Once upon the time…our insignificant yet global village rejoiced in performance around the dramatis persona of the African Tree. Creating theatre meant celebrating the life itself. Then, the social, cultural and, eventually, our mental structures crystallized and our boundless joy of creation got segmented and neatly folded into specialized boxes. Spontaneity of our emotions was left aside as uncontrollable cloud. Experience of stylized, highly controlled theatre became an elitist privilege. It took a while for this New Beautiful World, guided by power of calculating intellect, to rotate and reveal its two-dimensionality and lack of an emotional content. Now, a new force raises above the horizon. It is brimming over with emotion; neo-neo-romanticism follows. Rediscovered emotional intensity, supported by freedom of unprecedented esthetic choices and multitude of available technological means allows each and all of us to "graph the scene" for almost any desired script of life. Our streets and cities, our living rooms are all becoming theatre stages.Our whole human environment emanates with storytelling and shows an insatiable appetite for new scripts. Theatre is out of its box (so is architecture and urban order). We do not need merely theatre or film sets; we desire visual drama of all our surroundings. We demand space to become a modulator of emotions. Scenography offers a perfect method and tools to form such a space. More, it becomes a character in itself; important, life-long companion, flexible enough to change with our constant growth. Scenography becomes dramatis persona. Our civilization is becoming stage for our lives' performance.
|Keywords:||Humanist, Artist, Scenographer, Emotional Space Identification and Formation|
Assistant Professor, School of Interior Design, Faculty of Communication and Design, Ryerson University, Toronto, Ontario, Canada
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