Scenography in Museums | Research Thesis | CEPT University | Taral Patel

SCENOGRAPHY IN MUSEUMS An enquiry into the translation of concepts and principles of Scenography in Museums

Thesis by: Taral Patel UI2813 Guided by: Batul Raaj Mehta

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FACULTY OF DESIGN UNDER GRADUATE PROGRAM IN INTERIOR DESIGN

Student Name & Code : Taral Patel UI2813 Thesis Title

: Scenography in Museums An enquiry into the translation of concepts and principles of Scenography in Museums

APPROVAL The following study is hereby approved as a creditable work on the approved subject carried out and presented in the manner, sufficiently satisfactory to warrant its acceptance as a pre-requisite to the degree of Bachelor of Interior Design for which it has been submitted.

It is to be understood that by this approval, the undersigned does not endorse or approve the statements made, opinions expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him/her to the requirements laid down in the academic programme.

Batul Raaj Mehta Name & Signature of the Guide

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DECLARATION

This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text.

I consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying.

Student Name: Taral Patel Code No: UI2813 Signature: Date:

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ACKNOWLEDGEMENTS

The research through the medium of thesis allowed me to dive into the unknown, enhancing my understanding of the subject. I would take up this opportunity to thank all whose efforts have made it possible to bring the best out of me.

I would like to thank my guide Batul Raaj Mehta for monitoring and encouraging me throughout the thesis.

I would like to thank Seema Khanwalkar for believing in me and enriching my knowledge. Discussions with her have developed my inclination towards understanding theories regarding the subject.

I would like to extend my gratitude to Kireet Patel for being a constant source of inspiration. It is from him, I have learned true values for design and life. I would always be grateful for those stimulating discussions throu hout the fi e years of learnin at school and for the dissertation.

I would like to thank Hamid Raj, Amal Shah, Jay Thakkar, M.P. Ranjan, Kamalika Bose, Ramaswami Shaktivel, Snehal Nagarsheth, Rajesh Sagra and all other faculties who ha e been the foundation stone in this field than KD sir and Chandra ma’am for their cooperation and patience. I would like to thank my batch mates Debu for being a driving force, Dhruva for always being helpful, exchange group and all others for their criticism, support and a great company through the years.

I would like to thank my friends for who has always been there rushi for her confidence and constant support, you have always been a close-knit, Kittu for making things intelligible around me, Yash to hearten me in difficult times, i e for pushin me to row, hintu for accompanying me for case studies and Darshit for being a close companion and unconditional friend through all these years.

I would like to thank my parents for implanting the values that it is in all my challenges, failures and success I feel the nearness of God. To my brother, Yogu for everything that you ha e done for me for words won t suffice the gratitude that I owe to you.

I am indebted to those authors and researchers whose wor has contributed to the field of useum desi n and Scenography, and I would like to thank them all and especially Thomas Hundt for giving me the opportunity to work with Jangled Nerves from where the implanted seed of scenography evolved.

Finally, I would like to thank Faculty of Design for I feel privileged to be part of Cept University and all the people who have been part of this journey at the campus.

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IF ALL THE WORLD’S A STAGE, ALL WE SEE IS SCENOGRAPHY. (HOLDAR)

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SCENOGRAPHY

MUSEUMS

Prologue

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Purpose Statement

15

Aim and Objectives

15

Scope and Limitations

15

Research Implications

16

Research Methodology

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Changing Museum Display

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Modes of Display Representation

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Process of Meaning Making

31

Mediating Communication

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1.3.1 Creating a Context

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1.

1.0 1.1 1.2 1.3

1.3.1.1 Diorama

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2.

2.0 2.1

2.2

Mise-en-scène as a notion connected to Scenography

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Concept of Scenography

51

2.1.1 Postmodern Scenography 2.1.2 Expanding Scenography

52 54

Role of Scenography in Museums

57

2.2.1 Defining Scenographic elements in Museums 2.2.2 Review of Scenographic operations in Museums 2.2.3 Analysing Scenography produced by Museums

59 66 68

Theatrical aspects of Scenography in Museums

77

Performance

81

Setting

91

3.

3.0 3.1 3.2 3.3

Dramaturgy

117

Structure for Case Study

126

Tirpitz Museum, Denmark

128

Tribal Museum, Bhopal

146

Epilogue

171

Bibliography

183

Illustration Credits

187

Appendix 1. Perspectives on Scenography

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Appendix 2. List of Museums selected for Case Study

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4.

4.0 4.1 4.2

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PROLOGUE

Today museum professionals are re-imagining museum spaces which have resulted in developing a new kind of approach to museum display. There is no best way to represent an object, and thus the practice of museum display is diverse in that sense.

The changing roles and functions of museums establish a need to transform the ways museums exhibit their contents. Over the years museums have begun to adopt new modes of display representation leaving behind bland glass box and showcases. They have been slowly integrating means and methods of other disciples such as theatre performance, media technolo y, film, and so forth s a result, museum exhibition today is not limited to the physical display of objects but has shifted to generate immersive environments for visitors.

This research is an attempt to analyse how Scenography relates to Museums. Scenography as a concept has complex meanings and multiple interpretations. The study approach to identify factors that co-relates to the features/qualities of Scenography.

The research aims to expand upon relevant theories and principles within the field of ceno raphy and en uires for its alignment with museums through an analytical framework.

The study is an approach to analyse the relationship between Scenography and Museums investigating: -How Scenography relates to Museums?

-Does Scenography provide new ways for museums to exhibit their content?

-To what extent does the translation of principles of ceno raphy in uence/chan es the nature of museum representation?

-How does use of Scenography in museum affect visitor’s encounter with museum space and objects?

-Does Scenography provide staging techniques as a new mode of interpretation for museum display?

-Can relevance for museum exhibition be extracted from theoretical understandin and practices within the field of Scenography?

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PURPOSE STATEMENT he purpose of the research is to define the relationship between aspects of Scenography and Museums. It investigates to focus on understanding both the disciples from the perspecti e of spatial inte rity, findin an approach that enables the study of Scenography in Museums.

AIM The research aims to identify the role of Scenography in Museums.

OBJECTIVES o define a need to study ceno raphy in the field of Spatial design.

-To understand the concept of Scenography and different notions connected to it.

-To identify and analyse how principles of Scenography can be translated/practiced in Museums.

-To inquire whether the role of Scenography remains constant as that in a theatre or it varies in context of Museums.

-To conclude with how and why are components of Scenography used in Museum spaces based on case studies and examples.

SCOPE AND LIMITATIONS The research considers for the study of Scenography as a concept that can be applied to museums.

The study refrains from discussing technical and chronological developments of Scenography and therefore does not focus on analysing theatrical staging which is the part of Scenography.

The research does not limit understanding of Scenography as only a visual phenomenon instead it introduces to the theories within the field of ceno raphy The meaning of Scenography has been changing over time, and therefore research does not focus on any specific definition but aim to share perspecti es on concepts related to Scenography.

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The discussed concepts and principles related to Scenography has complex meanings, and therefore research derives approaches to study them by acquiring a theoretical and analytical framework.

The analysis of Scenography in museums is based on selected examples/case study of museums which may or may not have a Scenographic approach while designing or in its inception.

The study does not concentrate on the use of ceno raphy concernin specific typolo y of museums, and henceforth the Scenographic inferences formed are general.

The primary study for the research is limited to museums based in India and therefore expanding the scope various international examples are studied that becomes part of the secondary analysis.

The observations and conclusions framed in the research is not specific to any implication of a theory/ practice/principles and can be interpreted in various other ways.

RESEARCH IMPLICATIONS To create insight into how theory based approach to conceptuali ation can be practiced in field of patial design.

To generate an understanding of Scenography beyond theatre performance and demonstrating its expansion in Museums.

To develop an approach to the research that relates Scenography and its principles with the creation of corresponding values in Museums.

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RESEARCH METHODOLOGY

Identifying the need to study Scenography in field of Museums

based on

[ FACTORS ] Derived from what does Museums studies convey regarding changing approaches to Museum communication

Understanding Concept of Scenography

Analysing role of Scenography in Museums

What are the notions connected to it?

How can it be expanded beyond theatre?

How concepts and principles of Scenography can be translated in Museums?

Identifying the use of Scenographic elements in Museums and how do they operate.

Demonstrating what kind of Scenography is produced by Museums.

Co-relating function of theatrical aspects of Scenography with Museums.

Deriving at what Scenography has to offer in field of spatial design

What does use of Scenography in Museum results into?

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1.

What are the operations that a Museum perform? Have museums been transforming their methods of display? How is it changing?

Which are the modes of Display presentation?

How does it influence the visitor’s interaction with objects/content?

What impacts upon visitor’s process of meaning making in a Museum?

How do museums communicate the information? Can Display be considered as a mediator in delivering the content?

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1.0

MUSEUM DISPLAY

“The essential function of museum is to collect, preserve, research and display” says David Dean (2002) in the introduction of Museum Exhibition: Theory and Practice. It refers to the basic functioning of museums that relates to the exhibition. It indicates the need for the content to be examined, refers to the presentation of artefacts and specify the means by which the content can be displayed.

Expanding upon this, museums as an exhibition space caters to the following operations: - Creates background research for the collection of artefacts/objects.

- Produce the necessary content related to the topic which needs to be communicated.

- Analyse the content and interprets the subject.

- Develops a perceptible form of content in order to convey information.

- Evolve means and adopts methods by which content can be presented.

The above mentioned inferences are based on the understanding from the “The curatorial inquiry cycle” in Museum Communication: Practices and Perspectives.

(Wolff & Mulholland, 2013) Thus, display can be considered as the primary operation that directly impacts visitors. t defines the relationship between objects, space, and visitors. We, as visitors generally conceive the museums based on the ways in which museums display their content. This can be supported by Lord’s explanation in Manual of Museum Exhibition (Lord, 2001, p.18). According to him, “Museums provide ones change in attitude, awareness or values about the object or theme on display.” he abo e implies that the methods of display in uence the manner in which we perceive the matter of the content, that is - objects, artefacts, texts, photographs etc. Museum display also corresponds the measures by which visitors relate to objects/artefacts and its surrounding space.

Through centuries museums have been evolving, using different dogmas of representation styles and display methods. Museums adopt various visual and spatial representational techniques to exhibit the content. The arrangement of the content whether ‘it is chronological, concurring, thematic etc. focus upon the overall schema that keeps them together.’ (Mithell, 1988, p.21)

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Jem Fraser in “Museums - Drama, Ritual and Power”; Museum Revolutions: How Museums Change and are Changed states that we engage with the museum display at personal, social, cultural and environmental levels (in Knell, MacLeod, and Watson, 2007, p.292). This engagement allows us to associate with what is been presented t in uences the way we reco nise ob ects and recei e information t also defines isitors connection with museum display and its surrounding.

Museum scholars and professionals have claimed that over the years museums have been transforming. They have adopted different means and methods to open up possibilities of transformation of museums.

The new developing spatial form of architecture has changed museums what we see today. It not only acts as an enveloping structure but as a model of collective experience creating a space.

This transformation is not only regarding architecture but also changes the nature of the display. It suggests new possibilities for exhibiting objects and contents.

Asserting that, museum exhibitions are not just limited to physical display but are moving towards the creation of an environment. This results in generating a unique kind of experience for visitors.

Suzanne MacLeod in her introduction to Reshaping Museum Space: Architecture, Design, Exhibitions (2005), explains that the traditional style of more linear and didactic display in museums is changing which changes the character of museums. She further expands stating, “Museum spaces are inevitably becoming more dynamic and experiential, changing and theatrical, rather than monumental and static.”

(Greenberg, as cited in MacLeod, 2005) The change in museum display suggests that museums have left its focus on objects and artefacts and now are involved in generating an experience (MacLeod, 2005; Kirshenblatt-Gimblett, 2000). Museums today create e periences by ta in elements from film, media industry, theatre performance etc. This results in the creation of a three-dimensional environment that allows for visitor’s engagement other than only visual.

Such kind of museum display allows for interpretation and evoke interest to visitors regarding the subject. The responses that are generated can be individual and are based on a kind of museum and type of display.

The illustrations (on page 23. and 24.) shows different examples of museums display. Each of these varies in nature and convey information based on diverse subjects and topics. It communicates through different representation techniques and methods emphasizing either object, overall concept or experience within the space.

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Illustr. 1.01 Example of Archaeological Museum, Kempton.

The display here recreate the Roman era to display the objects. The replicated materials along with digital means create effects producing an environment.

Illustr. 1.02. Example of Denver Museum of Nature and Science, Colorado. Here the display showcase replicas of animal skeletons to represent their historical evolution.

The casted/replicated element provide impression of the creature’s structure and scale to the visitors.

Illustr. 1.03. Example of National Maritime Museum, Amsterdam. The display showcase maritime objects based on thematic display. The visual backdrop to the exhibits in form of media projection conveys the history of shipping and sailing.

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Illustr. 1.04. Example of Tribal Museum, Bhopal. The display showcasw crafts of the region by integrating them within the structure. The spatial elements here represent the construction of tribal houses of the states of Chhatisgarh.

Illust. 1.05. Example of Remember Museum, Bhopal.

The display conveys personal stories of the tragic events through photographs hung on the walls and ceiling. The audio booths provide recorded personal experiences which allows visitors to connect empathetically.

Illust. 1.06. Example of Bihar Museum, Patna. The schematic view of the display conveys the history of ‘Mauryan’ period. It creates a three dimensional illustration of king’s throne and recreate gate of the kingdom. The backdrop consists of two-dimensional illustration, which in the form of a comic story conveys the history of the era.

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The illustration (p.23-24) showing different examples of museum explains that how museums have changed their approach to displaying. They have adopted new spatial and visual means to represent the content. There are various display methods that have been evolving in the course of time. In the given examples the changed approach is seen either as to illustrate something, in form of graphical representation or a three- dimensional construct imitating/replicating a place or elements. It can be to present an archival text, documents, maps or to showcase objects of historical / archaeological importance.

Thus, by examining these various examples of a display, it can be observed that every museum has a distinctive approach to exhibiting its content. The displayed subject matter can be of cultural, historical, social, political, national or of personal importance and hence are presented with different reference to the context.

As Naguib in “The One, the Many and the Other: Revisiting Cultural Diversity in Museums of Cultural History”; Making National Museums: Comparing institutional arrangements, narrative scope and cultural integration (NaMu) explains, “Museums try to create a complete picture of different cultures and periods through representation, interpretation, and explanation.” (Nagauib, 2007, p.9) Supporting to this, (MacDonald and Fyffe, 2004) as cited in (Gadsby, 2014: 14) explains that, The purpose of an exhibition is not to be a comprehensive source of knowledge on a subject, the role of the exhibition is to be an introduction; an enlightenment to a subject, It [a museum or exhibition] is a theory; a suggested way of seeing the world. And like any theory, it may offer insight and illumination. At the same time, it contains certain assumptions, speaks to some matters and ignores others.

Thus, from the above explanation and illustrations, it can be said that different museums display different types of contents. This diverse approach of representation of the content leads to modes of display. These modes of display presentation make a connection between what is on display to how is it has been displayed. It determines the basis for visitor’s interaction with the object and the content. The research further expands upon mode of display representation in [ Ch. 1.1 ].

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1.1 MODES OF DISPLAY REPRESENTATION

As explained [in Ch. 1.0], that diverse approaches to the presentation of content in a museum exhibition lead to different modes of display. Barry Lord (2001) in The Manual of Museum Exhibitions: The purpose of Museum Exhibitions explains the different mode of visitor apprehension and a variety of learning styles based on museum learners. There can be multiple approaches to study museum exhibition but this research derives its framework from the understanding taken from the manual n this chapter, the research identifies four modes of display presentation based on exhibition display method. It is based on how does a core idea / concept gets communicated in a museum exhibition.

The four modes of display presentation are Didactic, Narrative, Aesthetic and Interactive.

DIDACTIC MODE : The didactic mode is when the display is based on the classification of the content to pro ide factual information. The categorization criteria can be derived from object data such as - material, type, shape, size and age, history of events, the process of making, etc.

Illust. 1.07

They might be clustered or showcased together either as, diachronically - based on how they have evolved o er time or synchronically pertainin to specific time without stating its history (Naguib 2007, p.9). By implying this kind of approach, museums try to expand upon the detail information of the content explaining its cultural, social, and political importance. It provides information in form labels, object description, graphical timelines etc.

NARRATIVE MODE: he arrati e mode defines ob ects/content in terms of overall theme. It not only display an object in isolation with necessary information but defines it in relation to other objects to produce meanings. It becomes a mode of conveying information in form of storytelling by providing a context.

Illust. 1.08

The storytelling takes places by integrating images, texts, objects, audio-visuals, projection, lighting effects etc. to narrate stories related to artefacts. Sometimes it results in the creation of theme-based presentation.

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Narrative mode of display combines elements of other spatial fields such as of theatre, drama, film making, motion pictures etc. to create an immersive environment. Thereby, the display presentation is not limited to factual knowledge of the content but also allows visitors to make meanings and interpretation of the subject. It is mostly to convey personal/historical stories, events, incidents in a given space.

AESTHETIC MODE: The Aesthetic mode focuses on the visual representation of the content. It is to highlight upon ob ect by definin its si nificance or to emphasi e on the specific content he display enhance special features of the object such as its properties, form, materiality, techniques of making, etc. and allows for visitor’s appreciation. Aesthetic mode showcase contents in more perceivable form. This helps visitors to connect emotionally with the exhibit.

Illust. 1.09

INTERACTIVE MODE: The interactive mode is in form of demonstration of the content by means of multimedia tools and interactive technologies. It allows visitors for hands-on experience providing practical demonstrations. The content is presented through developed physical and mechanical devices such as - touch screens, objects, inte rated media, sound effects etc his redefines the way visitors access the content in a normal scenario.

The use of virtual realities transforms the experiences of how visitors interact with artefacts and thus manipulation of it. Sometimes, museums adopt this mode to display archival text or archaeological object that can not be easily accessed or which needs to be stored in specific en ironmental conditions The interactive mode alters the classical presentation style of showcasing an object in a glass box. It provides interactive conditions that stimulate physical interaction of visitors with content. This results in enhancement of visitor’s visualization and their apprehension towards the subject.

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Illust. 1.10

After analysing these four modes of display representation, it can be observed that various modes of display open up different possibilities of looking at the content and interpreting it. It determines the basis for visitor’s interaction with the object and the content.

The museums may use each of the mentioned modes indi idually or in combination to represent the specific content.

There can be diverse responses that can be generated by presenting object/content through each of these modes. Thus, it can be said that the underlined function of these modes of a display is to influence the process of meaning-making and to communicate the overall message/idea of the museum exhibition.

* There can be other approaches of display presentation but this research limits its scope to the mentioned four modes. * The examples of museums illustrated here to describe each of the modes may or may not be intended with this specified purpose as explained in this chapter.

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1.2

PROCESS OF MEANING MAKING

Museums today are not only about the collection of artefacts or an enveloping architectural building.

Museum as an activity happens in terms of collective experience within which one tries to make their own interpretations. Museums have moved from analytical didactic approaches to presentation of knowledge apprehended by the senses (Chakrabarty, 2002) as cited in (Knell, MacLeod and Watson, 2007, p. 363). From the various examples illustrated [in Ch. 1.0], it can be stated that every museum has a different approach for the display. They differ not only in terms of their content but by their behaviour, how people react to each exhibit.

Illustr. 1.11. The image represents Tribal Aesthetic gallery of Tribal Museum, Bhopal. Here museum explores the displays that evoke memory by recreating a context of place. It depicts the practicing tribal culture by reproducing materials and the form.

he content of museum display can be classified as Material content - objects, images, text and visuals Immaterial content - abstract concepts and oral stories Museums make relations between objects and their stories, content with their principle idea in order to communicate with visitors.

To this, Kim explains that in order to understand such complex relations and idea, the cognitive process is required. This can be further analysed by referring to the Learning theory explained by Kim regarding understanding and interpreting an object.

Kim in Museum and Visual Cultures: An Interrelation of Objects explains that when we encounter a museum display, we try to relate what we observe and hear within exhibition with our previous knowledge. This previous knowledge is stored in our mind as ‘schemata’ in form of actions and experiences. (Kim, 2005, p.13). Thus, when we see an object on display, we involve in the process of meaning making based on previous knowledge and what has been displayed.

hile definin meanin ma in , in this research ‘meaning’ is explained as ‘something that is constructed in relation to the content which museums exhibit’.

(Hooper-Greenhill, 2000).

Kim’s (2005) notion of ‘existing schemata’ with meaning-making can be related to what Silverman identifies as idiosyncratic lin s ccordin to il erman, meaning making takes place through cognitive and emotional responses to objects (Silverman 1990, p.293).

He explains this process of meaning-making in reference to the confrontation of a visitor with an object on display.

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Relating to this, Silverman (1990) as cited in Knell, MacLeod, Sheila Watson (2007) in “Museums – Drama, Ritual And Power”, Museum Revolutions: How Museums Change And Are Changed states, “We make idiosyncratic links between experiences and the objects on display.”

the

life

Thus, when visitors enter a museum, they carry these links in form of ‘entrance narratives’. As explained by Doering and Pekarik (1996) in Questioning the Entrance Narrative in The Journal of Museum Education these narratives include three components : - an individual’s understanding of the world - knowledge about the subject/topic - personal experiences in form of attached emotions and memories.

There are certain display that allows visitors to make meaning out of the authenticity of the objects. To this, Lord explains that “[...]such apprehension of the content is itself a transformative experience that exhibits uniquely make possible.” This asserts that the unique experience that museums offer cannot be achieved by readin a boo , watchin a film or ta in a pro ramme on the subject. (Lord, 2001, p.16-17) eferrin to e in u hs definition in Museums as Contexts for Transformative Experiences And Identity Exploration, he explains that transformative experience is when an individual ‘actively apply concepts in their everyday lives and use them to see aspects of the world in meaningful, new ways’. (2016, p. 344) his affirms that the meanings and interpretations that we construct at the museum exhibition, we take back in form of transformative experience. It motivates us to look further into the subject, to expands our perception, to relate the information / experience, to transforms the way we see our environment and the world.

From above understanding, it can be said that museum display communicates with visitors by offering them an interpretation of the subject. It also affects visitors perception of the content. Kwint (1999) as cited in Knell, MacLeod & Watson (2007) states, “Museums explore the importance of objects for their capacity to invoke memory and sensory engagement.”

This can be explained as the objects/content do not speak for themselves. It is through the medium and in the manner in which they are displayed generate meanin s to the isitors t in uences our en a ement based on physical and visual interaction and also interpretation of the presented object. Thus, it can be said that display as a communicating medium in the museums.

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MUSEUM DISPLAY

Objects/Artefacts Images/Visuals Audio-Video

VISITOR’S EXISTING SCHEMATA

Knowledge + Experience

forms

‘Idiosyncratic links’

Evoke memory Transforms experience

To engage in process of ‘MEANING MAKING’

Display mode + Schemata

Diagram 1.01. The above diagram explains the process of meaning making. It identifies the role of museum display and visitor’s existing schemata to produce idiosyncratic links.

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1.3

MEDIATING COMMUNICATION

It can be said that Museums pay equal attention to display as well as creating experiences. As a consequence, the role of the exhibition display expands to include spatial layout, lighting effects, three dimensional visuals, integrated environment, interactive technologies etc. Thus, the display no more acts as a passive backdrop for the exhibits but a “unique means of transformative visual, auditory and kinaesthetic communication.” (Lord, 2001, p.17) After understanding the communicative relation between visitors and artefacts through Kim’s analysis of ‘Transmission model of communication’, it can be said that the museum is the communicator and we as visitors acts as receivers. It is through means of display that the museum communicates about the contents.

