Contents

Block#1: The Scenography. Study and research methods. (Prof.: Anna Solanilla)

The aim of this block is to start introducing the learner with the appropriate methodological tools to study and analyze the stage design. Scenography is currently all analogue (corporal) or digital, audiovisual device that participates in the scene in the creation of meaning (dramatic qualities).

However, the design of space, light, sound, and character has had different purposes that have historically been modulated. In these sessions we will focus on scenery from the late 19th to the present. In the current scenery, proposals that have conceptual origins have different historical and theoretical perspectives that are re-visited in the present, in contemporarily, with a broad spectrum of purposes.

General Contents

To develop an analysis and research into the scenery environment, it is necessary to take care of two relevant aspects:

1. The proper documentation of the object of study. In the study sessions and in practical terms, research methods will be put in place to correct the difficulties inherent in the field of short-lived qualities.

2. The application of the relevant approach to analysis according to the purpose or meaning of the scenery.

Scenography research needs to take into account the different approaches and concepts with which it should be covered. These blog sessions aim to introduce the basic concepts necessary to start research in this field:

1. The "frame scenery" or the concept of illustration from traditional scenery to contemporary productions.

2. Modern, corporal and expressive scenography (constructivism scenery or surreal scenery, ...), typical of modernity. Analysis of the elements in play (of metaphorical qualities) while analyzing their expressive effectiveness in reception.

3. Contemporary performance and dramatic qualities scenery. Cases of Catalan and international scenes.

Specific Contents

1."The picture scenery" or the concept of illustration in scenery. From historical proposals to current productions. Analysis of the elements in play while analyzing their effectiveness as sign syntax (semotic perspective) in reception. Visit MAE 1: The illustrative scenery of neoclassicism, post-Romanticism and realism. Introduction to modern scenery.

2.The modern set of metaphorical qualities. The scenography of Constructivism or Surrealist scenography, typical of modernity. Analysis of the elements in play while analyzing their expressive effectiveness (bases and hybridization between the semiotic and performative perspective) in reception. Visit MAE 2 Symbolist Scenography: Adrià Gual and the avant-garde scenery in Catalonia: Joan Morales and Ramon Batlle.

3.Contemporary scenery. Part1: Second avant-garde, Fabià Puigserver and Iago Pericot. Visit MAE 3.The set by Fabià Puigserver and Iago Pericot.

4.Contemporary scenery. Part2: a paradigmatic case, Anna Viebrock.

Block#2: The Theatre Site (Prof.: Ivan Alcázar)

The aim of this block is to address the definition and study of the theatrical site with a more spatial than temporal approach. It will not therefore be a question of deploying a scenic space story, even if you look at it from the rear, but of establishing spatial categories that will allow you to construct a kind of topology of the theatre site that, despite being a synchronic, could be recognized over time.

General content

1. Space and theatre, meeting points: schools and congresses. Theatres, shelters or buildings.

2. Stage topology: the circle, the podium, the box, the empty space, the city.

Specific contents

1. Iteatre space, meeting points: schools and congresses.The theatre workshop at the Bauhaus, 1919-1933. Architecture and Dramaturgy, Paris 1948. The theatrical place in modern society, Royaumont 1961. Around theatrical architecture.

2. The circle, the podium and the box. The circle: at the origin of the tragedy; at the trocs of the Odin Teatret; at the Total Theatre of Walter Gropius and Erwin Piscator. The investment of the central space in the Theater of cruelty of Antonin Artaud.

3. The podium: in the street theatre; in the spontaneous theatre of Le Corbusier; in the Commedia dell Arte; in the Greco-Roman classical theatre; in the Elizabethan theatre. Simultaneous powers and scenes in the medieval theatre and the scene of the new avant-garde.

4. The box: the invention of the theatre in the Italian. The scenario: the case of miracles or the space of reality. The scene mouth and the fourth wall. The Wagnerian mystical fosar and the epic theatre scene of Bertolt Brecht. Boxes and amphitheatre.

5. The empty space. Peter Brook, The Empty Space, 1968. Empty space, pure space: the Festpielhaus of Hellerau, 1911. Empty space and machine theatre: the Schaubühne in the Lehniner Platz. Empty space and just place: the Thétretre du Soleil in the Cartoucherie del Bosc de Vincennes in Paris. Empty space and found place: the tours of Peter Brook's company.

6. The city. Street theatre, site specific. The theatrical place, theatrical cartographies: the case of Barcelona.

Block#3: The character and stage costume. Analysis. (Prof.: Marta Rafa)

The goal of this block is to introduce students to the analysis of stage costume design and the creation of the character by giving them the basic tools to confront them.

General Contents

Even though the analysis, research or study of stage costumes is still needed, we need to bear in mind the concepts that underpin and involve themselves in this area of stage creation, but also the different approaches that it has taken throughout history. These blog sessions aim to understand this field from its broadest conception:

1.Plastic Dimension: Intrinsic elements of costume design and character in their visual and temporal deployment.

2.Conceptual dimension: approaches that support plastic deployment.

3.Dramatric Dimension: Narrative and scenic capacity of the proposal.

However, the design of space, light, sound and character has had different purposes that have historically been modulated. In these sessions we will focus on scenery from the late 19th to the present.

Specific Contents

1.Elements and concepts that are put at stake in costume design and character and that will help a semiotic, plastic and dramatic analysis:

• Body, piece, context, movement and audience.
• Composition: Color, texture, shape and volume.
• Composing: Background/Shape. Fixed/mobile items
• Presence, absence and trace.

2.From body to body: chronological tour of character concept and stage costumes (I). From ritual to \"historic\" costumes. The creation of the character. The semiotic body.

3.From body to body: chronological tour of character concept and stage costumes (II). The phenomenical body. The body matter. The performative body. Character crisis.

4. Processes and creation methodologies.

• Plantations or statements.
• Research, references, artistic team dialogue.
• Design/laboratory
• Communication: Graphic expression, materials, technical specifications, prototypes.
• Performing, research, manipulation, finish.
• Testing process.