My second offering is a bit of audio I took during one of the many rain showers during the Prague Quadrennial 2007, in my post I say I’m off in a meeting but the truth is I was out barefoot in the rain making the most of it’s cooling effects, listen out for Angela Bower and Yella (sp?) the Belgium IT/Theatre Technician

if your on facebook check out the “What did you do with your PQ tape?” group

The latest photos from the Industrial Palace show the get out… check out our gallery here

 

Giving language to something visual this is the million dollar question, remarked the London-based critic and correspondent Matt Wolf.

 

The German critic Thomas Irmer agreed: “The printed page has its limits. To describe design, it might be necessary to use certain tools that are not verbal.”

 

“One reason critics write so badly about design is that they are writers, and not designers,” added the American critic Robert Brustein. “In talking about acting, critics must respond verbally to a person acting onstage who is also verbalizing the play.”

 

These and other diagnostic statements were put forward by a troop of international critics Saturday June 16 at the Lecture Hall in the Industrial Palace in a symposium titled “Writing About Scenography.” Wolf, Irmer and Brustein were joined by their international colleagues Vlasta Gallerova of the Czech Republic and Nikolai Pesochinski of Russia. Arnold Aronson, the PQ commissioner, acted as the moderator.

 

The truth-telling that arose from this lively discussion proved to be quite revealing. Brustein himself confessed, at one point, that when he started out as a young critic, he often could not remember what he saw onstage and so had to make a point of describing the physical world of the play as soon as he entered the auditorium.

 

Wolf testified that in the British critical establishment, the work of lighting, costumes, set, sound and visual designers are frequently slighted in favor of describing the literary world of the play. Part of his problem is that journalistic space devoted to reviews and criticism has greatly diminished over time.

 

A dramaturge and writer, Vlasta Gallerova discovered that she was more successful as a critic when talking about scenography on Radio Free Europe rather than writing about it for the printed page.

 

A theatre researcher, Nikolai Pesochinski went so far as to gather empirical evidence by surveying of 16 reviews of Russian director Lev Dodin’s St. Petersburg production of King Lear. Pescochinski discovered that the reviews diverged widely in their descriptions of the scenographic elements of this production. “How are we to develop out interpretation of the visual aspects of the show?” Pesochinski asked, rhetorically. “Should critics impose our own subjective concepts of the design? Or should we offer a more objective composition of what was seen on stage? If the act of watching is not impersonal, can we get ride of personal readings?”

 

“Even more problematic is the theoretical discourse,” Irmer offered. “While the debates in the visual arts seem open to nearly everything from pop culture to film theory, it oddly excludes the discussion of design in theatre. Art magazines rarely devote themselves to the work of stage designers. Theatre seems to be a ghetto for the artists that he or she is only allowed to leave on rare occasions.”

 

However, the Czech writer Vlasta Gallerova warns that one cannot write about scenography separately from the world of a performance. “We have to think about theatre as a whole in all its complexity,” she says. “Our duty as critics is to give out the full information and to offer readers some navigation about which way to go. We have to let them know about the visuality of the production, but you cannot talk about scenography without also talking about how it informs and supports the actors, the directors and the dramaturge. We need to write about everything together—scenography’s very close connection with everything that is done on stage.”

 

Irmer, who has specialized in writing about scenography as an independent critical discourse, stated that while there are training programs for writers and university courses on critics, he has never heard about writing workshops that deal exclusively about scenography.

 

“This is a problem,” sums up Nikolai Pesochinski. “We need special workshops not just about how we write about scenography but also about how we read or interpret the live performance.”

Prezentace skupiny THEATRE COMMUNICATIONS GROUP

(Presentation of The THEATRE COMMUNICATIONS GROUP  (U.S.A.)

“CAPTURING AMERICAN SCENOGRAPHY”

Prague Quadriennale
SATURDAY
23.6.2007 16:30 - 18: 00
Prednaskovy sal /
Lecture Hall

Let’s talk about the state of the American theatre.
Every month, stage designers are front and center in
“American Theatre” magazine, the leading U.S. theatre
magazine published monthly by Theatre Communications
Group.

From news features and special theme issues to the
monthly features (such as “Production Notebook”),
“American Theatre” has been in the cutting edge of
exploring and covering the aesthetic of scenic,
costume, sound and lighting designs, as well as new
trends in playwriting, acting and directing. How does
“American Theatre” decide on what productions to
feature in its pages? What are the challenges of
capturing scenography with a truly national scope?

SPEAKER: Randy Gener is the senior editor of American
Theatre magazine, a monthly publication from Theatre
Communications Group based in New York City.

This talk is made possible by the financial support of
the Ford Foundation through the Institute of
International Education.

Naturally, this sent me in a tail spin. I spent Sunday creating flyers for both these talks and made sure I papered the entire Industrial Palace. I bought extra paper so that everyday I could replenish the stands, the tables, the walls, the chairs, the PQ cafe. I was like a maniac. I felt like I was in the Edinburgh Festival. After one lecture by someone else, there I was manning the door and handing out flyers to whoever wanted one. And I spent time in front of a computer emailing people who I knew or met here at the Czech Republic.

 There is a Greek designer here whose name is Nikos. He is really a master of public relations. His photocopied face is everywhere at the Scenofest, which is the Central Hall of PQ at the Industrial Palace. He is incredible. I have to learn a lot of lesson from him.

The 19th of June there will be a presentation of the project “Lighthouse of Babel”.
This is a project from a group of young lighting designers from around the world.
Together we are making a universal beacon of light for the Tower of Babel.
The content of the project is about cultural differences in the perceptian of light and the influence of Fine Art Masterpainters from different countries.

STILL SEARCHING FOR PARTICIPANTS!!!

To all light designers present at the Scenofest,

Tuesday the 19th we are presenting a lighting design for the tower of babel and we are still searching for more participants!!!
Are you a lighting designer and interested in joining a group of lighting designers from different countries and cultures?
Than please call us: 0031630661998. We are starting today, the 16th, and you can still join up the conversations and brainstorming proces now.
The project is called: “Lighthouse of Babel” and located in the Tower on the ground flour.

We are going to work with a model of the tower and the LightBox (1:24 scale theatre) and will present the design the 19th in te centre of the tower.
But we are also going to light the Big Tower itself, on the 18th in the evening.
So if you would like to participate, feel free to call: 0031630661998 !!

Greetings Yvon Muller.
(Scenographer and Light Designer from the Netherlands)