(2005, p.14) The objects / artefacts here acts as a medium to convey meanings.

Content

Communicator

Medium

Receiver

Museum

Display

Visitors

Meaning making Interpretation Digram. 1.02. The above diagram explains display as a medium of communication in museums. It identifies communication not as linear but as a continuous process. The diagram explains that visitors receive knowledge in form of contents and by the process of meaning making and interpretations gives back to the museums.

It can be said that by means of display museums largely communicates about: Collection - objects, artefacts, archives and Information - message, idea, concept This communication of the content can be explains in form of Received data or in terms of Narratives.

Received data consists of information that is based on facts and description. It includes accurate information in terms of events of history, time and place. Narratives is describing content by means of storytelling. It is based on making inferences from the description text or presenting subject by making interpretations.

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Collection about:

Information

Received data Communication

in form of:

Narratives

by means of:

Display

Diagram 1.03. The above diagram represents the identified communicative aspects of museums in terms of display.

Davidson states that, “Museums display offer representations, mediated by versions of reality.”

(Davidson,1991, p.96).

This can be analysed by understanding that objects in museums are deprived of their original context. This means that when an object / artefact is placed in a museum’s collection, it’s original context is taken away.

For example, An object recovered from the archaeological site when exhibited in a museum, it is represented without its actual conte t t will be placed in a specific display settin of the museum.

And thus, in order to communicate about that object, one of the approach museums consider is to recreate its original context. To this, it can be said that whatever display offers is not real but a constructed reality of the original context.

This research considers that one of the essential method museums identify to communicate about the content is by displaying its context. This context can be in form of storytelling of an object, creating a theme, providing illusion of the real, replicating full-scale models etc. This validates Davidson explanation of museums recreating reality.

This research thus recognizes the creation of a context as an in uential method to communicate about ob ects and content. Therefore it further focus upon explaining how creation of a context takes place in museums.

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1.3.1

CREATING A CONTEXT

In the information society we are in danger of losing sight of contexts. Museums and exhibitions can offer a place where contexts of meaning can be experienced and opened up to discussion, where the roots of the present are revealed in the past and knowledge is conveyed in a way that restores our capacity for astonishment and inquiry.1

Illustr. 1.12. Example of Museum of the Second World ar, da s , oland he museum here tries to recreate scenario of after war effects and its impact on the city. It imitates real materials to provide a natural context.

Museums are places to encounter real objects. This objects when placed in or is explained through their context, mediate the communication related to its story. The research explains this aspect by analysing the example of Museum of the Second World War in Poland.

The museum conveys stories of the World War and its impact on infrastructure and humans. The display is presented in form of theme communicating different aspects of war.

Illustr. 1.13. Example of Museum of the Second World War, da s , oland he display of the suitcases placed on one another, each of which remarks the number of the people who died and reveal their stories of suffering during the war.

In one of the theme (as seen in Illustr. 1.12.), the display consists of weapons and other such types of equipment.

The display tries to relate these objects to its original context. It tries to recreate the scene of after war effects on human and material losses. These objects when placed again the naturalist context gives a clearer picture to visitors. It conveys about how the war developed and what destructions it caused which objects alone would not have been able to narrate.

In another theme (as seen in Illustr. 1.13.), the display consists of very few objects such as personal belongings of the survivals of the war. In order to convey about the dark phase of oppression and death that people have suffered through, the display creates a backdrop of piled up suitcases against the display of objects. This provides a reference to the number of people who died and of the survival stories during the war.

Here the museum tries to tell the story of the war from a diverse perspectives. On one hand, it recreates literal context through real/imitative recreation and on another hand it conveys a message by providing/ representing an abstract context, both of which generates a transformative experience for visitors.

1. Quoted by Monika Griefahn, in Designing Exhibitions: A Compendium for Architects, Designers and Museum Professionals (Bertron, Schwarz and Frey, 2001, p. 18)

his research identifies the creation of a context as an important aspect for museum communication. Such creation of context stimulate cognitive understanding.

It allows for meaning making and generate a transformative experience for visitors. The research finds potential to understand this concept of creation of conte t by means of other spatial fields 37

1.3.1.1

DIORAMAS

Since past century museums have been using Dioramas to create a real context. It ranges from building different historical eras to depicting cultures and ecosystems. To this, Stogner (2011) in “Creating Context and Story with new media Technology” in The International Journal of Inclusive Museum explains, “Museums utilize dioramas to create an artificial environment that generates a cognitive and emotional connection with artefacts and objects on display.”

We perceive natural contexts in museums mostly concerning screens, glass boxes, miniature habitats, full scale human fi ures, animals, etc useums use diorama not only to create a visual scene but also to create naturalistic spatial context. It allows visitors to feel like a real encounter seeing such diorama display.

Illustr. 1.14. The example of Bihar Museum, Patna. The image represents the display where the dioramas of the wildlife of the region has been recreated. Here the information is provided by replicating the habitat.

“Diorama is a constructed scene contained within a three-dimensional frame” says Igor Siddiqui (2017) in “Dioramas” in the journal Interiors. he contemporary perspecti e as defined by iddi ui considers dioramas as creating ‘make-believable’ environments having illusionistic effects. (Siddiqui,2017) These constructed scenes are in the form of intricate representative images depicts all details. It is either as miniature/scale models recreating real environment or as full-scale model having painted sceneries and objects.

This approach of creating context deals with recreating actual context by gimmick/replicating the original. It helps in stimulating curiosity and interest by representing ‘how it would have been.’ It primarily deals with creating a natural setting using scenery, scenic paintings, mannequins, theatrical lighting, etc., the detailing of which varies from exact to minimal.

Illustr. 1.15. The image represents the ‘Bhagavad Gita’ useum in os n eles where life si e fi ures ha e been created dedicated to the philosophy of Krishna. Lighting, soundtrac s, film pro ections, isual effects are inte rated as part of the dioramic scene.

Thus, this approach of replicating elements to create an environment or to represent a context results in the creation of setting in museums.

As a result of above explanation, the research considers for the scope of creating settings in museums space either to recreate or to generate an experience of something.

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Illustr. 1.16. (L) The image represents miniature train model in Hara Model Railway Museum. (R) The image depicts display of the Canadian Museum of History which recreates theatre stage with minimal setup. The above examples demonstrates dioramas ranging from a miniature model of trains to scaled models of a theatre set.

Conclusively, chapter [1.] provides background to functioning of museums and its changing display method from museum studies . It gives an insight into modes of museum display explaining process of meaning making and museum communication through display. rom deri ed understandin , the research identifies following mentioned as the factors that aim for a change in a museum display. It suggest of formulating a theatrical approach to create a museum exhibition that can be evolved based on proposed factors.

MUSEUM DISPLAY

Moving towards creation of an ENVIRONMENT Aiming at visitor’s interaction with content in form PHYSICAL AND SENSORIAL ENGAGEMENT

Focusing on creating EXPERIENCE for visitors Changing didactic presentation of content to methods of INTERPRETATION and MEANING MAKING Communicating by means of creating a CONTEXT

The research hereby considers that a notable comparison of the identified factors can be made with that of a function of Scenography in theatrical performance. Therefore, it recognizes that these factors can be better studied in depth and explored by principles rooted in the fundamentals of Scenography. s a result of this, the research identifies for a need to study ceno raphy in the field of museum e hibition design based on the above arguments. It aims to enquire if museum exhibition can have a theatrical approach to arrive at a better understanding of the identified factors of the museum display The further sections of the research focuses on analysing Scenography in Museums. It creates a framework based on which the research enquires if the principles of Scenography can be translated to museum display or not.

The research, to start with, begins to explain the concept of Scenography and then move towards identifying what role does Scenography plays in a museum and how does that vary. It aims towards redefinin of ways of museum e hibition by usin Scenography in museums.

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Chapter 2

Chapter 2

2.

How does ‘Mise-en-scène’ acts as a notion connected to Scenography?

What is the concept of Scenography? Can Scenography be expanded beyond theatre? What is the need to study Scenography in the field of Museum?

Are there similarities in the elements based on which Scenography can be related to Museums? What role does it play?

What are the approaches by which Scenography can be analysed in Museums? What kind of Scenography do Museums produce?

“Scenography implies something more than creating scenery or costumes or lights.

It carries a connotation of an all-encompassing visual-spatial construct as well as the process of change and transformation that is an inherent part of the physical vocabulary of the stage.

In that sense, it bears some relation to the French term mise-en-scène.”

Quoted by Aronson (2005, p. 7) as cited in Theatre and Performance: A Reader in Scenography (Collins and Nisbet, 2005, p.141)

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2.0 ‘MISE-EN-SCÈNE’ AS A NOTION CONNECTED TO SCENOGRAPHY

The concept of ‘Mise-en-scène’ has some substantial equivalents to the features that characterize Scenography. The French term ‘mise-en-scène’ means to “place in a scene” or “on stage.” ccordin to the erriam webster dictionary definition, mise-en-scène is “the arrangement of actors and scenery on stage for a theatrical production.” It includes “the physical setting as a part of the action as of a narrative or motion picture.”

Illustr. 2.01. The image represents a realistic set creation of eatro limpico, icen a desi ned by ndrea alladio in the year t consists of two dimensional at scenery integrated within a permanent structure.

Mise-en-scène is originally “an expression used to describe the constructed design aspects of a theatre or film production,” says Thomassen (2017, p.19).

The idea of mise-en-scène can be further analysed as; In the context of Theatre productions, mise-en-scène is everything that is placed on a stage. It includes actors, scenery, furniture, props, screens, costumes, lighting, etc., meaning everything that is positioned to create a set.

In the context of Film productions, mise-en-scène refers to everything that is placed on the screen which is being viewed. This means that it contains all the elements that appear within the frame of the camera.

Illustr. 2.02. Example of a scene from the German e pressionist film, ‘The Cabinet of Dr. Caligari’ (1920). The image represents dark and distorted perspectives that feature spatial elements. The visual style of representation consists of claustrophobic scenery that evokes disturbance in mind of views and enhances horror.

n a broader conte t, orri an hite defines mise-en-scène as “the places that surround us in everyday life. The architecture of a city or a public space might be described as a mise-en-scène, and our self-decorated rooms in our home as a personal version of the notion.” (Corrigan & White, 2008, p.42) as cited in (Thomassen, 2017, p.19) Thus, from the above explanation, it can be said that it is the presence of all aspects that influence the creation of mise-en-scène. It is when every element is considered to ha e its own si nificance s a result of this, it leads to the production of meanings and evokes emotions in the mind of the viewer.

This chapter further explains the concept of mise-en-scène in depth by explaining theories and practices that shaped this notion of Scenography. It also describes how mise-en-scène is related to Scenography and which aspects does it lacks that Scenography constitutes.

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In the late 19th and 20th century, the idea of mise-en-scène was limited to scenery which was in the form of scenic painting - creating an illusion of reality. It was about detailed and ornamented sets and accurately painted backdrops.

To this understanding of chronological development in the history of Scenography, Schostakowski states that “from stimulating realism, mise-en-scène has moved towards creating an abstract context.” (Schostakowski 2015, p.18) Theatre creators such as Adolphe Appia and Edward Gordon Craig have explored the potential of a stage.

Other than placing actors against a static painted scenery they integrated light, space and the human body with the construct of mise-en-scène.

The explorations based on such objective has changed the static relationship of actors and scenery on stage and “rediscovered a way in which the actor on stage could function symbiotically with the scenery surrounding him.” (Schostakowski 2015, p.19) The research further intends to understand this concept of mise-en-scène by reviewing theories and practice of Adolphe Appia and Edward Gordon Craig.

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Adolphe Appia (1862-1928) rejected realistic stage scenery and proposed for a three-dimensional scenic structure.

Appia was a set designer, architect, and lighting designer.

In his works, he used light as a theatrical element to evoke emotional responses from spectators. He materializes the light through spatial elements which result in creating effects upon stage space and on actor’s body.

Illustr. 2.03. The image on the left represents set design and on the right depicts sketch of Adolphe Appia’s Rhythmic space. He designed this as part of the scenic design for the play of Gluck’s Orfeo Orpheus, Hellerau in 1913.

He used elements such as steps, platforms, ramps as stage scenery to unify horizontal and vertical planes and actor’s movement on stage. To this, Howard in What is Scenography explains its functioning stating that Scenography of Appia consists of “an arrangement of steps and platforms providing changeable modules of verticals and horizontals.” She further adds referring that such creation enabled actors to be isolated in a focused shaft of light, enhancing their presence on stage without other added scenery (Howard 2009, p. 2).

Edward Gordon Craig (1872-1966) abstracted stage scenery from realistic ornamented sets. He proposed for non-realistic, symbolic stage scenery. e defined the stage setting as a ‘place for performance rather than a scene’ through his creation. (Baugh 2005, p.49) Craig produced “a device which shall represent all the aesthetic advantages of the plain curtain but shall further be capable of a multitude of effects.” (McKinney and Butterworth 2009, p.20) in (Schostakowski 2015, p.20) It is in the form of ‘stage screen’ to create an abstract composition. These screens vary in width but remain same in height. They adapt to actor’s movement on stage space providing a reference to their placement.

While describing regarding his stage screen, Craig states that “they stand on the stage as they are; they do not imitate nature, nor are they painted with realistic of decorative designs. They are monotone.” (Baugh 2005, p.49) as cited in (Schostakowski 2015, p.20).

Illustr. 2.04. The image on the top represents the scene from the play Hamlet, 1912 which was designed by Edward Gordon Craig. It represents actors performing against movable screens that transform to create multiple scenes.

(L) The image depicts a sketch of stage screens that act as a scenery for the play of Hamlet. (R) The image represents drawing of the construction of stage screen.

Thus, the theories and inventions regarding stage scenery as proposed by Appia and Craig revolutionized the meaning of mise-en-scène. It explained how context could be generated without using naturalistic scenery.

They called for Scenographic approaches for stage scenery which are not imitative of the real instead are symbolic and abstract presenting the context.

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Aronson in Looking into the Abyss: Essays on Scenography (2005) explains theories of Adolphe Appia. He highlights Appia’s example of mise-en-scène where he describes how mise-en-scène becomes the composition of a picture in a given time, stating; “ We no longer try to give the illusion of a forest but the illusion of a man in the atmosphere of a forest.” (in Aronson, 2005, p.16) The above stated emphasizes that mise-en-scène is not only an intended construct within a space, but it also means to organize elements to create an environment. This can be explained as it is not just about constructing the reality instead of focusing on constructing the experience of reality.

McKinney & Butterworth in The Cambridge Introduction to Scenography explains how theatrical text acts as an important element of mise-en-scène describing, “The mise-en-scène is a means of staging the text through physical arrangement which articulate and set a frame to the activity within them.”

(McKinney & Butterworth, 2009, p.4-5) The above mentioned explains mise-en-scène as an intended construct. It refers to the dramatic text that is suggestive of how scene should have been made visible. Therefore, it can be said that mise-en-scène rationalize the theatrical text through a constructed scene. It is in the form of spatial and visual elements that mise-en-scène binds text and stage together. It conveys a story and the text behind the created scene. (Howard, 2002) hus, based on the e planation, this research defines mise-en-scène from two different aspects. On the one hand, it explains as a constructed scene and another side as a process of rationalization of text.

There might be various other theories and practical approaches to understand this concept but this study focus upon definin the mentioned

‘Mise-en-scène’

Dramatic Text

Organizing principles

as a process Text + Stage

Spatial Construct

Rationalising text through constructed scene

Diagram 2.01. The above diagram explains the notions by which mise-en-scène relates to Scenography. It defines two aspects; as a construct and as a process of rationalizing dramatic text.

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In The Cambridge Introduction to Scenography, McKinney, and Butterworth describe the concept of the mise-en- scène explaining;

It is a synthetic system of options and organizing principles which will be apparent in the performance, but it describes an abstract theoretical concept, rather than what actually happens at the point of performance. ceno raphy, as shown, is defined in its realization and performance rather than its intention. (McKinney & Butterworth, 2009, p.4)

The above explains that mise-en-scène forms an integral part of Scenography. It relates to Scenography through spatial construct and rationalization of text, but Scenography is not limited to this. Scenography also includes performance, which mise-en-scène does not define ise en sc ne does not include the part of the actor’s movement on stage and its relation with other spatial elements. Thus, it lacks the component of performance. hus, the research identifies mise en sc ne as a notion connected to Scenography which is only a part of it. The study therefore further expands to understand other relevant concepts and aspects of Scenography and questions for its expansion in beyond theatre.

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2.1

CONCEPT OF SCENOGRAPHY

Scenography originally deals with creating theatre stage and performance. The term ‘Scenography’ usually is replaced with theatre/set design, which is only a part of it. Scenography is more than designing of a set. It defines set desi n not concernin pictorial bac round or decor but as a spatial construct. To this, Holdar in Scenography in Action, explains that on the other hand the word Scenography has “proved to be most adaptive in other context and is used for describing anything from shopping malls and Disney Land to the scene in a painting.” Hereby she explains for a broader application of its meaning (Holdar, p.118).

Illustr. 2.05. Example of the play ‘The Tempest’, 1951. Act 4, Scene1-The image represents thrust stage space on which actors are performing a scene as part of the festivities marking the marriage of Princess Elizabeth to Frederick.

The term ‘skenographia’ can be traced back to Aristotle’s Poetics in 4th centuary BCE. The Greek origin of the term scenography indicates; skēnē’ - referring to the stage ‘grapho’ - meaning processes of representation such as writing/drawing. (McKinney and Palmer, 2017, p.4) Aronson in Looking into the Abyss: Essays on Scenography explains that Scenography is at once an ancient and a recent term. He describes original adaptation to a contemporary interpretation of the term Scenography. According to him, the modern translation by scholars suggest ‘skenographia’ as ‘stage painting’ or ‘scene writing.’ (Aronson, 2005, p.7) While, during the Renaissance period, Scenography was perceived as a detailed two-dimensional depiction of reality. Such representation refers to Scenography simply as a backdrop for actors in the form of decor or scenery. It was in the later part of the 20th century in Europe that Scenography emerged more than being a background scenery.

Illustr. 2.06. Example of the set design for the play ‘Hoppla, Wir Leben,’ directed by Erwin Piscator in 1927. It represents different levels that depict multiple places as sequences of the play. The use of scenic elements such as movable screens lighting, projection, etc. visually translate the concept of the play.

Joslin McKinney and Scott Palmer explains a shift in the re-structuring of Scenography where Scenography was being viewed as a decorative and illusionary element that can make a ‘significant statement about reality’ (Brecht cited in Willet 1980 in McKinney and Palmer 2017) To this, Nellhaus (as cited in Gröndahl, 2012) explains that Scenography later emerged as a medium to communicate in real time between actors and audience.

The social structure, historical and cultural practices were represented on the stage by actor’s gesture, the arrangement of furniture, props and realistic scenery.

Such placing resulted in a stage as ‘set of visual signs’ that needs to be interpreted by the spectators. Thus Scenography emerged as a “reading of a text”, which translates dramatic text on stage. This research further analyse this concept of ‘reading of a text’ in chapter [2.2].

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2.1.1

POSTMODERN SCENOGRAPHY

The development of Postmodern Scenography focuses on its shift from Scenography as a static phenomenon to an active and dynamic (Holdar, p.117).

This idea of active Scenography explains its integration of the actor’s movement along with the stage scenery and spatial construct. It emphasizes the arrangement of objects and elements suggesting ways in which actors can manipulate their bodies. Scenography further developed to create a visual and sensory environment for the theatre performance. This research discusses in depth about how Scenography relates to Performance in later in chapter [3.1]. The research also tries to analyse in depth about how Scenography involves in creating bodily relations with the objects.

An essential aspect of Postmodern Scenography is that spectator is made aware of the experience of viewing and at the same time is made aware of the history and context that is created by the scenic elements. This means that the spectator knows that he is in a theatre and watchin a play, as the scenery fittin s and mechanics to props are exposed. At the same time, he is taken to another place/time of the performance of the play.

The arrangement of objects, visual scenery, actors movements, etc. represents the context of the time in which performance is being played. It results in the creation of fictious reality1 (Holdar, p.17). The research expands upon this concept of how Scenography fictionali e the space in detail in hapter One of the important aspects of postmodern Scenography is the transformation of a space. It transforms the stage space through scenic elements and light effects. The arrangement of elements such as objects, furniture items, movable screens, light, sound effects, etc. creates an environment of the place resulting in a setting. The creation of setting is the most e tensi e and identifiable aspect of ceno raphy The research therefore intends to analyse in depth regarding how Scenography creates a setting in a space later in chapter [3.3].

Richard Schechner’s theory of ‘Environmental Theatre’ has been explained in “6 Axioms for Environmental Theatre” in Theatre and Performance Design: A reader in Scenography (2010, p.95-101). In his third axiom, he explains how Scenography grew out materiality to create a context (as cited in Collins and Nisbet, 2010).

Here material scenery consists of platforms, ramps, steps, walls, curtains, etc. which developed into three dimensional elements to objectify the places/locations on stage. The research further expands upon the aspect of the creation of context through spatial construct by explaining through examples.

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Illustr. 2.07. The image represents a scenic design for the play “Sweeney Todd.” The scenery consists of movable elements that appear and disappear to create fictional locations. The elements such as a staircase, tunnel, props, and furniture provides the context of old London building.

The background consists of cityscape representing the time of the plot.

he terms fictious reality oldar, p refers to the concept of theatre space transformin reality into fiction throu h actors movement on stage and spatial construct. The research further analyse this concept with respect to creation of drama in a space in Chapter [3.3]

For example, as explained in illustration 2.08, the built facade on a theatre stage depicts an amalgamation of different historical and social context. It creates a historical setting referencing to neoclassical and eighteenth-century elements.

Illustr. 2.08. etch depictin facade of alhalla in as Rheingold in San Fransico Opera 1990. Here different period styles such as idealistic and neoclassical have been recreated, whereas the entire structure is an accurate replication of Gottfried Dresden opera house.

In earlier times, Scenography was dependent on material objects, stage scenery and machinery. The use of which represented Scenography as a chain of pictures/objects instead of relating to transformation of space.

To this Holdar in Scenography in Action (p. 8) claims that ‘Scenography was reduced to a thing, to memorabilia’ as it represented objects on stage only because of their association with important events, place or person. Such arrangement of objects on stage does not provide a reference to the creation of a performance.

It was later that Scenography was de-materialized and Scenographers started to explore digital technologies integrating with physical elements of Scenography to create an atmosphere. The immaterial elements such as visual projections, light effect, sound media, etc. redefine the practice of ceno raphy he creation of effects result in the representation of the original context along with creating an atmosphere of the place/setting of a play.

Illustr. 2.09. The image represents scenery for the play of ‘Rusalka’, National Theatre, Prague, Czechoslovakia in 1955. t depicts the inte ration of li e actors with film pro ections and multimedia installations. Svoboda, the stage designer, creates an environment through material elements, objects and actors movement.

As seen in the illustration 2.10, the use of mirrors in the ceilin re ects the isuals and li ht pro ects that are pro ected on wall and oor t contributes to the spatial structure and movement of actors by producing certain kind of effects. This results in generating an experience of the context along with creating an immersive environment within the theatre space.

