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(ELECTIVE COMPULSORY)

LEARNING OUTCOMES

🔵 🔴 🟡 Course description

The course aims to present the way in which the stage space is given meaning through design, color, tonality, lighting and sound and the way in which these elements are used in contemporary Scenography. Emphasis will be placed on the construction and presentation of the stage space as an autonomous non-static visual composition, which evolves in parallel with the performance. Upon successful completion of the courses, students will be able to:

• Compose the individual elements (Design, Color, Tonality, Lighting, Volume, Scale, Textures, Sound) in the Meaning of the Stage space.

• Design a Stage space and make a presentation of their proposal with sketches, collages, storyboards, digital model, plastic model under scale.

• Develop a short theoretical paper with a bibliography regarding their options

• Understand the relationship between Scenography and Installation Art, Environmental Art and Contemporary Scenography.

• Apply the theatrical costume and the Mask to the composition of the Set.

COURSE CONTENT

🔵 🔴 🟡 Theory (1 hour)

The visual individual elements (design, color, tonality, volume, textures) and their capabilities will be presented, as well as the way in which they compose and give meaning to the Stage space, shaping it into a construction that must be functional to serve the needs of a specific text but at the same time can also function as an autonomous aesthetic composition. The multidimensional character of Scenography as a conceptual and semantic carrier and its correlation with the Fine Arts, Painting, Sculpture, Music, Sound, Lighting will be explored. In addition, the two-way relationship between Scenography and Architecture, Modern and Contemporary Art (Installation Art, Environmental Art), the Mask and the Theatrical objects as signifiers and autonomous visual compositions which are part of the overall design of the Stage space will be studied.

🔵 🔴 🟡 Workshop (2 hours)

By gradually learning this vocabulary, and with corrections and discussions, students are invited to communicate their personal aesthetics with a text, choreography or performance that they have chosen to set themselves. They can also present their work using an existing building or space. Individually or in groups and with a variety of techniques, they will give materiality to the representation of their idea (sketches, collage, storyboard, digital model, plastic model under scale), presenting theoretical work that will support the specific choice as well as the influences that led to it

1. INTRODUCTION TO SCENOGRAPHY – 1 HOUR THEORY + 2 HOURS WORKSHOP

2. DESIGN OF THE STAGE SPACE – 1 HOUR THEORY + 2 HOURS WORKSHOP

3. SHAPING THE INITIAL IDEA WITH A SKETCH–1 HOUR THEORY+ 2 HOURS WORKSHOP

4. DIGITAL MODEL/PLASTIC UNDER SCALE–1 HOUR THEORY+2 HOURS WORKSHOP

5. CONTEMPORARY SCENOGRAPHY – 1 HOUR THEORY + 2 HOURS WORKSHOP

6. GIVING MEANING TO SPACE THROUGH VOLUME – 1 HOUR THEORY + 2 HOURS WORKSHOP

7. SCENOGRAPHY, ENVIRONMENTS, INSTALLATIONS, ENVIRONMENTAL ART–1 HOUR THEORY + 2 HOURS WORKSHOP

8. GIVING MEANING TO SPACE THROUGH COLOR – 1 HOUR THEORY + 2 HOURS WORKSHOP

9. TONALITY AND LIGHTING – 1 HOUR THEORY + 2 HOURS WORKSHOP

10. TEXTURES – SOUND – 1 HOUR THEORY + 2 HOURS WORKSHOP

11. THE THEATRICAL COSTUME AS A CARRIER OF CONCEPTS – 1 HOUR THEORY + 2 HOURS WORKSHOP

12. HOW TO MAKE A THEATRICAL COSTUME – 1 HOUR OF THEORY + 2 HOURS OF WORKSHOP

13. THE MASK IN THE THEATER – 1 HOUR THEORY + 2 HOURS WORKSHOP

EVALUATION

Language of assessment: Greek - English

🔵 🔴 🟡 Evaluation method:

• Formative assessment (40%) including:

  1. Presentation of the dossier and Draft of the final work, with a documentation text of 300 words. 10%

  2. Presentation of a dossier and artistic work, with a documentation text of 300 words. 10%

  3. Progress: presentation of the dossier and the development of the initial Draft, with a documentation text of 300 words. 20%

• Final evaluation (60%) including:

  the final presentation in digital form or plastic model or project in space. The final presentation can also be group, but will be accompanied by an individual documentation text of 300 words that will include influences/references to artists, bibliography, artists' works, and presentation of the folder. References to artists, collages, and general sketches-drafts (dated), in relation to the processing of the final work. Also all presentations (with presentation date) which precede the final work.

TEACHING - LEARNING METHODS

• Face-to-face
• Audiovisual examples, support of the learning process through eClass by providing audiovisual material, links, photos, extra bibliography and related information (exhibitions, cultural institutions, etc.)

eCLASS COURSE

https://eclass.uop.gr/courses/PDA161 

RECOMMENDED BIBLIOGRAPHY

🔵 🔴 🟡 Course Textbooks [Eudoxus]

Extra Bibliography

• Patrikalakis F., History of Scenography, 19th-20th century, Aigokeros/Art
• J.Collins & A. Nisbet, Heat and Performance Design, Routledge
• John Gage: Colour and Meaning, Thames and Hudson,2000
• Xenakis I., Texts on Music and Architecture, Psychogios, 2001
• Barthes, Roland. Camera Lucida: Reflections on Photography., Vintage, 2000.
• Lehmann, Hans-Thies. Postdramatic Theatre., Routledge, 2006.
• Karttunen, Anssi. Programme Note Notes on Light (2006).
• D. Mytaras, The Scenography of Painting, Ianos
• Opy Zouni, ek. Adam, 1997
• I. Manoledaki, The Suit, Rome Publications
• W. Kentridge, Other Faces (part of the Drawings for projection),2011
• Jan Svankmajer, Anima Animus Animation, 1998
• Russell, John (20 February 1981). "David Hockney's Designs for Met Opera's 'Parade'". The New York Times.
• E. Keir, The Semiotics of Theatre and Drama, Methuen & Co Ltd
• A. Holmberg, the Theatre of Robert Wilson, Cambridge University Press
• Rachel Hann, Beyond Scenography
• A.v.Rosen & V. Kjellmer, Scenography and Art History, Bloomsbury
• N.O’Dwyer, Digital Scenography, Bloomsbury
• D.Barbieri,Costume in Performance,Bloomsbury
• V. Ptackova, A Mirror of World Theatre, Prague Theatre Institute
• A.Oddey, Ch.White, The Potentials of Spaces, Intellect, Bristol, UK