic Politics and Scenographics
Scenes and Scenic Politics
Scenographics
Othering Tactics
Chapter 2: Scenography and the Anglophone theatres
The first adoption of scenography
Continental differences pre-1960
The second adoption of scenography
Sound and costume as scenography
Chapter 3: Scenography beyond scenographers
Mise en scène and scenography
Whose scenography?
Beyond dramaturgy and choreography
Expanded scene design?
Chapter 4: Scenography Happens
The time of scenography
Scenography is not set
Gecko’s MISSING set
Chapter 5: Scenographic Worlding
Stage Geographies
Stage Ideologies
Scenography beyond stages?
Stage-Scenes beyond vision
Chapter 6: Scenographic Cultures
Installation Art and Scenographic Scale
Interior Design and Scenographic Behaviours
Marketing and Scenographic Seduction
Gardening and Scenographic Curation
Protest and Scenographic Activism
Chapter 7: Scenographic Architecture
Fast Architecture
Trompe l'oeil and Scenographic Propaganda
Potemkin Villages and Scenographic Placemaking
Conclusion
About the author
Dr. Rachel Hann is Lecturer in Scenography, University of Surrey, UK.
Summary
Focused on the contemporary Anglophone adoption from the 1960s onwards, Beyond Scenography explores the porous state of modern theatre-making to argue a critical distinction between scenography (as place orientation) and scenographics (that which orientate acts of worlding).