Thus, from above understanding, it can be said that the concept of Scenography has shifted from a mere depiction/recreation into a spatial construct to creating an experience of the real. Scenography takes into account both visual and spatial aspects of scenic structure (Holdar). Scenography stage the elements to create a setting in a space. Thus, this asserts to the translation of scenography as ‘to draw for the stage,’ the meaning of which has been metamorphosized (Lam, 2014, p.14).

Illustr. 2.10. The image depicts a Scenography of ‘The Flying Dutchman,’ Wagner, Teatro Comunale, Italy in 2008.

The set designer Kokko creates an environment to that of a film throu h theatrical li htin and isual pro ections Scenography here creates a dramatic effect by providing focused light on certain sections while rest being in the dark. he entire ceilin is co ered with a mirror which re ects the pro ections of the mo ements happenin on the sta e oor

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2.1.2

EXPANDING SCENOGRAPHY

The layering of aspects with time has changed the definition of sceno raphy ceno raphy from bein constant and still background to becoming active and transformative phenomenon has changed its meaning over time. It has expanded its territory to expand spatially beyond set design (Holdar).

Thus, as Lam in Scenography as New Ideology in Contemporary Curating: The Notion of Staging in Exhibition points out that, The definition of Scenography is not fixed but have been “constantly evolving and changing its meaning and expanding its paradigm over time”. (Lam, 2014, p.14) The historical developments in scenographic concepts and practice ha e profoundly in uenced the way Scenographers, directors, and designers approach their work.

As explained before, Scenography relates to the scenic structure and the visual and spatial setting that it creates on stage. It transforms the space by integrating physical and immaterial elements. The integration of actors on stage along with a spatial construct provides a context to the scene creating an environment for the performance.

To this, Gröndahl regarding expanding nature of Scenography in Scenographic strategies and communication, DREX explains by stating, “Scenography is increasingly conceived of as event, experience, and action, rather than a set of physical elements, or representational or metaphoric images”.

(Gröndahl 2012, p.2) Thus, this changing approach to Scenography to include digital technologies of the time and experiential elements allows the practice of other spatial fields to inte rate principles of Scenography.

Hence, it can be said that Scenography is not limited to the theatre but expands its boundaries to include different professions. It integrates elements of theatre, performance, drama, and architecture within its structure.

As McKinney and Palmer in the introduction of Scenography Expanded: An Introduction to Contemporary Performance Design rightly points out, “Scenography is not simply a by-product of a theatre but as a mode of encounter and exchange found on spatial and material relations between bodies, objects and environment.” (McKinney and Palmer, 2017, pg.2)

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With this, it can be explained that Scenography is not merely a mode of representation for scenery and objects on stage but relates actors, objects and physical space to create an environment.

Thus, the above-discussed concepts related to evolutions of Scenography supports the consideration of this research to expand Scenography beyond the field of theatre desi n s the study aims to understand the concepts of Scenography concerning museums, at first it tries to identify the aspects based on which ceno raphy can be e panded in other spatial fields Hereby evolving an understanding of the expansion of Scenography as discussed by McKinney and Palmer along with other concepts as explained before, this research considers that Scenography can develop and transform in relation with Performing bodies (actors/ performers), environment (physical space) and object.

PERFORMING BODY

OBJECT

SPACE

Diagram 2.02. The above diagram represented explains factors upon which scenography can expands in other fields by defining relation between them.

s per the identified aspects, the research tries e amine its alignment with respect to museums based on which it determines the role of Scenography in museums. It further analyses to define elements of ceno raphy and relate its functioning with that in museums later in chapter [2.2].

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2.2

ROLE OF SCENOGRAPHY IN MUSEUMS

As explained in the previously, scenography can be expanded from its traditional use of that in theatre and can be applied to se eral other fields his research tries to understand what contribution Scenography is making beyond theatre in the field of useums t starts with a sincere interest to realize what role does Scenography play in Museums and how does that vary with that of theatre performance.

As explained [in Ch.1], several factors concerning museum exhibition aim for a theatrical approach to its creation of display. Therefore to start with, this chapter tries to identify elements based on which the role of ceno raphy can be defined in useums o reali e what role does Scenography plays in a museum, it becomes essential to consider what museum studies convey regarding transformation of museums relating to the display of contents.

According to Kirshenblatt, museums today not only communicate information but also generates an experience of what is being displayed. To this, she explains, “The museum has become a new kind of information space, one that puts information into space and a relationship with the visitor’s body” (Kirshenblatt, 2000, p. 49). With this explains the importance of visitors engagement in museums.

Expanding further, she states that museums today are convinced that visitors are “no longer interested in the quiet contemplation of objects in a cathedral of culture.

They want to have an experience”. (Kirshenblatt-Gimblett, 1998, p.139) cited in (Thomassen, 2017, p.10) The above stated supports the argument, explaining that museums today have left the classical representation style of presenting the content.

Earlier it was about categorization of museum objects and displaying them in a sequence, which was most likely to be interpreted through text labels and descriptions. The main focus then was to highlight the object. The object can be compared to that as an actor, being the centre of focus, whereas museum as a stage to that in a theatre.

Thus, this explains the writing of Kirshenblatt-Gimblett in “The museums as catalyst” (2000) which states about a shift in focus from the artefacts to “experience.”

(Kirshenblatt-Gimblett, 1998, p.139).

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Thomassen suggest that, “The increased focus on experience in museums lies within scenography” (Thomassen, 2017, p.10-11) According to him, Scenography contributes to the experience we have in an exhibition by engaging our bodily movement and senses. Thus, the emphasis upon the central role of senses in changing museum exhibition rationalize the need to use Scenography.

Regarding the aspect of visitors engagement with the content, the research further analyses on how ceno raphy defines the relationship between ob ects and visitors based on bodily movement and sensorial engagement later in chapter [3.1].

Thus, the approaches as mentioned above in museum exhibitions can further be rationalized by referring to writings of Kirshenblatt-Gimblett. To her, the idea of ‘experience’ within museums that deals with theatricality, connecting to the main aim of museums.

Kirshenblatt-Gimblett explains, “Exhibitions are fundamentally theatrical, for they are how museums perform the knowledge that they create.”

(Kirshenblatt-Gimblett, 1998, p.3) As a result of this, Scenography connects theatrical approaches to museum’s way of exhibiting and communicating to visitors. s discussed in chapter , the research identifies the aspects based on which it tries to expand and analyse the role of ceno raphy in the field of museums his can be supported based on the analysis provided by Lam in her thesis (2014) “Scenography as New Ideology in Contemporary Curating.”

Margaret Choi Kwan Lam in her thesis creates insight into the role of scenography in museum practices.

Through her analysis, she claims, “Scenography has changed and transformed the traditional way of a museum exhibition.” (Lam, 2014, viii).

Thus, these concepts and arguments of expanding Scenography and theatrical approach to museums presented through writings of Kirshenblatt-Gimblett, Lam, and Thomassen have framed the foundation of this research to analyse Scenography in Museums. This chapter further tries to explain the role of Scenography in museums by identifying the elements of Scenography.

It determines its functioning in theatre performance and enquires if that aligns with that in a museum.

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2.2.1

DEFINING SCENOGRAPHIC ELEMENTS IN MUSEUMS

To understand how Scenography can transform museum spaces and the method of representing exhibits, it is crucial to review elements based on which Scenography can be expanded concerning Museums.

Thus, relating this to the developed understanding this research considers that in the context of Museums, Scenography can be analysed based on the interaction of objects, space, text, and performing bodies (visitors).

The research further analyses what kind of relation does ceno raphy define with each of these elements and how does that help in determining the role of Scenography in Museums.

As discussed before, the interaction of visitors with the given exhibition space, objects/content and the presented text becomes the prime factor for Museum display. Therefore, this research further focus on how Scenography co-relates - object, space, text, and visitors based on the information that is being conveyed.

Object

Space

Text

Performing body Diagram 2.03. The diagram represents co-relation of Scenographic elements based on which it can be analysed in museums.

Referring to Aronson’s terminology of Postmodern Scenography, he explains that although 20th-century theatre has widely rejected realistic presentation, much of modern scenography can be categorized as “set of metaphorical images.” (Aronson, 2005) Here the term metaphorical images can be related to Beckley and Legac explanation as, “an image to which caption was juxtaposed, but the meaning remains suspended.” It refers to the idea of ‘Mise-en-scène’ in reference to translation of dramatic text to create a spatial structure. The caption here indicates the text or a script performed by actors which are then realized visually through a constructed scene.

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In order to know how text acts an elements of Scenography in Museums, it is essential to understand the role of ‘text’ in reference to Scenography and further, how does ceno raphy define that role of in the context of Museums.

Thomassen explains Barthes’ emphasis on the role of the reading of the text. To which he writes, “Text is also about the reading of it as a process and practice that creates meaning, and which is not limited to the printed or written surface of a document or book.” ( in Thomassen, 2017, p.7) Reading of text in theatre refers to the performance text which can be acted. It is a play script narrated/enacted by actors through speech and gestures.

Scenographic reading of a text in Museums refer to the central concept/idea/information that the museum is trying to convey. It is either presented in the form of descriptive labels explaining the exhibit or translated in a visual/spatial form using Scenography.

As a example, the illustration 2.11, explains the case of he irasat e halsa useum, where space narrates the history without objects. The entire museum is a visual conversion of the oral history of the Sikh community by means Scenography.

in theatre

Performance text which is acted by performers

“Reading of the text” in museum

Concept of museum that is translated in perceivable form

Diagram 2.04. The above diagram explains the idea of “reading of the text” in reference to the theatre and museum.

In Museums, Scenography translates the text, that is a verbal idea which includes the overall theme/ messa e into percei able form, which is then identified and interpreted by visitors.

To this, Gröndahl in a publication: “Scenographic Strategies and Communication” further explains to the reading of a text in museum stating that Scenography translates verbal text into visual text, the interpretation of which is left to the spectator. (Gröndahl, 2012, p.4)

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Illustr. 2.11. For Example, in Museum The Virasat-e-Khalsa, Punjab, the oral history and verbal text of Sikh religion is translated into space. The text here is rendered in the form of a 3D mural that conveys the historic and mythological stories. It generates a narrative experience for visitors through visual illustrations within the double height volume.

his holds for oris udli a description claimin that Scenography operates as an open structure, with a kind of construction that provides a ‘large amount of freedom for interpretation and metaphor’ (in Lam, 2014, p.18).

The above-stated analyse that the Scenography does not bind viewer’s interpretation through a merely visual representation of something instead it allows for multiple interpretations of what has been presented by attaching meaning and metaphor to it.

Illustr. 2.12. The image depicts the display of The Imperial War Museum, Britain. It represents the interpretation re ardin the con ict and e ents that occurred durin WWII. The display translates the narrative text into a perceptible form integrating sound media and visuals along with the presentation of objects.

Thus, relating to idea of Scenographic translation of text in Museums, Scenography is based on revealing verbal concept/idea into spatial and visual means, to which Gröndahl explains that “Scenography translates [...] conceptual content into perceivable form, which is then be recognized and interpreted by the spectator”.

(Gröndahl, 2012, p.4) For example, as explained in illustration. 2.12, Scenography translates content related to World War II into narrative text. This narrative text is then converted into a visual and spatial form by integrating objects with sound, media projection, etc. This allows for visitor’s interpretation on what has been presented evoking emotional responses.

Scenography translates

Verbal idea

Conceptual content

into

Spatial and Visual means Perceivable form

which needs to be interpreted

Diagram 2.05. The above diagram explains what Gröndahl (2012) states as Scenographic strategy in museums based “reading of the text” and translation of it.

Thus, from the above discussion, it can be said that text is an important element of both Scenography and Museums. Scenography translates this approach of “reading of a text” in Museums. It de-construct text to be analysed and translated to create visual and spatial construct. This leads to the creation of Dramaturgy in a space. The research further explores this concept and examine how Scenography creates Dramaturgy in Museum space in Chapter [3.3].

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In context of Theatre, Scenography reveals story plot. It describes the events of the play, through sequence of actions and arrangement of scenic elements. Pertaining to Museums, Scenography reveals drama and story behind the museum text (Howard, 2002. p.17). It communicate by means of narrative that relates objects with their stories.

To this, Kelly (2010) in “The Role Of Narrative In Museum Exhibitions” points out the shift in museum education theory over the time as explained by Roberts (1997). The rationale suggested for a narrative approach to the display of contents based on the ways in which visitors engage with museum space.

It can be supported by Hilton explanation, stating that, “Exploring narratives in museum collections is essential to enabling interpreters to move beyond bland displays and provide a human voice” (Hilton, 2005, p.15) as cited in (Gadsby, 2014, p.16).

Thus, the above discussed explanations assert the use of Scenography to transform the ways in which museums convey information about their collection.

Scenography produces narrative spaces in museums, where content is presented emotionally. This can be explained as Scenography tries to create an effect which generates an emotion of empathy towards the displayed content.

Scenography by means of narration evoke different time periods and create locations of the places. This provides a context to the objects that are being displayed in a museum exhibition. Thus, creating an immersive experience for the visitors. (refer to illustration 2.13)

As Brückner explains in Scenography: Making spaces talk, “A consistent narrative space looks for and enables a dialogue between space and content, between artefacts and recipients.”

He further adds claiming that, “Scenography ‘makes things talk’; it endows them with meaning and purpose as well as relevance to the present.” (Brückner: 2011, p.68-69) The above asserts that Scenography supports narration in museum space by creating a relation between objects and their hidden stories/messages. It conveys information in the form of a theme, plot or by the portrayal of something. Scenography not only narrates museum objects but also determines organization and arrangement of objects and contents in a way that creates a narrative presentation. The research further expands upon this aspect of Scenographic narration in chapter [3.3 ].

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Illustr. 2.13. The image depicts a display of one of the galleries of Polish Jews Museum in Poland. The display consists of projected screens, images and replication of elements of the train compartment of the 18th century.

All these elements relate to each other creating a narrative space. The display provides context representing place and time of events. The visitors can sit on the recreated train benches and experience the visual narration in the form of oral stories.

The relation of attaching narratives with the museum object can be supported by Lam’s explanation in Scenography as New Ideology in Contemporary Curating: The Notion of Staging in Exhibitions. According to her,

SELECTION OF OBJECT

“The task is not merely to present objects but to represent them in a way that objects will be treated as materials performing a narrative to engage visitors”.

(Lam, 2014, p.36)

ANALYSIS OF OBJECTS AND ITS LAYERS OF MEANING

Hence , “Scenography relates to space as the writing, constructing or narration of space” (Abramovic et al., 2011:113; Oddey & White, 2006:17; Eeg-Tverbakk & K. Ely, 2015:36) as cited in (Thomassen, 2017, p. 17).

REVEALING THE TRANSLATIONAL CHARACTER OF THE OBJECT

Illustr. 2.14. The above diagram is from EMEE Toolkit 4: Synaesthetic Translation of Perspectives. Scenography.

The diagram explains object as a Scenographic parameter. It depicts the analysis of museum object to identify the layering of meanings attached to it.

From above discussion , it can be said that space acts an important element to stage the contents by means of Scenography. In a given physical space, Scenography generates narratives and even create dramatic effect enabling an exchange of information between space, objects, and visitors.

Scenography produce

NARRATIVE SPACE in Museums relates to exchange between space, object and visitors

Space Recreate location and time period

conveys information through attached meanings and associations

Object / Contents

Recipient

Relating to story in form of theme/plot

Forming new interpretations

results into

Narrative Context Organization and arrangement of objects to create a narrative presentation

Diagram 2.06. The above diagram explains how Scenography creates narrative space in museums by developing a dialogue between space, object and visitors.

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As we know, museums primarily consist of the collection, preservation, and display of objects. Objects hold an essential place in the museum but “objects alone are not able to narrate” (Hilton: 2005).

To this, Gadsby explains Hilton’s assertion in the journal titled “The Object Is Not Enough.” He writes, “[...] without further interpretation or explanation museum artefacts are not able to reveal the truths and stories of their context.” (Hilton, 2005) as cited in (Gadsby, 2014, p.16) Thus, the above asserts to Scenographic creation that allows for interpretation and enhancement of object.

It represents objects by allowing its potential of communicating the meaning. Scenography helps the museum to display information and convey the attached meaning/story related to the objects. It is by means of creating a context that Scenography present museum content.

Scenography also represents objects based on its association such as historical, social, cultural, personal, and national. These associations allows visitors to relate to object based on existing schemata and experiences.

Scenography replicates or recreates context where the viewers have limited knowledge and interpretation.

This may be in the form of reproducing a location/era, or by imitating the materials to make it feel as if it was original. Such arrangement and placement of various elements to create a context results in the creation of a setting in a space.

“The term setting alludes to the stage set in the theatre, that is, to the use of physical means and effects which are characteristic of a three-dimensional medium” explains Maure in “The Exhibition as Theatre: On the stagging of Museum objects”, Nordisk Museologi (Maure,1995, p.157).

To this aspect of the creation of setting in a space, the research enquires of its relevance and function in case of museums later in chapter [3.2]. It analyses in depth regarding the translation of concept of setting in a museum space using principles of Scenography.

Scenography also conveys context in the form of abstract concepts thereby representing meanings and interpretations attached to the object. Thus, involving visitors in the process of meaning-making.

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Illustr. 2.15. The image represents part of Holocaust exhibition at the Museum of Tolerance in Los Angeles. The display here recreates the ‘gate’ as a spatial construct of a concentration camp. It portrays the mass murdering of Jews during the time of Nazi.

Such recreation of context in visual and spatial terms allows visitors to enter the replicated gate and move around a concentration camp. It leads to different doors labeled as “Children,” “Other” and “Able-Bodies,” which translates an abstract concept conveying a hidden message.

Thus, Scenography apprehends the information that needs to be conveyed by creating different forms of representation of the context. It can be said that Scenography recreates the context to provide a reference to the original function, use, and character of the object. As explained before, it makes object talk. It also includes narration to the presented content hence involving visitors in new interpretations.

The research further aims to examine in detail regarding how Scenographic representation of context can be practiced in museum exhibition later in chapter [3.3] Illustr. 2.16. The image represents the display of exhibition gallery, ‘In hiding’ at Polish Jews Museum, Poland. Here the context has been depicted in an abstracted manner.

The tree trunk symbolizes the Ponary forest, each of which narrates the stories related to the mass killing of the 1,00,000 Jews in the woods in during 1942. It describes through illustrations the stories of the hiding of children in woods, bunkers, attic, etc. from German terror.

Thomassen states that the primary intention of Scenography is to increase the interaction between visitors and museum content. (Thomassen, 2017, p.12) As explained [ in Ch.1.2 ], visitors actively take part in the process of meaning-making in museums, to which Scenography provides them as a role of active participants.

Scenography invites visitors for physical, visual and sensorial engagement with the presented objects/ content thereby creating a performance in a museums space.

The research considers this aspect of the creation of performance in space as being in align with the changing nature of museum exhibition which focuses on the experiences and behaviour of visitors. Thereby, it enquires in detail regarding how Scenography creates Performance in relation to museums exhibition and how does that enhance the interaction of visitors with museum space and the content later in Chapter [3.1].

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2.2.2

SCENOGRAPHIC OPERATIONS IN MUSEUMS

To understand how Scenography affects museum display, this research focus upon examining the analysis proposed by Jenniefer Gadsby (2004) in her doctorate thesis Scenography in Museum Design: An examination of its current use, and its impact on visitors’ value of experience.

As Gadsby explains, there is increasing use of theatrical aspects in Museum design. She examines similarities between theatrical performance and museums based on which proposes how Scenographic components can be used in Museums. (Gadsby, 2004, p.16-17) Gadsby reviews the use of Scenography in Museums by demonstrating four level of operations. She analysed these operation proposed by Aston and Savona in Theatre as Sign-System: A semiotics of text and performance (1991) based on the stage picture. This acts as a framework for the research to examine how Scenography can be produced in museums.

The components of Scenography operations on the functionalistic, sociometric, atmospheric and symbolic level. (Aston and Savona, 2003, p.146). The research further explains each of these in detail to understand its role in Museums.

Functionalistic: The functionalistic level is to provide the requirement for user and exhibits. It deals with practical knowledge regarding museum planning and management which is beyond the scope of this thesis and therefore is not further examined.

Sociometric: ociometric le el defines the social status of the content presented. It provides clues of the context in the form of geographical or historical setting. Sociometric level conveys story/plot using scenic element and narrative content. It allows the visitor to follow an overall message that the museum is trying to bring forth.

Atmospheric: Atmospheric in reference to the museum is to represent the mood of the narrative. It evokes emotions in mind of visitors and creates an immersive experience of what is being displayed. It is to provide experience through light, sound, colour, and other such intangible elements.

Symbolic: he symbolic le el has been defined as metaphorical condensation of text. It is when the audience is expected to engage in the process of interpretation and involve in the personal meaning-making.

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Scenographic Operations in Museums

[ FUNCTIONALISTIC ]

Addressing practical needs of preserving and displaying artefact in desired environment

[ SOCIOMETRIC ]

Providing ‘context’ for objects or creating a ‘setting’ by means of scenic elements

[ ATMOSPHERIC ]

Creating an environment or mood that compliments the narrative presentation of contents

[ SYMBOLIC ]

Providing metaphorical association or creating symbolic references establishing a setting

Diagram 2.07. Diagram representing four level of operations performed by Scenography in Museums as proposed and reviewed by Jenniefer Gadsby (2014)

Thus, the above Scenographic operations in Museums as proposed by Gadsby acts as a framework to analyse what does the use of Scenography in Museums results into. Therefore, to begin with, this research put forward an attempt to examine what kind of Scenography is produced by Museums.

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2.2.3

ANALYSING SCENOGRAPHY PRODUCED BY MUSEUMS

As explained earlier [in Ch 1.], museums have been using different representation methods to display its content.

The means of presentation by using dioramas can be considered as a literal translation of Scenography. It creates a literal context through replication or imitation.

The research further aims to analyse what other kinds of context can museums produce by using Scenography.

This chapter address to examine Scenography that museums produce based on its representation method.

The literal depiction of Scenography has been more favoured in museums as it creates a believable environment, but this research proposes that there is more that just visual recreation that museums can adopt from Scenography. This research aims for other approaches of translation of principles of Scenography in museums that can be applied at atmospheric and symbolic level. [refer Ch. 2.2.2] Thus, with understanding from previous chapters, it can be said that realistic Scenography practiced in museum try to create an illusion of the place whereas postmodern Scenography brings in a connection between objects, space, and visitors. As explained, it is evident that Scenography has evolved from pictorial representation to representation of staging spaces in Museums.

This chapter tries to identify what kind of Scenography is produced by Museums. It analyses different approaches to create scenography in museums by examining a few selected examples of museum display.

The analysis (on p.70-73) suggests what kind of ceno raphy is produced in each of the cases specific museums. It examines in brief about how each of this identified sceno raphy can be created, based on what and how it can be achieved by that.

Thus, the analysis is framed upon examining what museum exhibition is trying to communicate, what does it create and how does it represent the content/ object. It also seeks to review Scenographic operations as explained in an earlier chapter [2.2.2] such as Functionalist, Sociometric, Atmospheric and Symbolic performed in museums. (Gadsby, 2004)

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What museum exhibition is trying to communicate ?

Representing / Displaying how ?

By means of what ?

(Technique)

Creating what ?

Which kind of Scenography does it produce/result into?

Explaining in general regarding each of the produced Scenography.

Created by means of what?

What has been achieved?

Diagram 2.08. The above diagram explains the method of analyses for illustration [2.17]. It describes how research analyse what kind of Scenography is produced by museums through different examples.

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Experience of the information related to human body

Integrating interactive digital screens

[

]

REPLICATING

Realistic creation of the scaled model

Science Museum, Chicago.

Realistic representation of war time

Projection of the map of countries involved in the war Replicating scenes during war

[

]

REPLICATING

Life size human figures Realistic depiction of topology of the region

National Infantry Museum, Columbus

Illusion of being in a forest of fragrance

[

ATMOSPHERICAL

]

Haze of fragrance Ambient soundtrack

[

ILLUSTRATIVE

]

Scenic partitions Recreation of a tree

DS Corporate Group Museum, Noida

History of Jewish life on Polish territory

[

POLIN Museum of History of Polish Jews, Warsaw, Poland

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ILLUSTRATING

]

Background images Writings depicting new social clauses during 1878

[

REPLICATING

]

1:1 mock railway station

EXAGGERATED IMITATIVE DECEPTIVE

Scenographic exaggeration can be illustrated by exaggerating form, volume or scale.

Such scenography allows visitors to either walk-in as if an object was a space or to view modulated physical structure of object/element from a distance. At one point it also deceives visitors because of its exaggerated scale with imitated/real materials.

Scenography of such kind is to highlight something.

It allows visitors to see minute objects in detail and get fascinated by it.

RECREATIVE REALISTIC

Scenographic recreation can be done by identifying elements that make the scenario and recreating them to depict the original. It either completely replicates the materials as near as possible or recreate something which resembles the original.

The recreation by means of Scenography is sometimes to showcase an archival exhibit which cant be excessed by the public. Recreation of a place or elements allows visitors to view an object in relation to its context.

ILLUSIONISTIC

Scenographic illusion allows the visitor to either spatially or visually experience the actual conditions of the original. In form of naturalistic replications of a real place or person, or an accurate and believable representation of them.

Such Scenography in an abstract/minimal way can be through scenic elements, light effects, background sound, smell etc. It is to provide visitors with an illusion of being in original space.

REPLICATIVE ILLUSTRATIVE

Scenographic replication is to allow visitors to experience the described time and place. It replicates the scenario of place, situation or the surrounding to give impressions to visitors of how it would have been.

A detailed realistic or abstract replication allows visitors to relate with the text easily.

Symbolic

Atmospheric

Sociometric

Illustr. 2.17 *For description refer to page 73.

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Depict conflict during WWI

Interpretation of 75mm French gun field.

Imperial War Museum, Britain

Integrating sound media and visual projection

Narrate history of navigation of Atlantic

[

]

Projection of war scenes through abstract illustration of soldiers on field

[

DEMONSTRATING

[

Digital media integration with Lighting, Sound and Graphics

SYMBOLIC

INTERACTIVE

]

]

Physical and sensorial engagement with interactive module and space

Museum of Navigation, Seville, Spain

Stories of Jewish holocaust

Narrative setting (shoes placed against a neutral backdrop quoting personal diary), Atmospheric lighting Unites States Holocaust Memorial Museum, Washington DC

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[

METAPHORICAL

]

Shoes symbolically representing no of Jewish burnt in prison.

SYMBOLIC ABSTRACT

Symbolic Scenography engages visitors in the personal meaning-making. Such scenography constructs an overall interpretative message, which is left on the spectator to interpret and realise.

It creates elements that stand for something else. The creation of symbolic elements forms associations to place, time or an event. It creates visual and spatial metaphors relating to the content.

INTERACTIVE

Scenographic interaction allows visitors to participate within the creation. It guides visitors movement and enhances their interactivity with objects.

The creation of interactive elements provides visitors an immersive experience of engaging with the object.

Scenography integrates technological features to enhance the content and enrich the experience.

METAPHORICAL SYMBOLIC

Scenographic metaphorical condensation is to translate an abstract content into a visual or spatial setting. The metaphor used can be a concept, an event, a condition or a quality described. It is to communicate the narrative of the story/content by means of metaphors.

A setting developed using metaphor is to create sensorial experience and associations in the mind of the viewer.

Symbolic

Atmospheric

Sociometric

Illustr. 2.17. The illustration depicts distinctive examples of museums. It explains different kind of Scenography that each of these museums produce based on what museum is trying to communicate. *All above examples are self analysed with general understanding of Scenography and not considering museum specific variation or intention based on designer. *The analysis is based on different levels of operations performed by Scenography in Museums proposed by Gadsby. *The values analysed are sociometric, atmospheric and symbolic (Aston and Savona, 2003: 146). As functionalistic approach deals with basic requirement for the exhibit and visitor planning, it is excluded while analysing, as it is beyond scope of this thesis.

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Chapter 2

Chapter 2

3.

How does the use of principles of Scenography results into the creation of Performance, Setting and Dramaturgy in Museums?

How can these theoretical principles translated / practiced in Museums?

be

Does the role of Theatrical aspects of Scenography remains constant as that in a theatre or it varies with respect to Museums?

What defines the relationship between them?

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3.0

THEATRICAL ASPECTS OF SCENOGRAPHY

SCENOGRAPHY

Static

to

Two-dimensional scenery in form of backdrop

Active and Dynamic

concerning museums

Integration of actor’s movement with scenery and spatial construct

Creation of PERFORMANCE in a space Defining visitor’s physical, visual and sensorial engagement with museum space and object

Arrangement of objects and scenic elements

to

Create an environment Define relation between elements evoking meaning

concerning museums

Creation of SETTING in a space Physical arrangement Providing associations to objects Creation of atmosphere Representation of the Context

Objectifying places and locations on stage

to

Transform the space into Dramatic time

concerning museums

Creation of DRAMATURGY in a space Spatial construct and effects to fictionalise the objects Revealing drama and story behind museum text

Diagram. 3.01. The above diagram explains how does use of principles of Scenography results in creation of Performance, Setting and Dramaturgy in Museums.

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“Do we construct the experiencing of scenography and performance through the conventions of the theatre, that is, Performer– Spectator, Seen–Unseen, Sensed–Felt, Light– Darkness, Stasis–Movement, Silence–Sound and Imagined–Real?”

Qouted by Benedict Anderson (2013) in Out of Space: The Rise of Vagrancy in Scenography, Performance Research: A Journal of the Performing Arts, 18:3, 109-118

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3.1

PERFORMANCE

In our everyday lives, we use expressions such as “to perform” or “to play a role” which are extracted from a Theatre. Osipovich, in The Journal of Aesthetics and Art criticism share insight about Theatrical Performance.

According to him, a theatrical performance is a particular kind of interaction between performers and spectators, (as in actors and audience) in a shared physical space.

Illustr. 3.01. Example of Theatrical Opera “What to Wear” designed by Richard Foreman. The image represents stimulation of bodily performance on the stage through signature elements of Foreman’s Scenography such as hanging panels, series of strings, etc.

Considering the above meaning of performance, it can be said that we use theatrical behaviour when we are with others. As we share the same physical space and along with that the actions we perform/receive makes us consciously or unconsciously, the actor as well as audience at different intervals of time. Maure in “The Exhibition as Theatre - On the staging of Museum objects,” Nordisk Museologi describes this actions/ behaviour as ‘Performance’ and the area on which it takes place as ‘stage.’ (Maure, 1995, p.162) Hence, the chapter further follows upon this perspecti e of research t first, it tries to analyse what museum studies/scholars convey in regards to museums - if being in line with this perspective of Performance or not.

Concerning to museums, Bennett claims that “the museums have left the focus on collection and exhibition, and has pedagogics and participation as a new focal point. This change shows how museums are moving toward the theatrical.” She further explains in Theatre and Museums (2013) that the increased focus of museums on visitor engagement and experience has driven to the practices closer to contemporary performance art. (Bennett, 2013, p.1-9) cited in (Thomassen, 2017, p.15)

Illustr. 3.02. Example of German Film Museum, Frankfurt where the display integrates the components of cinematic creation. The elements provide an interactive exploration of the multifaceted nature of visual media through visual and sensorial engagement.

This indicative change in museum focus can be regarded as from; “information - based knowledge to experience - based understanding” (Kishenblatt-Gimblett, 2000 ; Heins, 2006) With this, the above writings explain that museums have evolved to provide not only factual knowledge about exhibits or content but a sensorial experience and understanding of what is being presented to visitors.

The museums today allows visitors to get into possible interactions with objects, which earlier was showcased and displayed from a distance.

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Museums shift / new focus from

Information / Knowledge

to

Experience / Understanding

LITERAL

INTERPRETATIVE

Experience

Experience

shift from Objects to Experience

Diagram. 3.02. The above diagram explains the shift in the focus of Museum from emphasizing objects to visitor’s behaviour and experience.

Supporting to this, Leahy points out a new approach in Museum Bodies (2012). According to her perspective, “Museum is [...]not a collection of objects, as much as it is a place for a social and bodily practice that makes the museum visible to its public.” (Leahy, 2012, p.2- 3) as cited in (Thomassen, 2017, p.15) The above stated can be explained as the experience we have in museums is not just a visual, where we get to see the objects on display but is also physical in many terms. We, as visitors perform different interactions in the museum based on how we stand or walk in the museum space, look at the artefact, touch the object, perceive the content and how close/far we are at distant to the e hibit ll these discussed factors define Performance within museum space.

Thus, this research considers that with respects to museums, Performance is closely related to visitor’s engagement with space and object.

Indeed the above discussed interactions are subjective and are based on the kind of museums and its mode of display representation. Performative Museology is a field which refers to the e chan e between ob ect, contents and visitors explains Michielon in article “Grounding a New Meaning of Performative Museum on the Paradigm of Natural Interaction”, Tafterjournal s this research does not focus on findin measures for visitor interaction and therefore limit the scope to understanding the fundamentals.

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Illustr. 3.03. The above images are examples of an exhibition ‘Ihr und Wir’ at Baden-Württemberg. It displays a map of urope on the oor allowin isitors to wal and realise through animated arrows, the marking route of the escape. It helps visitors to visualize of the displaced people from the territory of the region.

PERFORMANCE

in Museum

related to

As explained before, the interaction between body and ob ect defines isitor s le el of en a ement in a museum To this, as discussed [in Ch.1.2], Museums provide spatial, sensorial and bodily engagement to visitors along with visual. Thomassen describes such interaction between a visitor’s body and the object as ‘Performative actions.’ According to him, these Performative actions are in the form of physical and visual movement of visitors and their interaction with space and objects.

(Thomassen, 2017, p.15). hus, this defined new focus or shift in museums establish the need to study performative aspects of theatre in terms of museums. As discussed before, the research based on museums studies provides a framework to analyse how Scenography established on this perspective of Performance can be applied in Museums.

VISITOR’S ENGAGEMENT

with Space and Object SPATIAL

SENSORIAL

PHYSICAL

BODILY ENGAGEMENT

+

PHYSICAL / VISUAL MOVEMENT

defines

PERFORMATIVE ACTIONS

in Museums

Diagram 3.03. The above diagram explains how Scenography defines Performative actions in museums via visitor’s engagement with space and object.

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As discussed earlier, in a theatre the Performance is created when performers (actors) and spectators (audience) interact. Referring to McAuley’s taxonomy of spatial functions of theatre space explained in Space in Performance: Making meaning in Theatre (1990, p.24), she defines the meetin point as a ‘Performance space.’

The research tries to relate this aspect of theatrical Performance space with that in museums. Thereby it can be said that the exhibition becomes the Performance space as it structures the performance of visitors with respect to objects and space.

According to Hannah’s explanation, Scenography acts as, “The dynamic role design plays upon the stage, orchestrating the visual and sensory environment of performance.” ( cited in McKinney and Butterworth, 2009, p.7). From her explanation, it can be considered that Scenography emphasizes bodily relations to create a performance in space. The research further explains how Scenography enhances bodily relations in museum space.

Concerning theatre, it can be said that the objects/ elements build and incorporated into the sets suggest through different ways in which the actor can manipulate his body. Similarly, in the case of museums, the objects are placed/arranged in a way that visitor can notice and interact. Scenography apprehends this experience of performance by making objects/content accessible and perceivable from multiple aspects.

Illustr. 3.04. Example of a Museum Cité de l’Architecture, Paris which displays scale models and frescos of French architecture. The description text here is projected on the wall, which appears and disappears with integrated media technology. It allows visitors to follow the rhythm of projection which alters through their bodily movements concerning objects and space.

To understand the performative aspect of Scenography, the research derives its understanding from David Richard Shearing research on Audience Immersion and the Experience of Scenography. Shearing through his experiment conducts results on audience engagement with scenography. He provides an environment where visitors are compelled to involve / interact with in the performance event having their bodies acting central to the reception.

The analysis shows that Scenography apprehends the performance either by “involving direct sensory stimulation” or through “augmentation of the senses via technology.” Such type of sensory engagement alters how the body orientate itself to its surroundings.

(Shearing, 2015, p.27)

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Illustr. 3.05. Example of a Museum of Science and Technology in Chicago. The display integrates media technology to create a playful environment that encourage visitors to involve in bodily interaction. The large screen records the body mo ements and re ect its transition in terms of reoccurring visual frames.

The direct sensory stimulation includes the creation of an environment where visitors can physically enter or can virtually get immersed in space. It is by allowing visitors to explore and experience the object/content that leaves a long-lasting impression in their minds. It enables visitors to get in connect with objects/created elements to reveal information more interactively.

For instance, as explained through different examples such as in illustr. 3.03, the sensory stimulation is through wal in on the raphical map on the oor n the case of illustr. 3.04 and 3.05, the visitors reveal information through bodily movement. Explained in illustr. 3.07, sensory stimulation is by exploring the ‘created object’ that acts as an interface, narrating the content.

Augmentation of senses via technology includes the use of multimedia technology to enhance the senses. It apprehends the sense of touch, smell, feel by integrating dynamic light effects, digital sound, visual projections, etc. Such augmentation engages visitors via all senses and evokes physical interaction with what has been displayed.

Illustr. 3.06. Example of a State, Textile and Industry Museum in Ausburg. Here employing media technology, the archival textile pattern of the book is made visible. It arouses visitors to choose a design from a digital book and see the profile of the pattern isually in enlar ed si e graces.

For instance, as explained in illustr. 3.06. The display using digital interactive book creates an immersive experience for visitors. It encourages visitor via means of touch, to visualize printed fabric pattern on slowly rotating graces of the enlarged size.

The research would also like to mention the ways in which Scenography can apprehend the performance by aspects of space. It tries to provide an insight into the concept and does not intend to study in depth due to its limiting scope.

Illustr. 3.07. The above images are examples of a Het Scheepvaartmuseum, Amsterdam. In one particular gallery, the history of navigation is conveyed using an interactive globe. It allows visitors to physically interact by rotating the globe to view large-scale nautical charts and information related to navigation.

McKinney and Butterworth in The Cambridge Introduction to Scenography explain about the aspects of space that shape spatial relationship and interaction between visitors and objects. It is through kinaesthetic, proxemic and haptic aspects of space that Scenography creates Performance. (McKinney and Butterworth, 2009, p.7) Kinaesthetic: regarding the sense of movement and position of the parts of the body concerning space. It is by affecting sensory organs.

Proxemic: pertains to distances between the viewer and the object Haptic: is perception and manipulation of objects through the sense of touch.

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In theatre, there are separate roles for actors and audience. The actors perform the play whereas audience as the spectators, who are at a distance, watch the actors playing. In Museums, Scenography allows visitors to play the role of actor and audience simultaneously. It provides the visitors the role of a participant, allowing them to switch from “spectators” to “performers.”

PARTICIPANT

Movement and bodily engagement

PERFORMER

Interaction

AUDIENCE / VISITOR Distant and reflective position SPECTATOR

Diagram. 3.04. The diagram explains how scenography links visitors in a museum from spectator to a performer through by defining Performative actions.

As explained in illustr. 3.04, when the audience is at a distance from the object, he/she takes a position of a spectator to that in a theatre. There is very minimal movement, and the only engagement happens is visual.

Scenography allows audiences to interact and encounter object and space spatially as well as to participate via touch or more vigorous involvement (Shearing, 2015, p.27). It is through physical movement and bodily engagement the visitors takes the role of Performer and act as part of Performance.

Thus, through all these above explanations, it is suggestive that Scenography acts as a component of Performance in Museums. It also defines Performative actions of visitors by ‘involving direct sensory stimulation’ or through ‘augmentation of the senses via technology.’ (Shearing, 2015, p.27)

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Shearing states that “without live performers, it is through bodily engagement with objects, images, audio, visuals that work of art becomes an act of theatre.� (Shearing, 2015, p.28) The above explains that in the context of museums, Scenography links to the Performance when visitors interact with the exhibition display.

Hence, it becomes important to study Scenography as it acts as Performing attribute in museums. It characterise Museum display as Performance space and visitors as performing bodies by defining Object-Bodily relations.

Scenography

defines

Performative actions in Museums

relating to

Based on how body orient itself with surrounding

Bodily Engagement Physical/ Visual Movement

Direct Sensory Stimulation

Augmentation of Senses via Technology focusing on

OBJECT - BODILY ENGAGEMENT

Scenography as a PERFORMING ATTRIBUTE

in Museums

Diagram 3.05. The above diagram explains how Scenography acts as a Performing attribute in Museums.

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“A setting is not just a beautiful thing, a collection of beautiful things.

It is a presence, a mood, a symphonic accompaniment to the drama, a great wind fanning the drama to flame. It echoes, it enhances, it animates.

It is an expectancy, a foreboding, a tension.

It says nothing, but it gives everything.”

Quoted in Mordecai Gorelik, New Theatres for Old (1949, 179 -180). The writing of Robert Edmond Jones where he refers to the “mind’s eye” (attributing the phrase to Hamlet) and explain stage designing in Theatre and Performance Design: A reader in Scenography Jane (Collins and Nisbet, 2010, p.148)

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3.2

SETTING

The research at the end of Chapter[1] draws towards explaining how different methods of presenting a context leads to the act of creating a setting in a Museum. Originally setting is a term that is used in reference to a theatre. It is a concept that evolved in theatrical performance, which is now being adopted by di erse other fields that deals with the idea of sta in spaces.

Illustr. 3.08. The image represents setting created in the play Suddenly Last Summer by theatre designer Ralph Koltai.

he ford dictionary defines settin as the place or type of surroundings where something is positioned or where an event takes place’. This suggests the idea of creating a scene/representing an environment of the place.

It also put forward the use of scenery and stage furniture used in a play he meanin e tends to define the place and time at which a play, no el, or film is represented as happening.’ This relates to the context in which an act is situated. he abo e definition of settin that defines location and time directs to the multiple plots that theatre characterize.

The theatre space consists of different plots that help in creating a setting. The most important of which is the ‘Story plot,’ around which the play is built. ‘Scene plot’ is the one that concerns about background scenery. It consists of scenic painting, scrims, objects, costumes, etc. that ‘stimulate the imagination and aid in the visualization of the perfect setting.’

Illustr. 3.09. The image represents the setting of the play Moliere’s The Miser by Richard Finkelstein. The created setting depicts the mansion in the Art deco style. It represents spatial elements such as a curvilinear staircase, french windows, arches, etc.

Michèle Cone in the paper Scenography: The Deconstruction and Reconstruction of Mise-en-scène states that “Scenography is based on the deconstruction of the narrative images found in theatre and in the film into minimal e pressi e elements of mise-en-scène.” (Cone, p.162) To this, she refers to the constructing of elements that informs about the story. Narrative images here suggest the translation of theatre script into different plots. According to her, narrative images can be interpreted as a constructed scene, referring to ‘placing and spacing of humans and objects.’

Writings of Howard in What is Scenography further e plains settin as a spatial confi uration of ob ects and performers in space. She considers that concerning theatre, the objects, props, and actors are placed in a smaller specific space, that is, the sta e space within a larger abstract space which is the exterior architectural space. The placement and arrangement of these elements shape these internal volumes to create a setting. (Howard, 2001, p.13) 91

Supporting to this, Aronson (2005) explains that, “Theatre is, in large part, about presence and absence.”

The above refers ‘presence and absence’ in context of scenic elements that creates a composition on the stage.

This chapter further investigates to understand how particular arrangement of scenic elements and their relation to each other provide meaning to the space.

As Howard (2001) claims, “Objects and elements do not speak by themselves.

They must be placed in a relationship to the space, and to each other, in order to have an eloquence and meaning.”

She further emphasizes to explain that how scale and shape take on meaning within a created setting. This can be explained by taking an example of a theatre setting. Howard describes that a curvilinear decorated sofa when placed in a eometrically defined rectan ular space, assumes a si nificant importance he placement of an object and the ways in which actors interact with it, assign object/element a value that speaks of its history to spectators. (Howard, 2001, p.14)

Illustr. 3.10. Sketch by Pamela Howard (sofa as a trap) explaining how a piece of furniture/objects create internal spaces within a setting. It explains how the form and the color characterize the objects that convey meaning through its placement.

This kind of physical manifestation of Scenography manipulate the stage space either by a Detailed naturalistic arrangement or a Few suggestive elements. (Aronson, 2005, p.64)

PHYSICAL MANIFESTATION

by means of

of Scenography

‘Detailed’ NATURALISTIC ARRANGEMENT in form of

Literal depiction

‘Few’ SUGGESTIVE ELEMENTS by means of

Symbolic Representation

using

Evoking number of associations

Essential elements Creating an environment

‘Found Objects’ Representing object with symbolic value

Diagram 3.06. The above diagram explains the physical manifestation of Scenography to create a setting.

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using

Real/Replicated objects/elements

The detailed naturalistic arrangement refers to the use of actual objects or replication of the original object to create a setting. Here the realistic presentation relates to the accuracy of detailing that is being presented.

The use of original object adds to its authenticity in a created setting.

Illustr. 3.11. Example of Scenography by Pina Bausch. It indicates the use of real material (trunk of birch trees) to create a setting of a forest. Here, the arrangement reveals the chaotic positioning of logs. The birch tree trunks serve more than a literal depiction on the stage. It symbolically represents forest as well as allows for actors interaction.

It creates an illusionary hiding place generating an overall dense atmosphere.

Both of the above approaches for a naturalistic setting creates the illusion of being in a real place that is being staged. Thus, the literal depiction creates an impression of the real, sometimes deceiving the audience with an established setting.

The above stated can further be explained with the examples as described in illustrations.

In Illustr. 3.11 and 3.12, the setting is created using natural materials such as trees, rocks, water body, etc. It suggests a literal depiction of the scene which manipulates the actor’s bodily movement. The created setting provides a realistic environment creating an illusion of a being in a original place.

Illustr. 3.12. In the play ‘The Tempest, 2000’, the set designer Paul Brown brings the natural elements on the stage. The entire water body was created which was bordered by rocks and debris. Such an arrangement allowed actors to engage with natural elements while performing. This approach indicates the use of real materials ( here water, sand, wooden logs, debris, etc.) to represent a naturalistic setting.

Another approach of replication of actual can be seen in Illustr. 3.13. The setting replicates the furniture and spatial elements depictin the specific character of a house. It recreates the feeling of the house of a particular nature. The arrangement of objects and elements evokes several interpretations to the viewers relating to the story of the character (Anne Frank).

Illustr. 3.13. The image represents the setting created for the play, ‘The Diary of Anne Frank.’ Here setting consist of replicated objects and spatial elements that characterize the place where Anne Frank lived in Amsterdam.

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The approach of creating / placing suggestive elements directs to more symbolic representation rather than illusionistic.

The approach of use of suggestive symbolic elements can be analysed in depth by referring to what Collins and Nisbet explains in Theatre and Performance Design: A Reader in Scenography mentioning the quote, “Hunt out the most telling line that conveys the atmosphere and the background. This may give me an idea for a significant piece of furniture, a quality of light or shadow, a colour combination, it may not be an entire setting at all – just something that is associated with the dramatic significance of the moment, but which may become the clue to, or indeed the cornerstone of, the whole setting”.

(Quoted in Henderson, Mielziner, Master of Modern Stage Design, 2001 p.61) in (Collins and Nisbet, 2010, p.182)

Illustr. 3.14. In the play ‘Racek,’ the set designer Josef Svoboda represent a setting in which he does not reproduce each and every element on stage but instead use few realistic details that are suggestive of the entire scenario. For example, the element that represents the window is suggestive of the inside-outside relationship.

Here setting does not recreate the original scene but represent real objects that evoke some associations in the mind of spectators. These suggestive elements represent a scene without recreating entire detailed naturalistic setting on the stage. This indicates the use of essential elements to create an environment.

Aronson in Looking into the Abyss, term this suggestive real objects as ‘Found objects’, the framing of which does not permit the spectator to view ‘object as object’ or the ‘stage as stage.’ (Aronson, 2005, p.25) This concept of the framing of an object can be analysed through Scenography of Richard Foreman. For example, in his Scenography, Foreman uses sound, light, gestures of actors as framing device to frame action, object, and the image in a theatre. Such framing of objects/elements defines the space and direct the isual en a ement of spectator. (refer to illustr. 3.20) pandin on this, the ech semiotician iri eltrus y offered a crucial insight stating that “Everything on stage is a sign: Any object however mundane, is transmuted into a char ed si nifier by the power of sta e frame (cited in Aronson, 2005) his can be simplified as any object/element placed on the stage represents something else. It is more than a literal self. The framing of an object as something else can be related to Howard explanation stating “The spectator is connected to the subject when a Scenographer has been able to choose an object which expresses more than its physical reality” (Howard, 2001).

Thus, the concept of ‘found objects’ or framing of an object is to offer multiple meanings and interpretations to spectators on viewing of an object.

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Illustr. 3.15. The image represents the set design for the opera designed by Jorge Ballina. The setting through the use of suggestive elements narrates the story. Here symbolically two planes with different colors represent two different worlds such as the life of a character on earth and marine world. It helps visitors in the visualization of the plot of the play.

Scenography translates this concept of object as something else in museums. It presents museum objects as interpretative sign, that needs to be read by visitors. This chapter further analyses to examine how museum objects/elements can be related to metaphorical associations.

Based on the above discussed theoretical framework, it can be said that Scenography interprets object in two ways; Object as a sign and Object as itself (Oddey and White, 2006, p.141).The detailed overview of how Scenography acts as a signifying system is beyond the scope of the thesis and therefore limit itself to this basic understanding. ceno raphy defines museum ob ect concernin other objects, elements, and people. It explores the potential of an object on stage by demonstrating its functional, contextual, symbolic and narrative value. In the case of Museum, as studied in Ch.[1], objects also hold personal, cultural, political, social and historical associations. Scenography organise these diverse associations that bring in the prime function of the ‘setting’ in Museums explains Maure in The Exhibition as Theatre: On The Staging of Museum Objects (1995, p.160)

Scenography defines OBJECT

Object as sign

Object as itself defined by

Function Context Symbolic value Narrative aspects holding associations

Personal Cultural Political Social Historical

Organizing these diverse associations to create a ‘SETTING’ in museums

Diagram 3.07. The above diagram represents creation of setting with respect to object.

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Collins and Nisbet in Theatre and Performance Design: A Reader In Scenography states that “The problem of deciding what is essential lies at the heart of scenography.” (2010, p.157) It can be said that Scenography balance both literal and abstract by producing ‘Essential features.’

(Aronson, 2005) The research considers that the essential features comprise of producing: Visual clues Assigning metaphorical associations and Making a connecting link between elements.

The research further analyses and explains in depth regarding the contribution of Scenography towards the creation of essential features by each of the mentioned approaches. It also aims to examine how the method of Scenography of balancing both literal and abstract can be translated into museums.

Detailed Naturalistic arrangement

Few Suggestive elements

Balancing both Literal and Abstract Scenography produce

[ ESSENTIAL FEATURES ] Visual clues comprise of

Metaphorical associations Connecting link between elements

Diagram 3.08. The above diagram represents the approach of Scenography balancing both literal and abstract by producing ‘essential features.’ It further analyses to understand what these features are comprised of and how are they created.

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The visual clues are in the form of symbolic elements that represent the entire scenario without creating every element of the set on the stage. They are obtained by deconstruction of text. It is by taking reference from the play script, a story that is being narrated or the verbal idea/concept that needs to be communicated.

It is to represent elements visually that provide a reference to the text. The presentation of elements can be in the form of a literal depiction or abstracted image.

Illustr. 3.16. The image represents the play, ‘The Tragedy of Richard III.’ Here the arch acts as a symbolic form that represents London street. When another scenic elements are placed in counter, the arc depicts different location.

It then acts as a symbolic reminder of Richard III’s evil domination and as a mood-evoking dark mass.

For example, in the play The Tragedy of Richard III, Robert Edmond Jones used a single scenic element instead of elaborate depiction. He created a recognizable form of the ‘Tower of London.’ Here the ‘arch’ acted as a symbolic element that changes the mood and suggests varying locations. These visual clues can be in the form of the realistic symbolic element or abstract representation of something.

Certain elements are assigned to represent a metaphorical association. Scenography provides elements of association that constitute historical/ contemporary time, place and event. It marks the association embedded in the object/element.

Illustr. 3.17. The image depicts the setting created for the play ‘The Cherry Orchard,’ by Romulus Fenes. Here the metaphor is translated to create a setting of a tunnel that travels time. It is to evoke interpretations in mind of spectators regarding actor’s presence and absence on stage as a transition from one time to another.

By this, Scenography engages spectators in the process of interpretations. It conveys meanings behind this formed associations by using metaphors. Scenography results in creating metaphorical associations, whereby translating aspects and attributes of an object into another object, element or space. It allows visitors for an implicit comparison of what has been presented.

Scenography translates this metaphor in space to provide a context. Such presentation of context refers to a quality or character of place/environment when translated into visual and spatial expression.

In museums, these metaphors arise from concept/ topic which museum is trying to communicate. The metaphors in the form of an abstract idea get translated into space through symbolic elements or generating elements that provide a reference to something else. This results in allowing visitors to associate meaning with an object or created setting.

This chapter later expands to analyse how Scenography creates a metaphorical setting in museums.

Illustr. 3.18. The image represents a set design by Jorge Ballina. The setting creates a curved platform with a oatin impression which metaphorically associates with a place where characters lived after death. It uses symbolic representation such as the use of trajectory lines, numbers, blac oorin as blac board etc that provides visual clues to the storyline of the play.

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In order to depict a scene/scenario, it becomes essential to create a setting that envisages the entire picture. The picture need not be replicated with its all scenic elements or detailed representation. It should instead by use of symbolic / metaphorical elements be able to provide an idea of the entire concept/theme and convey the intended message.

The idea of placing objects/elements in isolation does not reveal the entire picture, and therefore there is a need to bring in the connection between elements to depict an environment.

This can be supported by Forrest explanation of Scenography based on creating a scene whereby he states, “It is not just individual components of a scene, but their grouping and juxtaposition will influence what is perceived.” (Forrest, 2014) By this, he explains that it is not merely the depiction of objects and elements but their arrangement and re-grouping that creates a setting.

Illustr. 3.19. The image represents a setting created for the play ‘American Enterprise’, designed by R. Finkelstein. Here setting consist of two and three-dimensional disconnected elements that serves for two different environments.

The elements through their composition suggest the location of the play that is being enacted. The use of scenic features such as train station, factory, urban environment, etc. forms association to the place and time of industrial age.

Thus, from the above understanding, it can be said that Scenography organizes different elements to create a setting. It defines the relationship between elements and their surrounding. The relationships are based on what kind of connection do these elements form and how are they used in reference to each other.

Joslin McKinney and Philip Butterworth in Cambridge Introduction to Scenography states Scenography defines visual, conceptual organizational aspect of setting. (McKinney Butterworth, 2009, p.4)

The that and and

This chapter further explains the creation of the setting by referring to the practice of Scenography by different Scenographers. It explains the ways in which elements are placed to ether and therefore find it necessary to analyse how do Scenographers bring in composition on a stage, forming a connection between elements.

The research introduces to the examples (on p. 99) of process and practice of designer and Scenographers that have been taken from “Part III The Designer: The Scenographic” in Theatre and Performance Design: A Reader In Scenography (Collins and Nisbet, 2010, p.139-144)

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Illustr. 3.20. The image represents the setting of the play ‘What to Wear’ designed by Richard Foreman. In his designs he uses the juxtaposition of different elements, providing contradictory visual information.

Here the objects and elements are used as isolated symbols. The elements such as strings, panels, etc. act as a framing device. For instance, the string represents a line of energy providing a different perspective to interpret elements placed on the stage. Foreman also sets elements of different scales in a settin to redefine the space

Bertolt Brecht considered that each element must be independent but also at the same time related to the other elements. He recognizes this as central to the function of theatre.

To this, Barthes (1979) concern about the excessive or exaggerated use of one element.

He concerns regarding the contradiction or false illusion hinting towards the extravagant emphasis on an element.

Richard Foreman (1992) states, “Sometimes I build objects which suggest a combination of two separate objects as props or scenic elements for my plays.”

This describes the juxtaposition of disparate elements. Aronson explains the mixture of the objects of wildly different scales as a notable element of Foreman Scenography. Foreman represents objects in the form of ‘Found objects’ to spectators, the placement of which redefine the meanings associated with it. He places objects in an unfamiliar setting or use them as isolated symbols.

Howard (2001) considers the approach of combining two opposite forms to produce a visual and dramatic tension that intrigues and engages the spectator.

Casper Neher’s scenography focuses on the production of meanings through construction engaging spectators in the process of meaning making.

Josef Svoboda creates ‘Psycho-Plastic Space,’ attributing to multiperspective aspects of the scenic structure. He transforms the space by using scenic elements and atmospherics resulting in dramatic locations.

George Wilson Knight considers the visual representation through symbols. He creates objects/elements as a symbolic representation which conveys the meaning of the entire play.

Robert Edmond Jones represents elements not as pictorial background but organizes them to create an environment. In his Scenography, he emphasizes the use of single scenic element suggestive of multiple functions. Jones produces an element that functions both as literal and as abstract. Thus, his design indicates the use of ‘single motif’ to create an impression of the entire scenario.

Tadeusz Kantor (2000) deals with real objects to create a setting in a space. He rejects the idea of stage design, creating an illusion of something.

He uses elements in a way that integrates with the performance on the stage.

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The mentioned various approaches as explained brings in relation to the elements. It conveys a meaning, by redefinin the ways in which elements can be presented and perceived. Elements are displayed either as a single motif or in multiples to create a setting.

These elements depending upon the kind of connection they make are either placed in harmony or in contradiction. This alludes to generate metaphorical meaning out of its presence and placement.

The approach of Scenography to bring in the relation between elements can be related to museums. In the context of museums, Scenography refers to the organization of these diverse elements that alter visitor’s perception and bodily interaction with space and object. The research later analyses this aspect of setting by examining examples of museums.

Thomassen explains that “Scenography is largely about evoking the visitor’s imagination through playing on a felt construct of reality.” (Thomassen, 2017, p.20) This can be further explained as what Scenography presents is not real but a construction towards creating an experience of real , which can be said as ‘felt reality’.

Thus, Scenography transforms experience and generate meanings through a construction of a ‘felt reality’. With this, the research further expand upon how creation of a setting through essential elements results into creation of reality and fiction in chapter According to Thomassen, the construction of felt reality can be done by; “[...] hinting towards something that is not necessarily there as physical evidence, but instead materializes itself through the quality of the constructed elements of the display.” (Thomassen, 2017, p.21) The above mentioned explores the potential of Scenography to materialize the immaterial. It means that Scenography provides an idea of something that is not physically present (a concept or an intangible emotion) by creating a setting or an environment. It integrates visual and spatial construct to reveal the context of creation.

This research considers that the materializing of felt reality leads to the development of atmospherics that accentuate the experience of being real. It refers to use of atmospherics as Scenographic operation as explained in Chapter [2.2.2] he research defines the term atmospheric in relation to use of elements to create of an environment. It is “the conscious designing of space to create certain effects” (Kotler, 1974, p.50) as cited in (Forrest, 2014, p.30).

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Illustr. 3.21. The above images represents setting created for the play ‘The queen of Spade’ designed Josef Svoboda.

He uses suggestive elements ( here element representing door) to provide reference to the context of created setting.

The atmospherics such as visual projection, light effects, sound transforms the space. It allows visitors to perceive visually the transition of the elements that refers to multiple environments at a time.

Scenography deals with creating an atmosphere within a space usin artificial smell, sound, theatrical li htin , etc. Such atmosphere is designed to demonstrate a particular quality of space or to evoke a peculiar feeling within the spectators.

Illustr. 3.22. The image represents the setting of the play ‘The Midsummer Marriage’ designed by Robin Don in 1994.

Here the use of atmospherics such as visual projections and light effects is used to create dramatic effects for the setting. he castin of shadows on specific elements throu h light creates an atmosphere representing dark events. The created setting here materialize elements and produce effects to create an immersive environment.

As explained [in Ch. 2.], Scenography expanded itself out of physical boundary to include intangible elements.

Scenography utilizes ‘non-perceptible’ elements (as Holdar terms) to create an atmosphere. The use of immaterial elements such as light, sound, smell, media projection, etc. along with the physical arrangement of objects and elements generates a mood that supports the created setting.

In the case of museums, ‘ non-perceptible’ elements or atmospherics enhances the sensorial engagement of the visitor. It helps in narrating the content by creating an environment of its context. Scenography combines all the tangible and intangible elements to construct ‘felt reality.’ It delivers to the mood of the narration or character of a place in a created setting.

The variation and change in intensity of these non-perceptible elements or atmospherics in museums stimulate immersive experience of visitors. It allows for sensorial engagement and seizes for visitor’s attention.

Scenography with the use of atmospheric in museums encourages visitors to perceive exhibit from a different perspective. It amplifies emotional response within audiences creating a dramatic effect.

The above can be supported by Tristan Kobler’s insight on Scenography - an essay based on his contribution to the DASA colloquium “The Topology of the Intangible” (January, 2014). He explains the dependence of museum display on creating a certain kind of atmosphere to convey the story/museum concept. In short, on creating “all the sensory impressions that form as background to a story.”

Illustr. 3.23. The above images represent the musical, theatrical performance of the film ‘Mughal-E-Azam,’ directed by Feroz Abbas Khan in Mumbai. The setting with the use of scenic elements and atmospherics recreates historic eras on the stage.

Through dynamic lighting, sound effects and digital pro ection different locations such as battlefield, palace, courtroom, gazebo and even atmosphere of the starry sky is recreated. The setting here is composed of very few spatial elements, but because of atmospherics, the entire sta e is transformed into a fictional place and time

Adding onto this, Thomassen points out explaining, “By using the in-between things, the presence and absence of objects, the contrast within materials and their surfaces, size and other variables as light and darkness, the scenographer creates a tension in a space.” (Thomassen, 2017, p.21) With this, he refers to the creation of an environment through an intended selection of light, color, form, material, texture along with placement and positioning of objects and elements (Howard, 2001). This antithesis between elements generates a dramatic effect to the constructed scene. The research further investigates to identify how Scenography creates a drama in space later in the chapter [3.3].

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Based on the above discussed theoretical framework and practice of Scenography, it can be concluded that sceno raphy defines settin in the conte t of museums based on the following factors: Physical manifestation, Metaphorical association, and Atmospherics.

How Scenography define setting in context of Museums?

based on

PHYSICAL MANIFESTATION

Arrangement and relation between elements

METAPHORICAL ASSOCIATIONS

Framing of Objects Translating concept in space

ATMOSPHERICS

Creating mood of a narrative

Diagram 3.09. The above diagram explains the factors based on which Scenography creates a setting in a museum.

The Physical manifestation includes the display of objects/physical elements to create a setting. It can either be in form of a detailed realistic representation or through suggestive elements as discussed before. t includes definin the relation between ob ect, other elements, and people.

The metaphorical association is to allow visitors to see an object in reference to something else. It creates a setting that frames objects and other elements by providing a value other than its physical presence.

The translation of metaphors evokes meanings and interpretations associated with what has been presented.

Atmospheric is to set the mood of narrative within a created setting. It evokes emotions in mind of visitors and creates an immersive experience of what is displayed. It builds an experience through intangible elements that form part of the setting.

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s discussed earlier, it can be said that by definin the connection between elements, Scenography forms relations between them. These relations when understood in reference to each other and surrounding, provides a context of what is being presented.

The arrangement and positioning of an object to create an environment that speaks of its story does mean to define a context. In an established setting, Scenography can adapt to different context, presenting anything from literal to abstract. It place objects in response to time providing historical context in which they are created or links objects to what they depict.

As explained in the previous chapter [ 1 ], in the case of museums, context becomes a reference point for communication between visitors and the objects/ content n museums, definin conte t becomes ery crucial as objects are not self-explanatory and therefore needs to be placed in a context.

“The objects can not speak about past until a context has been created that relates it to other things and provides and interpretation” explains Brückner and Greci in EMEE Toolkit 4: Synaesthetic Translation of Perspectives; Scenography – a Sketchbook (2016, p.27) The above can be supported by Nielsen explanation in Museum Communication: Learning, Interaction And Experience. He explains regarding need of presenting a context in a museum to provide meaning to their collection. He further states, “When objects are grouped together in exhibitions their stories change; they are put in contexts they have never been part of before in order to create a connection and to narrow the gap between past and present”. (Nielsen, 2014) hus, it can be said that ceno raphy redefines the meaning of an object depending upon the ways in which it has been presented. It changes visitor’s perception according to the context of the presentation.

Hence, it becomes important to analyse how Scenographic setting defines the contextual relationship of an object and element.

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Conclusively, this chapter suggests that the various approaches, as explained earlier (p. 98-99) that bring in the relation between elements to create a setting can be translated into museums.

It also put forward to include theoretical framework discussed throughout this chapter which explains how ceno raphy defines settin in relation to museums As a result of which, the research derives parameters for creation of Scenographic setting in museums.

Creation of SCENOGRAPHIC SETTING in Museums

ISOLATING

by

RECREATING A CONTEXT

REALISTIC

of the approach

MAKING NEW CONNECTIONS

Diagram 3.10. The above diagram explains the factors based on which Scenography creates a setting in a museum.

The creation of Scenographic setting in museums can be achieved by parameters as mentioned above (refer diagram 3.10). It is either by isolating the object, recreating the context or by making new connection/ placing in an unfamiliar grouping. The different kind of context that Scenography provides to create a setting is in terms of Realistic, Fragmented or Metaphorical.

The later part of the chapter explains each of these parameters in detail. It demonstrates by analysing different examples of museums. The research draws towards fundamental understanding of how these parameters can be applied to create a Scenographic setting in museums. It aims to demonstrates the means by which each of these can be used and what kind of effect does it results into.

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FRAGMENTED

METAPHORICAL

* Illustrations (from p. 106-113) depicts different examples of museums. * The illustration explains each of the mentioned parameters based on what museum display is trying to communicate in each specific case. * All examples are self-analysed and are based on the derived understanding of Scenography (discussed in earlier chapters) and theoretical framework presented in this chapter. It does not consider any museum-specific variation or intention based on the designer. *The analysis is based on what kind of and how Scenographic setting is produced in each of the selected museum examples.

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CREATING A SCENOGRAPHIC SETTING

Creating a setting by ‘Isolating’

Representing an object in isolation without context

Isolation in a setting can be described in two ways.

Isolating object from its context

with context

Emphasizing to create a value

ISOLATING

Presenting in a neutral setting displaying its authenticity

One is either by isolating an object from its context, that is, presenting an object in a neutral setting.

Sometimes by displaying objects in isolation, reduces itself to communicate only the factual data or the textual description related to it.

Another way is displaying an object in isolation. This means that the object is presented without referring to other surrounding objects/content. It creates emphasis on a particular object, highlighting its si nificance y displayin a sin le ob ect/ roup of ob ects in a defined manner enerates a uni ue alue to its display.

RECREATING A CONTEXT

Recreating a Context

Recreating a context generates an environment that narrates the story of the object/content. The various approaches for recreation of a context are:

by creating setting of the approach

Realistic - using actual objects / replicating to recreate the original environment.

Realistic

Fragmented

Metaphorical

Recreating original

Creating overall character Wider context

Associating by providing Visual clues

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Fragmented - by recreating the overall character of a story/theme using essential elements that depict the scene Metaphorical - providing visual clues and symbolic elements.

Illustr. 3.24.

In the Berber Museum, Marrakech, the traditional accessories of the Berber tribe are displayed on a mannequin which is showcased against a red backdrop, placed in a neutral setting.

The context relating to tribal identity and social status of women is not represented here. The tribal jewelry, which was once a form of disposable saving is eliminated, thus displaying objects in isolation.

Illustr. 3.25.

In LWL Museum of Archaeology, Herne, the objects of archaeological excavation are framed individually in a box. Here the context of different sites is presented by creating a surface that demonstrates the soil of the re ion t conte tuali es the history and si nifies the importance of each artefact/archaeological object.

Illustr. 3.26.

In the Expedition Titanic, Hamburg, the objects are displayed explaining an abstract context of the myth related to Titanic. Here the objects (ship instruments) are isolated and presented using atmospherics to narrate stories related to it. This allows visitors to engage emotionally and produce interpretation behind the display.

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CREATING A SCENOGRAPHIC SETTING

Recreating a Realistic context

Realistic recreation is to recreate the original context. It is to provide an experience of how it would have been felt by using either real objects/elements or by replicating the elements of the original setting.

by means of

Replicating original elements

Representing actual objects/artefacts Relating with other elements

To give impression of the real environment

REALISTIC

To display how it would have been functioned.

It is to depict the actual environment by using all elements that create a location / event. As the object in a museum is extracted out of its context, the realistic creation tries to give an impression of its original functioning.

Realistic approach to represent the original source that is the authentic thing that delivers the meaning.

In the absence of an actual object, replication of form and material provides an impression of the real feel, look, and texture.

To place a real object representing its context is to recreate past in present conditions. By creating a realistic context that relates to the other elements, the display provides an overall interpretation depicting historical/cultural/political scenario.

FRAGMENTED

Creating a context by Fragmented setting Representing an overall character of a place/scene Providing a wider Context

By depicting essential elements

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Co-relating elements

To create a fragmented setting is to create an overall character of the story or theme by using essential elements. It provides a broader context of concept or the message that is being communicated. The essential elements are suggestive of the time or location of a place. It provides clues that represent and relates to the actual setting.

Fragmented setting represents various elements that are part of the story. These elements are placed together relating to the same story while conveying different aspects of a theme. Here information is communicated by placing multiple elements co-relating to each other. Thus the order and placement of various objects and elements is to suggest the particular aspect of the setting.

Illustr. 3.27.

In POLIN Museum of History of Polish Jews, Warsaw, the display recreates Jewish street of the time 1918 to 1939. The replicated facade depicts houses from different Polish cities such as Warsaw, Krakow, etc. It provides a realistic feeling to the visitors with its detailed illustration. isitors can enter the facade of the street which re eals stories relating to politics and many other facets. Inside the street, individual settings are replicated such as that of an interior of house/ cafe which conveys personal stories during the time of war.

Illustr. 3.28.

In DS Museum, Noida, the display talks about the journey of a company in the form of dramatic storytelling that is both visual and experiential. Here elements of actual setting are reproduced. The original artefacts/ ob ects alon with real si e human fi ures are u taposed against recreated elements to bring out a live experience of being into the place.

Illustr. 3.29.

In the National Museum of African American History and Culture, Washington, the 19th-century house of African slaves are recreated. The replication of actual materials and spatial features here reveals its construction details rather than representing how it was in real. This provides a context to visitors informing about their way of living narrating its story.

Illustr. 3.30.

In POLIN Museum of History of Polish Jews, Warsaw, the display replicates essential features such as furniture, spatial elements, etc. to give a character of different locations without recreating a realistic context. Each of the placed element as seen in the image shows the recreation of church and Jewish house, narrating a story to visitors with minimal suggestive elements.

Illustr. 3.31.

The exhibition ‘War and trauma,’ In Flanders Field Museum, Belgium, creates a setting of a hospital to inform of the past events and health condition during the time of war. Here a few suggestive elements are u taposed to narrate a story isual pro ected on the wall along with arranged beds and placement of life-like humans fi ures con ey personal oral stories 109

CREATING A SCENOGRAPHIC SETTING

Along with objects, different means are used that represents aspects of the story resulting in a fragmented setting. The addition of atmospherics such as integrated sound, light effects, smoke, etc. creates an atmosphere in a space providing an immersive experience.

The fragmented setting can also be created in terms of diving a story/narration into many scenes and plots. Here the constructed scene provides different context relating to a broader concept narrating the theme.

METAPHORICAL

Recreating a context by Metaphorical setting

Symbolic representation

Translating metaphors into a space

By providing elements of association

To provide context in reference to something

Define meaning associated with object/element

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A metaphorical setting is to translate metaphors in a space. It tries to convey hidden meanings related to the object by creating metaphors/symbols.

Creating a metaphor can be done by taking a quality, characteristics or an attribute of something and translating into an object or element. It results in definin meanin s associated with an ob ect or recreated spatial construct.

A metaphorical setting provides a set of associations for the isitors that need to be interpreted t defines objects/elements in relation to the context of others.

It can be created by making a comparison or determining common characteristics between objects/elements.

Illustr. 3.32.

In National Infantry Museum, Columbus, the created setting tells the story of National Infantry and history of U.S. Army. The fragmented setting co-relates objects, visual projections, realistic scenes during the time of war, human fi ures, etc describin the e ent The addition of atmospherics such as smoke, the sound of the battlefield, dramatic li htin creates an immersi e e perience for the isitors hou h not creatin a specific realistic setting, it provides a better understanding of the fragmented aspect of recreating a setting.

Illustr. 3.33.

In the National Maritime Museum, Iceland, the display replicates certain part of the port allowing visitors to walk and explore the created setting that narrates the history of celand s fishin port Individual objects are placed against constructed scene which provides a reference to its original context. The suggestive elements along with visual projections of waves of water and sound of harbour recreate a feeling of being into a place.

Illustr. 3.34.

In Apartheid Museum, Johannesburg, the display consists of spatial and visual metaphors that speak of the incidences, personal stories, and the place. Space itself narrates the story by associating meanings to each of the elements. The ropes hanging from the ceiling represents the number of people died due to oppression while the wire mesh grid represents life in prison and slavery.

Illustr. 3.35.

In the Museum of Navigation, Spain, the display creates a metaphorical sea of lights made of led lamps. An immersive experience is created where visitors feel as if they are travelling through the Atlantic sea and discovering personal stories and history related to navigation.

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CREATING A SCENOGRAPHIC SETTING

Creating a setting by forming New connections

To create such a setting is to bring in new connections to what is on display. Here the object on display becomes an essential factor in creating such a setting.

Placing an object into a different context

by means of

Unfamiliar grouping

resulting into

Redefining of original context of exhibit

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MAKING NEW CONNECTIONS

To bring new elements to the presented context

This can be done by placing an object in a different context, that doesn’t relate to its original. Another approach to this is by placing objects in an unfamiliar grouping.

This kind of setting brings in new/unfamiliar elements into the presented concept/theme. It adds value to the ob ect redefinin its ori inal conte t his alters visitors preconceived notion regarding a subject and allows for new interpretations. It evokes meaning out of what has been presented in reference to one object with another.

Illustr. 3.36.

In Rautenstrauch Joest Museum, Cologne, the display represents the collection of a mask of various cultures.

The marks are placed against a graphically abstracted map of the world forming new connections to content. It illustrates the importance of mask relating to the rituals in different nationalities. The setting allows visitors to understand the concept of mask pertaining to one’s own culture and identity.

Illustr. 3.37.

In National Maritime Museum, Amsterdam, the objects are grouped in categories and staged in a series allowing visitors to compare and differentiate in a created setting.

The navigation instruments when arranged in such order redefine their ori inal conte t offerin a new narration to space. It relates objects to their original functioning of determining constellations and stars.

Illustr. 3.38.

In Westphalian State Museum of Art and Cultural History, Munich, the objects are isolated, taken out of its original context and are placed in an unfamiliar setting.

The projection of X-ray picture of skull against exhibit contextualizes the object from displaying real materials to creating abstract context. It evokes curiosity in mind of visitors and engages them to form new interpretation regarding the objects.

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“Is It only possible to think of dramaturgy in terms of spoken theatre, or is there a dramaturgy for movement, sound, light and so on, as well?

Is dramaturgy the thing that connects all the various elements of a play together ?

Or is it, rather, the ceaseless dialogue between people who are working on a play together?

Or is it about the soul, the Internal structure, of a production?

Or does dramaturgy determine the way space and time are handled In a performance, and so the context and the audience too? ”

Quoted by Kerkhoven (1994, p8-10) as cited by Turner, Cathy and Behrndt, Synne K, (2008, p.17) in “What is dramaturgy” from Turner, Cathy., Dramaturgy and Performance.

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3.3

DRAMATURGY

“Is a room in which someone declares love the same as a room in which someone is dying?”

(Svoboda,1993, p.17) Holdar explains this rhetorical question of Svoboda in her research Scenography in Action - Space, Time and Movement in Theatre Productions suggesting that by questioning, he pinpoints the potential for transformation that is inherent in every space and not only a theatrical one (Holdar, p.17). This chapter further aim to analyse this aspect of the transformation of space in museums through Scenography.

c uly defines theatre as physical reality / fictional place duality in her taxonomy of spatial functions of theatre space (in Collins and Nisbet, 2010, p.91-92).

With this, she explains the dual nature of theatre, which layers fiction fictional world o er non fiction a physical reality of the performance space). Fictional world refers to the place, or places presented, represented or evoked on stage. The above suggests that theatrical space transforms reality into fiction.

Illustr. 3.39. The above image is an example of a theatre play “Shakuntala,” the setting of which is designed by Richard Finkelstein. The setting represents visual and spatial elements such as the bac drop of owers, oorin patterns, etc to narrate the fictional story t recreates the environment of the place, transforming stage space into a fictional place

In Theatre Performance, text fictionalize the space through the movement of actors and produced setting to create an environment for the play. Actors through their bodily movements suggest the activity which are represented in fictional place and time n a created setting of a theatre, Scenography represents the object of everyday use. It transforms the object from real-time representin fictional time and place s oldar says, Scenography moves a real object into Dramatic space-time by creating fictious reality. (Holdar, p.17).

‘Real time’

Everyday object

moves into Dramatic time to create

providing Meaning Metaphor

‘Fictious reality’

Diagram 3.11. The above diagram explains how scenography transforms everyday object to a dramatic time resulting in fictious reality.

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It can be said that Scenography de-construct the text to produce fictious reality. The de-construction of text is in form of taking visual clues and associations to create visual and spatial construct. It characterizes the objects as if it was part of the story.

Scenography also creates a setting through visual and spatial elements that represent objects in dramatic time and place in which the script is being played. Hence, Scenography fictionalizes the space, objects, and people (actors) on the stage.

As mentioned [ in Ch. 2.2], the idea of de-construction of a text can be translated to museums as there are many similarities in the role of “reading of a text�, as discussed earlier.

In the case of museums, de-construction of text refers to the analyses and interpretation of a concept or abstract idea into a museum display. Scenography in the form of storytelling creates a setting. The arrangement and placement of objects and scenic elements along with the translation of metaphors and use of atmospherics reveal drama and story behind museum text.

Scenography thus creates elements that characterize the objects and elements narrated in the story.

Based on the above explanation, there are two approaches that this research identifies to create fictious reality in Museums. It is by de-construction of text and creation of a setting that allows visitors to experience real space as a fictional place.

Reading of the text

in museum

Translation of Museum concept into perceivable form by means of

De-construction of Text

Analysing and Interpreting concept/idea Providing Meaning and producing Metaphor creating

[ Setting ] Creating Visual and Spatial construct that characterize objects/elements reveal drama and story to create Diagram 3.12. The diagram explains creation of Fictious reality in Museums by means of de-construction of text and creation of setting, revealing drama and story.

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Fictious Reality

Illustr. 3.40. Example of TIRPITZ Museum, Denmark in which display transforms into a dramatic landscape of the story that is being projected. The display integrates objects and elements with media technology and visual projection. t fictionali es the ob ects as if it was part of the story

Illustr. 3.41. Example of DS Corporate Museum, Noida. The display conveys about the journey of a company in the form of dramatic storytelling that is both visual and experiential.

The display reproduces the elements of the actual setting.

The original artifacts/objects that are juxtaposed against recreated elements brings out a live experience of being into the place.

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Referring to different notions connected to Dramaturgy in What is dramaturgy: Dramaturgy and performance, Turner, Cathy and Behrndt, Synne K. states that Scenography transforms the space to Dramatic time by creating meaning and metaphor to space. (Turner, Cathy, and Behrndt, Synne K, 2008, p. 19) The research further examines by analysing an example of Scenography by Czech scenographer Josef Svoboda (1920-2002) to understand how Scenography transforms the space to Dramatic time.

Benjamin Schostakowski in Scenographic Practice in Contemporary Chamber Theatre explains that in his work, Josef Svoboda experiments with Spatial Dramaturgy.

Svoboda de-materialize the Scenography by using scenic construct and technology of time. He combines all elements of theatre space, that is, the actors, the stage scenery, the light, the physical structure of the theatre and its connection to the spectators to create, what he calls ‘Psycho-Plastic Space.’ Svoboda describes this as “scenography that is constantly developing and responsive to the dramatic action.” (in Schostakowski, 2015, p. 22) That is, “a stage space where the psychological meaning-making and dramatic action interact with the plastic or tangible world in which they exist”.

(Schostakowski , 2015, p. 22).

As seen in illustr. 3.42 physical elements of setting such as spatial elements, costumes along with atmospherics that is light, sound, space, projection are used as components to create dramatic action. It dramatizes the space and evokes emotional responses. Thus, it can be said that Scenography combines visual and spatial elements along with atmospherics to create Dramaturgy.

The word ‘Dramaturgy’ is derived from the Greek word ‘dramaturgia’ which means ‘composition of a play.’ It can be defined as art or techni ue of dramatic composition or theatrical representation of the elements of drama on stage. (Turner, Cathy, and Behrndt, Synne K, 2008) ccordin to ambrid e dictionary, the definition of Dramaturgy is ‘the art or the theory of writing and putting on plays, especially for the theatre’. It is the modern understanding that relates ‘Dramaturgy’ as a theatrical concept and practice.

Dramaturgy is an expanded term and therefore has multiple and complex uses of the word. It can be explained and analysed by various aspects and therefore this research limit itself to the two approaches that have been discussed within the chapter he first approach as described before is based on de-construction of text, and another is by creating a Dramatic structure.

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Illustr. 3.42. Examples of Scenography for Tristan and Isolde, Lyon Opera, France, 2011. Joseph Svoboda creates a setting in the shape of a moon as a metaphor to represent the form of love. Space is visually and spatially dramatized by the use of physical elements and lighting effects. It evokes emotional responses and creates an atmosphere for the performance.

According to McKinney and Butterworth, “Scenography communicates meaning and perception through visual and spatial data without being subordinated to the text, thus creates Visual Dramaturgy” (McKinney and Butterworth, 2009, p.145).

This approach of the creation of dramaturgy is independent of the text. It is by means of visual and spatial elements that con ey meanin creatin isual Dramaturgy. Hence, this approach is in contradiction to the one, which identifies creation of drama throu h de-construction of text. upportin to c inney and utterworth definition of isual ramatur y, ehmann in Postdramatic Theatre further articulates by stating that “Visual dramaturgy here does not mean an exclusively visually organised dramaturgy but rather one that is not subordinated to the text and can therefore develop its own logic” (Lehmann, 2006, p.93).

This refers that realization of text is not necessary to create dramaturgy. It is not always in the storytelling that reveals a work of drama. Instead, it can also be through sequencing of actions and organization of objects and elements that creates Dramaturgy in a space.

Relating above aspect to museums, it can be said that Scenography can be employed to convey didactic textual information about the content by creatin isual and Spatial dramaturgy in Museums.

Scenography

creation of

DRAMATURGY

based on text

in Museums

De-construction of Text

creating

[ Setting ] Characterize objects / elements provides

not subordinated to the text based on visual and spatial elements

Dramatic Structuring

Fictious Reality Recreation of Fictional place and time

provides

Sequencing of objects / contents Defining of narrative route (theme/plot)

Diagram 3.13. The above diagram explains two different approaches by which Scenography creates Dramaturgy in Museums.

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Uwe R. Brückner in Scenography: Making Spaces Talk (2011) states that modern Scenography uses means of theatre, mo ies and fine arts to create spatial ima es and Spatial Dramaturgy. He describes Museum exhibition as ‘dramatically staged course with different routes and a certain length of stay.’ With this, he points out how Scenography uses dramatic structure to create “choreographed sequences of spaces and themes” in museums. (Atelier Brückner, 2011, p.60-61) In museums, Scenography develops an overall dramatic structure composing all elements of the setting. It organizes contents to create an order. The structure emphasizes the deliberate way in which the information/story needs to be conveyed. Sometimes museums create multiple pathways / routes so that isitor is e ible to na i ate freely and no fi ed or specific path needs to be followed.

With presented objects and contents, Scenography develops a narrative route that allows visitors to experience what has been displayed both physically and emotionally. Thus, the sequencing of objects and translation of narration in space results into the dramatic composition by creating different plots and themes.

This dramatic composition through pathways and linking points creates a dramatic structure.

“The Dramatic structure determine the sequence of spaces, chronology of the meanings of the content and orientation for dramatic themes.” (Atelier Brückner 2011, p.117).

The above theoretical concepts can be analysed by examining The German Film Museum, Frankfurt as an example (refer illustr. 3.43).

The museum display communicates history and multi faced nature of film and isual media t displays the means and methods of cinema through a dramatic composition. The display element in the form of black cylinders sequence the objects based on dramatic structure. he e hibition defines components of cinematic creation based on two larger themes. One of the theme is that is ‘Filmic vision’ that talk about technical discoveries and inventions.

Another theme is ‘Filmic narrative’ that represents a phase of cinema in the present context. The graphic pattern on the oor is representati e of the cinematic theme which defines narrati e routes as shown in the plan.

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Illustr. 3.43. Example of German Film Museum, Frankfurt to explain Dramaturgy in Museum. The display is based on the dramatic structuring and sequencing objects derived from a cinematic theme. It integrates the components of cinematic creation to narrate means and method of the film

Referring to H. Hagebölling-Eisenbeis explanation in Interactive Dramaturgies—Media Strategies in Exhibition and Museum Design (2004), it can be implied that Scenography uses some aspects of the Classical Dramaturgy to create a dramatic structure in museums.

This chapter further provides a brief idea on how ceno raphy adapts specific dramatic rules to structure the storyline of the contents in a museum.

For instance, Entrance

In their own worlds Science without borders

Mysterious Worlds Particle Collis

Detecting particles.

Large Hadron collider

Illustr. 3.44. Example of an exhibition ‘Cern’ - Universe of Particles in Geneva. The display consists of spherical forms representing micro and the macro cosmos. The exhibition integrates media and research work through dramaturgy to construct spatial images and form.

As seen in the schematic plan, Scenography by means of dramatic structure create various pathways and decides the different length of stay for viewing each three dimensional spherical construct.

To convey by means of the linear structure of storytelling, that is, Exposition, Development / Confrontation, and Solution. This means that it is to start with explaining what is familiar to visitors and then through a comprehensive explanation to represent a concept/idea or message that a museum wants to convey. It helps visitors to explore the content in a determined order inducing them with a transformative experience.

Another element of Classical Dramaturgy is the creation of “hook.” It is to catch the attention of visitors on a specific ob ect / element which needs to be communicated denoting a higher value. It can be by developing a surprise element or a sudden introduction to something that is parallel to the topic.

To this, Uwe Brückner describes as, ‘arc of suspense.’

He explains this idea referring the kind of experience Scenography creates for visitors by producing aspects of dramaturgy in a space.

According to Brückner, “by using scenography, a necessary dramaturgy with a coherent arc of suspense can be achieved, thus allowing visitors to experience content and messages physically and emotionally, cognitively and associatively, actively and passively as well as authentically.” (Atelier Brückner, 2011, p.117 ) The scope of the research does not allow to get into the depth of elements of classical dramaturgy and therefore limit its explanation to what is most relevant in the context of museums referring to Hagebölling-Eisenbeis.

With this, the research explains that Scenography not only fictionalize the space and objects in museums but also structure the content by means of Dramaturgy. onclusi ely, this chapter identifies two approaches by which Scenography creates Dramaturgy in Museum e hibition refer dia ram he first approach focus on fictionali ation/ creatin fictious reality throu h the deconstruction of text and setting to reveal drama and story. Another approach relates to the Dramatic structuring of content and spaces, to produce dramatic composition (sequencing of objects into plot/themes) and narrative route.

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01 . Case Study

Introduction . 02

4.

On what parameters does the theoretical principles of Scenography can be studied to analyse its translation in museums?

What does these parameters demonstrate concerning international and national case study: Tirpitz Museum, Denmark and Tribal Museum Bhopal?

What inferences can be made based on the analysis of Scenography in the museum?

Introduction

02

PROJECT OVERVIEW

MUSEUM CONCEPT / INTENTION

Project name Site Description

Communication objectives

How does it create a Context ?

How does it Communicate ?

Isolating

Realistic

Recreating

Fragmented

Introduction to museum exhibition areas

How does it create a Setting?

Theme / storyline Narration Translation of content to visual/spatial means Dramatic structure

Realistic / Literal Abstract / Metaphorical

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PROGRAM

‘Mise-en-scène’ (constructed scene/experience) Arrangement of exhibits Relationship between: Objects Elements Space People

New connections

Metaphorical

4.0

SCENOGRAPHIC INFERENCES

STRUCTURE FOR CASE STUDY

ANALYSIS

Identifying use of Scenographic Concepts Principles Components

How does it create a Performance?

Visual/Physical Movement Bodily engagement

CONCLUSION

Derivations

How does it create a Drama?

Fictionalization of space/objects Visual/Spatial Dramaturgy Dramatic sequencing of content/spaces

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4.1

TIRPITZ MUSEUM, DENMARK

Location: BlĂĽvand, Denmark lient ardemuseerne Area: 2800 square meter Year: 2017 Architecture : BIG | Bjarke Ingels Group Exhibition design: Tinker imagineers

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130

PROJECT OVERVIEW

Embedded into the landscape ‘Sanctuary in the sand’ German WWII bunker

Transformation Expansion

4 sunken Exhibition galleries The museum is integrated with the landscape. It also preserves old bunker and responds to the natural environment. The material used - concrete, steel, glass, wood is inspired by existing bunker and surrounding of the area. According to Bjarke Ingels, “The architecture of the TIRPITZ is the antithesis to the WWII bunker”.

Illustr. 4.01. The images illustrate the integration of the museum into the landscape of the area. It shows one of the paths of the museum gallery leads to the old TIRPITZ bunker.

The museum galleries are integrated into the topography ‘like an open oasis in the sand’, which creates a sharp contrast to the existing bunker which is seen as ‘Nazi fortress concrete monolith’.

MUSEUM CONCEPT

Exhibition galleries

+

Existing bunker

Reveal Second World War history of the region Dramatic time travel to Danish West coast Illustr. 4.02. The images show central courtyard and paths that lead to the centre of the museum complex.

The aim of the museum is to create a gateway to the hidden stories of the Danish west coast. The museum exhibitions intent to generate a different kind of atmosphere in each of the four galleries.

Existing old bunker Sunken museum galleries

The museum tries to create “one-of-a-kind experience - violent, astonishing, dramatic, hidden - almost invisible” says Claus Kjeld Jensen, Director of TIRPITZ museum.

Diagram 4.01. The schematic diagram suggests the four cuts made in the topography to create a central courtyard in the museum. Each axis contains an independent museum gallery.

As part of a journey, one of the pathways of the exhibition gallery connects to the old bunker, describing the dark stories of the historic site.

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EXHIBITION AREAS

As depicted in Illustr. 04, each museum is defined individually and functions independently, having its own access to the central courtyard.

Each museum is described based on what it displays.

They are in terms of different exhibition galleries having different themes. The museums in general talks about history and stories related to World War, Gold of the west coast and personal stories depicting their journey.

Special exhibitions Bunker museum

Histolarium

Exhibition Amber tunnel museum Exhibition in existing bunker Diagram. 4.02. The schematic diagram represents different museum areas in the new complex and exhibition space in the old bunker.

Exhibition in old bunker

Exhibition galleries in new museum complex

Diagram. 4.03. The diagram represents section showing a connection between the museum and existing bunker. The plan depicts the new museum complex having different exhibition areas and exhibition within the old bunker.

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West coast stories

Gold of the west coast

The entire museum complex is divided into three permanent exhibitions and one special exhibition gallery.

Museum largely focuses on Bunker and Amber museum.

Every exhibition gallery has its own different theme. The galleries are : Army of concrete, Gold of the west coast and West coast stories.

Special exhibition

Army of Concrete

Diagram. 4.04. The schematic diagram explaining different exhibition areas within the museum site.

ARMY OF CONCRETE

It gives an insight into the personal stories of the people of Denmark and Germany, who worked in the shadow of Hitler’s ‘Atlantic Wall’. The exhibition allows visitors to enter into concrete bunkers and experience their life.

GOLD OF THE WEST COAST

It is the only exhibition that contains objects. It exhibits amber treasures, presenting in the theme of an amber forest. It provides a comprehensive understanding of amber through its display and the history associated with the coast.

WEST COAST STORIES

It depicts 1,00,000 years of history of the west coast. It narrates fables about lost ships, people living in the west coast and smugglers. The entire gallery gets converted into a night-time 4D theatre through projection and media technology.

Illustr. 4.03. The images represents display within three of the exhibition galleries having different themes.

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SCENOGRAPHIC INFERENCES

‘ARMY OF CONCRETE’

Creating a CONTEXT of a bunker

by means of

Spatial adaptation

FORM

Relating to the structure and expression of a bunker

MATERIAL

Using same material (concrete) which was used to create a bunker

based on

To create identity of the bunker

Spatial adaptation

Actual form

Recreated form

Shape of the actual bunker

Not literal imitation but recreating ‘image’ of the bunker.

Diagram 4.05. The diagram explains the recreation of the bunker by means of adaptation of form and material.

Illustr. 4.04. The image represents recreated bunker adapting form and material of an original.

here is no specific ob ect on display, it is throu h the constructed form of the bunker, the exhibition allows for visitor’s engagement within the space.

Diagram 4.06 Diagram explains the enhancement of the movement in plan and section by the recreated bunkers. It represents the physical movement because of the form and sensorial movement due to material texture of the bunker.

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Illustr. 4.05. Image indicates visitor’s physical and visual engagement through out the space.

Translation of verbal stories into spatial construct Spatial construction

Revealing construction details Projection of image on the constructed surface

Integrating textures on surface

Indicative of the stories the bunker represents

through

Image of construction of Atlantic wall casted on concrete bunker.

Use of ‘I’ sections represents availability of resources during that time.

Revealing wooden construction detail in casted concrete.

Textual description integrated within construct Illustr. 4.06. The image represents spatial construct of bunker. It integrates elements (in form of construction details, suggesting a setting, textures etc.) that are representative of the story being told inside the bunker.

Illustr. 4.07. The image depicts translation of stories into spatial construct of a bunker. It represents an indicative plan casted on concrete which convey story related to it through audio guide.

Diagram 4.07 Sketch representing the translation of a verbal story in form of a spatial construct of a bunker. It conveys by revealing construction details.

Indicative pattern

Fine wooden texture

Smooth texture with holes

Rough deteriorating texture

Embossing of a indicative plan

Embossing of a map of the Atlantic wall.

Diagram 4.08 The diagram represents different textures integrated on the surface of the bunker. It is representative of different stories and emotions that each bunker convey.

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Creating a SETTING for individual stories

Inside the bunker

To represent personal stories during the time of construction of ‘Atlantic wall’

Illustr. 4.08. Representing outer structure of bunker

From outside, all the bunkers look same having the similar structure and same material but as one moves inside, there are different stories that is translated into space by creating a setting of the place. The bunker speak of the individual experiences during the time of construction of ‘Atlantic wall’ at the time of Nazi.

Setting representing events during Second World War

Projection of visuals on wall Low red light creating atmosphere depicting dark events.

Taking elements of train compartment

Objects acts as a backdrop, embedded in to the wall

Diagram 4.09. Diagram explains the setting created to represent events during war.

Illustr. 4.09. The image represents the setting that reflect upon events during the time of Nazi by producing a dark atmosphere within the space.

ettin indicati e of the life style and re ectin on personal experiences during the war time.

Wall paper to give impression of the aesthetic style of the high class society.

Projection of personal story on the ceiling, allowing user to engage into eye movement.

Arrangement of furniture suggestive of lifestyle.

Diagram 4.10. Diagram represents setting depicting personal spaces of Danes and Germans.

The elements such as a bed, table, chair, sewing machine, wallpaper are recreated and arranged to create a scenario of the life before the World War. The projection of the events on the ceiling unites all elements that convey the story. The created setting allows user to relate to the physical dimension of the space and engage in visual movement.

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Illustr. 4.10. The image represents the setting that reflect upon personal life of Danes and Germans during the time of Nazi.

Setting created to enhance visitor experience that relates to the context of presented events.

Tent structure inside bunker acts as an experiential element providing a context Projection of visuals inside the tent as part of created setting

Illustr. 4.11. The image represents the setting in form of tent structure that relates to the context enhancing experience of visitors.

Diagram 4.11. The diagram indicates tent structure as creation of smaller space within larger bunker. It allows for visitor interaction .

Recreating a setting suggestive of the optimized space for living and use of minimal objects by the people.

Projection of visuals presenting the stories

Bunker bed showing optimization of space Illustr. 4.12. The image represents recreation of personal space of the people who lived during time of Atlantic wall.

The creates setting is suggestive of the optimized space for living and use of minimal objects by the people.

Recreating an area for dinning within the structure

Diagram 4.12. The diagram explains the created setting that allows visitors to have real experience of living such a space.

Recreating a setting that showcase lifestyle of Germans and Swedish people, who worked and lived during the time of Atlantic. The recreation of elements such as bunker bed, storage etc. with a modern blend within the spatial structure of bunker is to allows visitors to stay and experience their lives.

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‘GOLD OF WEST COAST’

Creating a CONTEXT representing forest of Amber

by forming

ASSOCIATIONS

through

Metaphor

by means of

Recreating overall character of the place

Symbolic representation

by developing

Recreating atmosphere by representing “World of Amber”

resulting into

SUGGESTIVE Elements

Multimedia Amber trees Geometric Amber stone

Multimedia trees are created which explains the stories of gold, which comes from the west coast. This multimedia display element is suggestive of the rainforest tree due to the scale and lighting effects, creating an overall atmosphere of being in a forest.

The process of obtaining amber from the tress is symbolically represented through a display to that of gaining information from the multimedia tress.

Illustr. 4.13. Image and diagram representing creation of overall character from symbolic elements.

Light projected from multimedia tress transforms the ceiling.

Information screen displaying history of amber

Diagram 4.13. Sketch explaining display element as multimedia tree which acts as symbolic representation of amber forest.

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Illustr. 4.14. Image representing visitor interaction with multimedia element. The object is integrated within the element, the stories related to which can be heard through audio guide.

Visual translation to create symbolic element.

Illustr. 4.15. Image representing original Amber stone as a display.

Symbolic element representing Amber stone

Translating into geometric form Use of indicative color - yellow Characterizing by using perforated material (metal sheet)

Inside the structure, a dark space has been created which highlights the amber collection.

A linear route guides through the display.

Element showcasing Amber collection

Diagram 4.14

The exterior structure that symbolically represents the stone reveals the amber collection such as amber stones, the process of obtaining amber from the trees, display of a large collection of amber jewellery and personal stories and e perience of findin amber

Illustr. 4.16. Image represents Amber collection within the element where visitors can enter inside.

Creating an Atmosphere through

Changing dynamic lights Variations in perforation on the surface Projections on ceiling

Illustr. 4.17. Image depicts multimedia elements representing a tree and geometric dome structure suggestive of Amber stone

The light within perforated texture glowing from yellow to blue provides an atmosphere to space. This effect of creating an altering between warm and cold can be related to a rainforest.

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‘WEST COAST STORIES’

SPATIAL TRANSLATION

in order to

Dramatize the Space by means of

Juxtaposing of virtual with real

Creating Scenic journey through space and time.

Integrating display element and objects on display with media technology and visual projections

Space communicates the stories of Danish west coast from 20,000 years till now by turning entire space into a theatre. The walls, ceiling, the wooden structure acts as dramatic elements of the space isitors can en oy this multimedia journey through time sitting in 100-year-old lifeboat placed in the centre of the room.

100 year old life boat

Object on display Motivates visitors interaction Allows visitors to experience multimedia journey through time.

Illustr. 4.18. The image represents display elements and lifeboat placed in the centre of the exhibition gallery.

Physical elements

+ Immaterial elements

Wooden structure Objects Sound effects Cinematic lighting

Dramatise the space creating visual stories Illustr. 4.19. The placement and framing of objects represent oral stories in visual form. The map of West Jutland is integrated into the display elements. It reveals the context of the region to which stories are associated.

Illustr. 4.20. The image represents the display of objects and other artefacts that convey personal stories of the west coast.

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moves into dramatic space and time creating immersive environments Objects integrated within display wooden structure display element

Diagram 4.15

Display transforms into dramatic landscape of the story that is being projected.

Visual projection fictionalise the objects as if it was part of the story.

The projected visuals seamlessly merge the wooden structure and integrate that into the landscape, becoming part of the overall environment.

Here Scenography ingrates all tangible and intangible elements to create an immersive experience by characterizing wooden structure. The created structure performs various roles to that of sand dunes, terrain, mountain, water wa es, folia e etc definin a foreground to projected background.

Illustr. 4.21. Image depicting display elements transforming into sand dunes as a part of the projected landscape.

Illustr. 4.22. Image showing an environment of a forest.

These images in the illustration explains various environments created - that of the west coast, sea life, under the water treasures and life of people living in the west coast by means of Scenography within exhibition space.

Illustr. 4.23. The image represents the blurring of foreground (display element) and background (concrete wall) to create an atmosphere of coastal life.

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‘OLD TIRPITZ BUNKER’

NARRATION

Representing journey of war machine (bunker)

of original Context

by means of

Existing bunker

The original old bunker acts as a realistic context of the event to the storytelling.

Projection of visuals

Projections of images, drawings etc. presenting construction of bunker.

The images of the destruction during Second World War evoking emotional connect to the visitors.

Integrated sound

With the changing visuals on the bunker, personal stories are heard.

Dramatic light effects

Recreates the atmosphere relating to the dark stories that are being conveyed.

The pathway that leads to the centre of the bunker The placement of flashlight in centre of a cylindrical volume of the bunker. It provides a continuous viewing surface.

Diagram 4.16. The schematic plan depicting visitor movement inside the existing bunker.

The pathway from ‘Army of Concrete’ exhibition gallery leads to the old bunker. The exhibition in the old bunker grounds the story of the construction of the bunker and the Second World war. here are no specific ob ects used to con ey the story It is through a play of light and shadow along with visual projections, the functioning of a bunker is revealed.

Illustr. 4.24. The image represents a revival of existing bunker. The spaces are partially lit revealing stories through personal audio guides. It provides an experience of the dark phase during the time of construction.

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The story is represented in form of projected images on the surface of the bunker. Here the existing structure of concrete bunker acts as an original context. It remains as a constant backdrop for narration.

The personal experiences of people who constructed Hitler’s Atlantic wall are conveyed in form of stories that are hidden inside the concrete bunker. This kind of representation allows visitors to reveal hidden stories throu h ashli ht and audio uides

Existing old concrete structure of bunker Lights projected from various niches at defined position creates a dramatic atmosphere.

The spotlight that visitors interact with to disclose hidden stories.

Diagram 4.17. Sketch depicting old bunker. It represents display of stories through projected images and integrated sound media.

Illustr. 4.25. The images represent narration through projection of visuals, dramatic light, integrated sound effect, where the bunker provides a reference of the original context.

he hu e ashli ht placed in the centre of the space allows visitors to reveal stories by interacting with it.

Hereby the created setting assign the role of researcher (as a performer) to visitors to reveal hidden stories by themselves.

Here light is used to expand the narration of the history of the bunker and the region. The integrated sound-scape activates the play and evokes feeling of being into the context of the past.

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CONCLUSION

Army of Concrete In ‘Army of Concrete’ gallery, personal stories of Germans and Danes regarding construction of Atlantic wall are narrated. The use of Scenography here is to create a spatial construct of the existing bunker. The Scenographic adaptation seen is not in terms of literal imitation but is used to create an image of the actual bunker.

It is by means of Scenography that verbal stories have been translated into a spatial construct. The revelation of construction detail used in earlier time, embossing texture pattern on concrete surface and projection of images are some of the Scenographic techniques used to represent the stories that each bunker convey.

This creation of spatial and visual construct resembles closely to the idea of mise-en-scène.

Inside the bunker, Scenography is used to create an individual setting that represents personal stories related to the construction of the Atlantic wall. The setting consists of recreated essential elements that provide a reference to the time, place and event in which stories are conveyed.

Gold of West coast In ‘Gold of the West coast stories’ gallery, Scenography is used to create an abstract context of ‘World of Amber’ displaying precious stones, jewellery and other collection of amber. It is by means of metaphorical associations, an overall character, and experience of Amber forest has been created.

The Scenographic representation here is in form of symbolic elements. These elements are used to represent amber rainforest trees and amber stone.

The created multimedia trees display objects and provide information to the visitors. The Amber stone has been symbolically represented through a geometric structure. It allows visitors to physically enter the space and experience the collection.

Thus, Scenography used here does not recreate or provides an illusion of the object (amber stone) or the element (rainforest tree) instead by means of suggestive elements it symbolically represents the concept. In addition to this, the use of atmospherics such as integration of dynamic lighting, sound, and projection on ceiling provides an immersive experience to the visitors.

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West Coast stories In ‘West Coast stories’ gallery, a scenic journey of the west of has been represented. The use of Scenography dramatizes the space by means of physical elements (objects) and atmospherics (media projection).

The integration of display elements and objects along with media technology and visual projection results into the creation of fictious reality Scenography here transforms the display into a dramatic landscape and fictionali es the ob ects as if they were part of the story that is being projected. Thus, it immerses visitors into the exhibition display transforming entire space into a theatrical experience.

Old Tirpitz Bunker The space of the Tirpitz bunker has been reused to represent stories related to the making of the bunker and dark events that happened during the construction of the Atlantic wall.

Scenography here relates to the original bunker as an existing context which narrates the stories of the functioning of the bunker The atmospheric element light is extensively used to reveal hidden stories inside the bunker. The engagement of isitors with centrally placed hu e ashli ht creates a Performance in space. The Scenography integrates sound along with dynamic light projections, concealing and revealing certain parts of the bunker.

Thus, transforming existing bunker into a narrative space.

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4.2

TRIBAL MUSEUM, BHOPAL

Location: Bhopal, Madhya Pradesh, India Client: Govt. of India, Dept. of Culture Year: 2013 Architecture: Revati Kamath, Kamath design studio

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PROJECT OVERVIEW

Architecture of museum as ‘an interface’

Responds to Associate with

Tribal Culture and their view of life creating a context based on

Geography and Tribal Aesthetics

The museum preserves and depicts rich culture of the state, Madhya Pradesh.

“The Museum is designed to create a built fabric which the tribal communities could identify with, extend, and evolve, to represent themselves and express their own ideas and way of life with ease and spontaneity” says Revathi Kamath, the principal architect of the museum.

Illustr. 4.26. The images depict museum facade covered with wooden murals. It narrates the origin of ‘Narmada’ river and story related to it in form of Nayak and Nayika (orators of the story). Visual depiction integrates elements such as forest, mountains, trees, rivers, and characters practicing rituals that narrates the story.

Here the architecture of the museum is not being an envelope but as an interface where all tribes are expressed within the building. Kamath further explains that the museums become a ‘frame of reference’ for tribal aesthetics that are integrated with the architecture.

“Architecture of the Museum is inspired by tribal rhythms, geometries, materials, forms, aesthetics, and spatial consciousness, these very qualities are now acting as points of inspiration for the display materials being created by tribal artisans, supported by anthropologists, sociologists, and social workers” explains Revathi Kamath describing the conception of her architecture.

Illustr. 4.27. The images represent an integration of tribal geometry and rhythms into the built structure. The architecture incorporates details ( in image: tessellated beam structure and cladding of column) that are inspired from tribal crafts, its patterns and use of bright colors.

The architecture of the building is in form of multi-level veranda responding to the terrain. The architecture takes references from tribal aesthetics and places different elements in harmony. For instance, the steel structure is inspired by bamboo, the part of the exhibition describes the myth of its origin. The tessellating beam structure is indicative of the patterns/geometry of tribal art. The materials used are in response to the region and inculcate the skills of tribes in its construction. Each craft is taken into consideration and is incorporated as an ‘image’ in architecture.

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MUSEUM CONCEPT

Representation of different facets of tribes inhabiting the state.

Narrating

Tribes

Tribal culture and living

Gond Bhil Korku Baiga Kol Bharia Saharia

Amalgamation of different

Origin, inhabitation and myths Defining and representing

Culture Customs Rituals Myths

Context Storyline Geography Wildlife

“The essence of tribal lore is a deep knowledge of the surroundings, nature, seasons, spirituality, where individual consciousness melds with the collective, and humans are not central, but only part of life on earth.�

(Khara, 2016, May 28) The museum tries to create a different matrix of relevant images to represent the major tribes of the state. Tribes described are Gond, Bhil, Korku, Baiga, Kol, Bharia and Saharia. All tribes have their own culture, customs, rituals, myths, language, and lifestyle. The museum largely describes these tribes based on geographical location and cultural traditions displaying their identities.

Illustr. 4.28. The image shows an entrance gallery, providing an idea of the cultural diversity of the state to visitors. It represents major tribes through a symbolic depiction.

The museum narrates stories related to each tribe by representing their storyline of origin, geography, and wildlife. It also demonstrates rituals and myths that prevail in tribal societies through objects, images, and sculptures hibits here are not only defined as ob ects on display but an important and integral part of tribal life.

Museum communicates tribal belief and traditions of indigenous people. It allows visitors to understand tribal societies and their way of living in entirety.

Illustr. 4.29. The image shows a pathway that leads to different galleries depicting different themes.

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EXHIBITION AREAS

The entire museum is divided into 6 exhibition galleries.

Each gallery is based on a unique theme that represent different aspects related to tribal life. The display within galleries is constructed on site by the tribal artist from the region of Madya Pradesh.

Exhibition areas within Museum galleries

Cultural Diversity

Tribal Life

Tribal Aesthetics

Tribal Devlok

Guest state

Tribal Games

CULTURAL DIVERSITY

This gallery introduces visitors to the cultural diversity of the state. The display is in form of representation of different crafts that symbolically define each tribe

TRIBAL LIFE

The gallery represents the tribal lifestyle and way of living.

The dwellings of different tribes are recreated showing their dependence on natural resources. Original houses are replicated which either resemble exterior facade of certain tribes or geographical demarcation and indicative landscape in others. Gond fortress is recreated which represents the history of Gond rulers.

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TRIBAL AESTHETICS

This gallery explains the concept of art and aesthetics since that is integral to the life of tribes. The exhibition further displays the myth of their origin, marriage rituals, and death in form of stories. The display in form of installations symbolizes objects with the presented stories. Festivals, rituals, songs and myths related to different tribes are made tangible through the depiction of crafts and visual illustrations in form of sculptures.

TRIBAL DEVLOK

This gallery represents the spiritual world of tribes. It creates a symbolic association of their ‘Devlok’ (temples and God/Goddesses) and rituals by recreating different locations such as farmland, forest, stone piece, wooden lo , a on tree etc ifferent recreated elements such as ladder, death pillar symbolize life after death and stories related to tribal myth. The display evokes an immersive experience of divine consciousness of the tribal community.

GUEST STATE, CHHATTISGARH

This gallery showcase the crafts and culture of tribes of neighbouring state Chhattisgarh. It represents the participation of tribal communities in celebration of ‘Dussehra’ festival by a display of huge chariot in centre of the gallery. It also suggests spiritual aspects of tribal culture narrating stories of their deities. Replica of the workplace of potter, weaver, gateway of different communities has been recreated.

TRIBAL GAMES

This gallery has a temporary exhibition displaying various games and sports played by children of tribal societies. It represents their unusual ways of making sports equipment from the available material such as stone piece, wooden or metal rod etc. Certain important games have been displayed through three dimensional metal, ute, terracotta and clay fi ures with elaborate description and pictures.

Illustr. 4.30. The images shows different exhibition galleries that communicates different aspects related to tribes.

This research looks upon analysing two of the major galleries that is Tribal Life and Tribal Aesthetic within the museum.

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SCENOGRAPHIC INFERENCES

‘TRIBAL LIFE’

Representing different tribes and their way of living

by means of

REPLICATION RECREATION

of original CONTEXT

Resembling

Built construct Depicting evolution of building of houses.

Spatial elements that characterise each tribe.

Usage of each space.

Geographical location Demarcating immediate neighbour hood and wild life.

Recreating surrounding landscape.

Individual SETTING creating identity for each tribe

resulting in creation of

through

LITERAL TRANSLATION Replicating original dwellings of tribes

Gond

Baiga

Bhil

Sahariya

Lilar Kothi

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HOUSE OF GOND TRIBE

Recreation of entire dwelling

Kitchen ‘Mahurat ghar’

demonstrating use of local materials and dependence on natural resources SPATIAL CONSTRUCT

Courtyard

The recreated another house depicting materials which were used in earlier times which allows visitors to compare.

Entrance

The demarcation of flooring allows visitors to perceive both houses belonging to same tribe.

Remaining rooms ‘Kurai’

Diagram 4.18. Schematics suggesting visitor’s movement within the replicated setting of the Gond tribe. The recreated setting placed next to each other allows visitors to visualize the evolution of building houses based on materials.

Replicating spatial and interior elements Courtyard symbolizing open space as an essential part of the Gond house.

Use of actual materials such as wood, tiles, bricks, clay to recreate a single dwelling unit of the tribe.

Recreating utilitarian objects The placement of objects (containers for storage of water, food grains and cooking equipment) provides a context to the activities that can happen in each space.

Integrating tribal patterns within recreated setting Depicting decorations on walls, windows, and oor by tribal women usin natural clay and colors.

Use of indicative patterns is suggestive of tribal aesthetics.

Illustr. 4.31. The images represents recreated tribal house.

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LILLAR KOTHI

1:1 Recreation of original Granary

as

Spatial construct Replicating using real materials as that of original

integrating storytelling in form of

Visual narration Representing tale relating to deity of grains on outer wall of granary

Taking inspiration from Gond tribal pattern that is used for decoration of houses

Illustr. 4.32. The image represents entrance created for granary emphasizing its importance in Gond tribal houses.

Visual representation of tale of Earth as their deity who brings grains to humans using clay on outer walls of granary.

Demonstrating use of granary as partition within the space

Illustr. 4.33. The images represent recreation of Lillar Kothi demonstrating its function and symbolic value. The narration in form of tale depicts the origin of tribes, worshipping of deity, harvesting and preservation of grains on the surface of granary.

Partition wall constructed using clay modules Indicative flooring pattern Display of other storage elements

Tribal pattern integrated in entrance wall to Lillar kothi.

Illustr. 4.34. (L) The image depicts entrance to granary having similar decoration as that created on walls of a granary. (R) The image shows other smaller storage containers that are found in Gond houses. These objects are placed against a neutral background created out of bamboo installation.

Diagram 4.19. The schematic plan represents a recreation of a granary, displaying not only its use for storage but also as partition element in Gond tribal houses. The spatial construct allows visitors to enter inside and experience the tale that is depicted in visual form on the surface of a granary.

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HOUSE OF BAIGA TRIBE

Recreation of Context

to represent

Neighbouring landscape suggestive of geographical location of tribes living near forest Traditional Baiga house revealing method of construction Use of bamboo mats, clay, wooden logs, mova grass, tree leaves

Artistic expression though tribal crafts Wooden carving on doors, windows and use of clay for decoration of walls Illustr. 4.35. The image represents the recreation of traditional Baiga tribe house. It creates a setting providing context to the objects and built structure.

Bamboo granary to store grains Storage for earthen pot where deity is kept

Illustr. 4.36. The images depict integration of craft within the built form. Carving of wooden doors and decoration of walls with clay is suggestive of the aesthetic expression of Baiga tribe. Along with crafts it also represents the use of materials such as bamboo strips which is strengthened with clay from inside and outside. It reveals certain construction details in the recreated setting.

Backyard

Front entrance

Objects suggesting lifestyle ‘char pai’

Wooden log fencing for protection

Tribal crafts in form of decoration on wall with clay Diagram 4.20. The above schematic diagram suggests recreation of the Baiga tribe dwelling. It conveys about the use of original materials, division of space and important objects used by tribes. The replicated setting provides a geographical context.

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Illustr. 4.37. Images show objects (R)cooking equipment and (L)storage for grains. The created setting not only define placed objects as utilitarian but also as an element to divide space. It allows visitors to visualize the associated beliefs with objects considering them as sacred.

HOUSE OF BHIL TRIBE

Recreation to create a Setting

displaying

Objects Tools Materials Crafts

communicate beliefs in terms of

Symbolic representation

Illustr. 4.38. The image represents the recreation of Bhil house. The created setting provides a geographical landscape and insight into the lifestyle of the tribe.

The created setting develops spatial elements in order to display different aspects related to the Bhil tribe.

Display of materials used for making houses by tribes

Display of bamboo strengthening with clay Display of weaving of bamboo mats

Column as symbolic represention of deity

Space for cooking and storage of grains

Display of tribal painting

Tools for farming

Display of auspicious drawings on walls Diagram 4.21.

Sacred wooden carved column Representing landscape of agricultural field

Illustr. 4.39. (L) The image shows a display of real objects, techniques, and materials used for the construction of Bhil houses. (R) The image shows paintings done by women of Bhil tribe integrated within a recreated setting.

‘Pandheni’ stand for water pots

Space for sleeping and storing other house hold articles

Diagram 4.22. The schematic plan shows the arrangement of objects (farming tools and cooking/storage containers), spatial elements, integration of tribal painting to create a setting representing Bhil tribe. The created setting allows visitors to engage both visually and physically within space.

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THE SAHARIYA COURTYARD

Recreation providing a Fragmented Setting

suggestive of

Feature of common courtyard shared by different houses Different sub tribes living together

Illustr. 4.40. The image represents recreation in terms of the front facade of traditional Sahariya tribe houses.

Entrance of the house facing each other Adding on artificial tress Colourful light effect enhancing vibrancy of the colours on the walls of houses Main entrance facade that leads to common courtyard

Wooden carving on door Setting indicates use of local materials and vibrant colours

Decorative auspicious patterns on floor Decoration on door steps and outside walls Diagram 4.23. The above diagram represents the creation of setting in a fragmented manner suggestive of the spatial arrangement of houses.

The created setting provides a panoramic view replicating front facade of different houses of sub-tribes.

It also suggests the original arrangement of houses facing each other in ‘U’ shape formation having a common courtyard. he patterns on the walls and oor pro ides a display of tribal aesthetics. The built construct inform visitors about the use of local materials and colours on walls.

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Illustr. 4.41. The images represent the recreation of different houses of sub-tribes. It represents the setting that use light effects to create an atmosphere highlighting tribal patterns and bright colours on the wall.

SCENOGRAPHIC INFERENCES

‘TRIBAL AESTHETICS’ Represents

Myth of origin of different tribes Marriage rituals Festivals Songs Concept of life and death

in form of

Storytelling

Wedding Pillar ‘Magrohan’ Origin of Bamboo ‘Sundari’ Ceremonial bangle The Wedding pavilion Baiga origin myth Awakening of Earth ‘Banna’ Story of Ancestors World of Ancestors

By means of NARRATION

Translation of

Verbal Stories

into

Text

by

Visual / Spatial Construct

includes

De-construction of

Taking visual clues from tribal stories developing into creation of

Elements that symbolise Objects / Characters narrated in the story Multiple elements co-relating each other that convey different aspects of the same story Explains

How objects of everyday use acts as symbol of Tribal Aesthetics and Myth

Involves

Visitors to make interpretations of visually translated stories

becoming part of

Narrative CONTEXT

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‘MAGROHAN’ - WEDDING PILLAR

Display representing Wedding pillars

by

Grouping objects together (wedding pillars )

Illustr. 4.42. The image represents display of wedding pillars.

Mural tribal painting as backdrop for pillars Th creation of marriage canopy provides a context to the placement of pillar Pillar placed in centre of space depicting of different sacred symbols Linear display of various pillars craved from branch of a tree depicting different symbols relating to rituals Pillar in centre enshrined with sacred symbols Diagram 4.24. The schematic plan and sketch explain the creation of display in order to represent the significance of wedding pillars in Gond and Baiga tribes.

Displaying functional and ritualistic importance of pillar in a wedding. The pillars placed next to each other in linear alignment depicts different symbols associated with the ritual of marriage.

The display represents auspicious symbols depicting motifs such as owers, un, od/ oddess, cow, fish, birds etc. either in form of carving/painting on wood.

The installed canopy that is placed above 2 feet long pillar in the centre of space provides context allowing visitors to visualize the Wedding ‘mandapa’.

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Illustr. 4.43. The images represent wedding pillar displaying various beliefs associated with it. The created canopy provides a functional and symbolic context to the ritual of marriage.

ORIGIN OF BAMBOO

Representing significance of Bamboo

by

Narrating story of origin of bamboo Displaying bamboo products

The narration is in form of creation of different elements that co-relate to the story. Elements such as characters mentioned in the story, bamboo - as a natural resource and its products combine to create an overall idea of the story.

The illustration of Tribal folk on the wall represents the association of bamboo with birth, marriage, and death.

Illustr. 4.44. The above images depict the creation of display to represents story of the origin of bamboo that prevails in the tribes. It signifies the importance of bamboo as an integral part of tribal life.

Illustrating characters of the story through graphics Display of real bamboo Visitors involving in visual engagement due to display at different heights Display of different bamboo products created by tribes Diagram 4.25. The sketch represents different elements used to depict the story of the origin of bamboo and its significance in tribes. It also represents the visitor’s visual engagement due to display at different eye levels.

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CEREMONIAL BANGLE

Representing significance of ceremonial bangle

Recreation of original by EXAGGERATION

of scale and dimension highlighting

translating

Form Material Motifs

Suggestive two dimensional motifs to Literal three dimensional figures

he display recreates a ban le narratin its si nificance The representation in terms of exaggeration of scale and dimension, allows visitors to see minute details that are adorned on bangle.

Suggestive motifs such as crops, trees, wells and other symbols related to fertility and life cycle are recreated in a three-dimensional medium. The overall form conveys the use of material such as iron and bell metal to produce bangles for the tribes.

Illustr. 4.45. The images represent the recreation of ceremonial bangle. The literal depiction by exaggeration of symbols narrates the sacredness of bangle in tribes.

BAIGA ORIGIN MYTH

Representing mythological story related to origin of Baiga tribe

Visual depiction of story in form of illustration

Different characters that are part of the story are recreated Creating mood of the narrative by use of colour and light effect

he display of two human fi ures depicts the first human couple of the Earth. The red painted clay mural narrates the story depicting different characters such as human fi ures, lotus, and animals crow, crab, sna e, oats etc The red colour light enhance the colour of the wall mural depicting mood of the narrative.

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Illustr. 4.46. The images depict the representation of a mythological story in form of illustration. Object (sculpture of tribal figures), visual illustration and atmospheric such as light and colour narrates the story in its entirety.

WEDDING PAVILION

Representing marriage pavilion

by

Recreating using symbolic elements associated with the beliefs of the tribes

Four carved trees - symbolizes different tribes (Bhil, Korku, Baiga, and Gond), narrating origin, life cycle and beliefs prevailing in each tribe.

Octagonal shape - symbolizes beliefs associated with the marriage ritual pertaining to earth and sky.

Pillars - depicts unique carving styles by different tribes Illustr. 4.47. The above images represent the use of symbolic elements to recreate octagonal shape marriage pavilion. It shows the replication of different elements associated with the ritual of marriage in four different tribes.

Canopy consist of human fi ures and motifs that represents seasonal cycles and festivals associated with tribes.

AWAKENING OF THE EARTH

Representing story of creation of music on Earth

Illustr. 4.48. The images represent myth that prevails in Bhil tribes in form of installation. It describes the distribution of different instruments to different tribes as per the story.

by means of

Three dimensional installation depicting elements narrated in the story.

Representing branches of teak tree going up in the heaven Display of real musical object ‘Dholak’ on recreated branches of tree Symbolic representation of tying of turban to prevent escape of sound from tree as per the myth Twisted root of teak tree representing creation of Trumpet instrument Diagram 4.26. The sketch explains integration of objects within an installation which represents elements of the story.

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‘BANNA’ THE FIRST STRING INSTRUMENT

Representing mythological story related to musical instrument by narrating

Story of ‘Banna’ in relation to Gond king and tribal God ‘BadaDev’ in form of

Visual depiction of elements taken from the verbal story

Illustr. 4.49. The image represents a visual depiction of a story in form of an installation. It shows tribal human figure playing ‘Banna’ instrument. The replication of tree trunk symbolizes the evocation of Gond tribe God ‘BadaDev’ who resides in ‘Saja’ tree.

Depiction of bird ‘Bharahi’ as mentioned in the story who sang while flying

Depiction of ‘Saja’ tree from which the musical instrument ‘Banna’ is made with a bow to play Depiction of God ‘BadaDev’ who is invoked on auspicious occasions from ‘Saja’ tree Depiction of tribal human figures playing different musical installation as a backdrop Depiction of tribal human figure playing ‘Banna’ Diagram 4.27. The sketch explains visual representation of different elements that are taken from story to create an installation.

The story narrates about the origin of string musical instrument ‘Banna’ in tribes of Gond.

The visual representation of story is in form of an installation that is composed of different elements / objects/characters described in the story. The major elements are ‘Saja’ tree, their God ‘BadaDev’, bird ‘Bharavi’ and the musical instrument.

Illustr. 4.50. (L) The image represents a depiction of Gond tribal God ‘BadaDev’ showing that he resides in ‘Saja’ tree as narrated in the story. (R) The image depicts several tribal human figures as a backdrop playing different musical instruments.

164

STORY OF ANCESTORS

Representing story of Bilala myth

by

Translating visual depiction of a painting (by a tribal artist) into a three dimensional installation Taking visual clues from the story Creating different elements that co-relate to the story Illustr. 4.51. The image represents an exaggerated and metaphorical representation of tribal myth. The presented illustration is a visual translation of a painting into a three dimensional installation.

representing in terms of

Exaggeration Metaphors

Dramatic lighting enhances the illustrated elements creating an experience of the storytelling.

Illustration of a mountain, being part of the story

Artistic creation from terracotta representing herd of cattle settling on huge tortoise mistaken as earth.

The metaphorical representation of three blood streams - white, black and red. Each bloodstream symbolizes different kinds of ancestors coming down to earth such as those who passed away in childhood, evil spirits and others respectively.

Visual depiction of sea coast in terms of waves Exaggeration in terms of recreation of giant human figure representing the body of character ‘Nandlu’ Representing ancestors in symbolic form as prevailed in myth Diagram 4.28. The sketch explains creation of different visual elements that support the verbal text of the story.

he story narrates about the si nificance of ancestors participation during important rituals or occasions. It describes the myth associated with tribes. According to the myth, the ancestors descend to earth through a pathway. This pathway is the three streams of blood that gushed out of the body of a character presented in the story (Nandlu). It also represents other incidents that took place as part of the story.

Illustr. 4.52. (L) The image is an artistic representation of heard of cattle resting on the body of huge tortoise made of terracotta. (R) The image depicts an exaggerated beheaded human body. The red, white and black elements coming from the neck is a metaphorical representation of bloodstreams as narrated in the story.

Elements such as characters mentioned in the story - Nandlu, Goopji, tortoise, mountain, river, cattle are presented in symbolic form.

The lighting effect creates a mood of the events taking place in story creating an immersive experience of the narration in visual form.

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THE WORLD OF ANCESTORS

Representing myth related to ancestors in Bhil tribes by

Using real object to become symbolic to the story being narrated.

Recreating experience of a place. ‘Dhaba’, a common sight in Bhil villages

Illustr. 4.53. The image depicts actual site in Bhil village. It consists of a display of earthen pot, earthen lamp, deities in form of terracotta and ancestor’s memorials.

Lighting that highlight certain objects while casting shadows on others Displaying earthen pots and lamps which are lit from inside Entrance that leads to another gallery Representation of ‘Dhaba’ originally placed on ground is translated on wall

Diagram 4.29. The sketch depicts the presentation of objects on the wall as part of the myth. It provides a context by recreating experience of the place (Bhil village site).

The display recreates the experience of viewing a site of Dhaba / Ghumat ( a miniature house from terracotta made by potter for the spirits to reside ) in Bhil villages.

According to the myth, a spirit is invited to dwell in Dhaba until it finds its place in hea en The display is created using real objects placed together as an installation on a wall. They are lit from inside as practiced, depicting the presence of ancestor.

The dramatic light that falls on each of the objects, recreates an environment of being into its original context.

The display invites visitors to interpret upon an object of use an everyday object such as earth pot, lamp etc. provides a reference to the existence of a world outside Earth (as believed by the tribes).

166

Illustr. 4.54 The images represent installation ‘World of Ancestors’ as a myth that prevails in Bhil tribes. The ‘Dhaba’ (terracotta houses) which are originally placed on the ground but is translated on the entrance wall. This depiction on the vertical surface allows for a change of perspective.

CONCLUSION

Tribal Life In Tribal Life gallery, Scenography is used to replicate original context. It is by means of Scenography, the display reveals different aspects related to tribal living.

By replicating the real material or using materials as close to real, Scenography creates an experience of viewing the original for the visitors.

The replication and recreation in terms of spatial construct and surrounding results in the creation of a Scenographic setting. The gallery recreates the character of a place depicting actual objects, tools, materials, crafts, and other elements. The created setting allows visitors to physically enter the houses of tribes and experience their way of life.

Thus, Scenography used in Tribal Life gallery is in terms of literal translation of actual.

Tribal Aesthetics In Tribal Aesthetics gallery, Scenography is used to represent the perception of aesthetics in the daily life of tribes. Scenography here provides a narrative context to convey stories regarding the origin of tribe, creation of music, story of ancestors etc. The gallery represents and communicates intangible concepts such as music, festivals, marriage etc. to visitors by means of Scenography.

Scenography translates verbal stories relating to tribal beliefs/myths into visual and spatial form. It takes clues from verbal text of the story and translate them into literal depiction, symbolic representation or metaphors.

It encourages visitors to perceive the visually translated stories and make interpretation out of what is presented.

The gallery takes different approaches to visually narrate the stories. It is in form of an installation, an illustration, a realistic recreation or a symbolic representation co-relating to the elements of the story.

Through different Scenographic representation, the display explains how seemingly same belief/ritual is practiced differently in different tribes.

Thus, Scenography used in the Tribal Aesthetic gallery is not only in terms of literal translation of actual.

It approach to create symbolic / metaphorical representation taking elements from the story and providing with a narrative context.

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“Do we see Scenography as something that needs to be “translated” from one kind of language (textual) into another (performance)?

Or perhaps “translated” from the conventions of one historical period into another?

Or is it something which needs to be “interpreted” to understand and communicate the author’s intentions behind the text?

Nicholas Till questions the impliaction of Scenography explaining its possible conceptualizations in Theatre and Performance Design: A Reader in Scenography, Part III (Jane Collins and Andrew Nisbet, 2010, p.157)

170

EPILOGUE

IDENTIFYING THE NEED OF SCENOGRAPHY IN MUSEUMS

Is it a limitation to display that Scenography is getting introduced in Museums? Or is it because of the extensive use of technology within museum representation that a need for Scenographic technique arises? Or is it the new mode to encourage visitors engagement in museums?

Addressing above questions the research explains that the Scenography arises in response to the values that are already present in Museums.

The study shows that museums today are moving towards theatrical focusing on creating a transformative experience for visitors. Scenography enhances this creation by providing an immersive environment for visitors. It brings forth the visitor-centered approach of museums.

Scenography also apprehends the prime function of museum communication. As the museum display caters to a diverse genre of audiences, it aims to bring in a connection between visitors and the content.

Scenography encourages the visitor’s interaction with object and space evoking all physical and sensorial experiences.

The research explains that Scenography relates to the transmission of information in museums. It dissects the complex content and abstract concept of a museum into a perceivable form allowing for visitor’s interpretation.

It represents through visual and spatial means providing a reference of the context.

To this, the research would like to make a point that at the base of museum display and communication, Scenography allows for the presentation of content involving methods of interpretation and meaning making.

Hence, it can be said that Scenography generates a spatial-based-experience in museums. It reduces the physical and digital difference, creating coherence between the two. Scenography not only direct museum towards literal recreation or digital experience but also in the creation of sensorial engagement. Scenography is not dependent on technology instead it integrates digital means along with a physical setting to create immersive environments. Scenography thus establishes the shift from “seeing something” to “sensing something” in museums.

171

CONCEPT OF SCENOGRAPHY

The research considers that Scenography can be expanded beyond theatrical performance and tries to define its translation in useums he study rather than emphasi in on a specific definition of ceno raphy, it peruses to understand different aspects related to it. he analysis defines ceno raphy as more than a background scenery or decorative/illusionistic element. he research identifies ceno raphy throu h a feature of that being materialized and de-materialized. It can be considered that Scenography grew out of materiality to create a context (Collins and Nisbet, 2010).

The arrangement of objects, elements, and props objectify location and time in a created setting. The physical elements can be termed as perceptible elements of Scenography whereas intangibles such as light, sound, media, a projection can be considered as non-perceptible elements which create an atmosphere of the place. The research examines that Scenography co-relates both perceptible and non-perceptible elements to create immersive environments.

The study therefore develops an understanding of Scenography from mere depiction/recreation to spatial construct creating an experience of real. Scenography thus involves in the production of meaning and evoke emotions through rationalization of text into the visual and spatial construct.

The research contemplates Scenography as a phenomenon that supports both literal and abstract creation t identifies ceno raphic approaches which are not only imitative of the real instead are symbolic and abstract representing the context. Through analyses, the study defines that by means of ceno raphy, conte t could be generated without using naturalistic scenery.

Henceforth, the research demonstrates Scenography as a method not only to stimulate realism but also to creates a translation of abstract concept / idea into a three dimensional setting. The research explains transformation of Scenography in relation to object, environment (physical space) and Performing bodies (actors/ performers)

Scenography

based on

‘MISE-EN-SCÈNE’

172

Creation of ENVIRONMENT

Spatial construct

Perceptible

Rationalization of Text

Non-perceptible elements

+

Constructing EXPERIENCE of REALITY

+

+

ROLE OF SCENOGRAPHY IN MUSEUMS

The research attempt to explain the role of Scenography in museum display through a theoretical and analytical framewor he study finds similarities in the approaches based on which it relates Scenography with museums.

Throughout the analysis, the research considers the question of whether elements of Scenography can be aligned with that in Museums. It examines Scenography in the context of Museums, based on the interaction of objects, space, text, and performing bodies. The research defined the relation of ceno raphy with each of these elements and based on which determines the role of Scenography in Museums.

TEXT

based on

[

Reading of Text

De-construction of Text

]

Process that generates meaning

translation analysis

attaching meaning and metaphor

Concept of Museums that is translated into perceivable form

Verbal idea overall theme/concept

into

Visual/Spatial means

173

SPACE

relates to

‘Writing’

Reading of Text

‘Constructed’

Mise-en-scène

‘Narration’

Exchange between space, object and visitor to create narrative presentation Narrative Space

Recreate location and time period

+ Narrative Context

Relates to story behind the object

Function

OBJECT

to reveal

Metaphorical value

based on

Associations Defining meaning and interpretations attached to object

Narrative aspects

Providing context to relate stories that link with the objects in form of

Literal

PERFORMING BODIES

174

in order to evoke

Physical Visual Sensorial

Abstract

Engagement with Objects and Space

TRANSLATION OF SCENOGRAPHY IN MUSEUMS

The research based on theoretical analysis explains that ceno raphy co relates and defines each of the elements such as - object, space, text and performing bodies in Museums to bring in diverse aspects concerning Museum display.

The study develops an understanding of theories and rele ant concepts in the field of ceno raphy and analyses them in reference to examples of Museums.

Based on which the research demonstrates that the use of Scenography in Museums leads to the creation of Performance, Setting and Dramaturgy in a space.

Referring to above, it can not be stated that the result of translation of Scenographic concepts is limited to only Performance, Setting and Dramaturgy. The study with this provides an open-ended structure and allows for the possibilities to analyse and interpret Scenography to define multiple other approaches in useums

Creation of PERFORMANCE

providing role of

Visitors as Performers

By defining performative actions of visitors in terms of

Physical/Visual movement Object-Bodily relations

Museum space as Performing space

By creating an environment that allows visitors to Perform by means of

Physical

+ Atmospheric

To enhance sensorial experience and engagement within space

175

Creation of SETTING

Physical Manifestation

Metaphorical Association

in form of

Literal Depiction

by means of

Abstract Representation

Using actual objects or replicating to create naturalistic arrangement

Non-perceptible elements Sound Artificial/Real smell Lighting Visual projection Media technology

Using suggestive elements to create an environment

Variation and change in intensity of these elements

Balancing both literal and abstract creation

stimulate

producing

[ Essential features ] by means of

Visual clues

Taking attribute/aspects of something and translating into object/elements

Experience of real as ‘Felt Reality’

in form of

‘Framing of Objects’

Taking reference from ‘text’ (museum concept / story) and translating into visual means

To offer multiple meanings and interpretations by defining associations and symbolic value of object

To provide idea of something that is physically not present by creating an environment

Connecting link between elements

Translating metaphors in space

To create effects that accentuate the experience of real Constructing mood of the narrative by amplifying emotional responses of visitors

Relating/organizing objects and elements to define contextual relationship between them

Generates a Scenographic Context

176

Atmospherics

Creation of DRAMATURGY

by transforming

[ OBJECT ] [

SPACE

providing with

]

Meaning Metaphor

‘Real time’

representing fictional place moves into Dramatic time to create

by means of

De-construction of Text

‘Fictious reality’

Fictionalization of Space and Object

creating

[

Setting

]

Characterise objects/elements as if it was part of a story Revealing Drama and Story behind museum text by means of

Visual/Spatial construct Providing Context Atmospherics Dramatic structuring of Contents

providing

Sequencing of Objects/Contents Defining a Narrative route creates

Experience that is both physical and emotional

177

The analysis proposes that concerning Museums, Scenography provides a reference to more than just visual.

Conclusively, the research suggests that every museum whether intentionally designed or not has Scenographic feature embedded to it. The use of elements/components of Scenography may or may not be revealed at the design stage, but it might be as an indirect application of Scenographic principles.

The most direct application as favoured in Museums is the literal translation of Scenography in the form of dioramas - replicating/recreating original or creating an illusion in a space.

Sometimes, museums produce exact imitation without thought process which results in the creation of merely an ambiance or a gimmick. Such formulation confuses the visitors and questions the authenticity that museum intent to provide. With this, it also reduces the scope of Scenography and limits its application to produce only visual representation.

With analytical examination, the research proposes that Scenography offers more than just a realistic setting in Museums. Scenography can also be conceptualized to create abstraction within a three-dimensional setting.

It can be used to produce metaphors and associations allowing for interpretation and meaning-making.

Scenography can be endorsed to translate museum mission statement and concept into perceivable form.

Scenography develops complex museum content and engages in producing spatial construct, atmospherics and metaphors for its presentation. This not only creates immersive environments but provides an outlook towards the subject allowing for multiple interpretations of what has been presented.

Scenography stands for the approach that can be used to create narration behind spatial construct. It relates object on display with its story and hidden meaning.

The narrative aspect of the representation of content emotionally engages visitors towards the content providing an empathetic understanding of the subject.

As museums communicate aspects of past and present through visual and spatial means, Scenography brin s in the idea of fiction that relates to the theatre t represents an ob ect in reference to a fictional time and place, evoking emotions. Thus, not only imitating the actual but also generate an environment of the original.

It characterizes objects/elements on display to create dramatic effects.

178

Museums today are integrating digital technologies to display the content. To which, Scenography offers means of interaction allowing visitors the role of active participants t defines performati e actions of isitors and brings in awareness among the viewers. In museums, Scenography encourages Object-Bodily relations of visitors enhancing the sensorial experience of the display. hus, the research identifies in ol ement of Scenography to create components of Dramaturgy and Performance within Museum display.

The study explains Scenography as the prime aspect to create an understanding of the context in Museums. s the analysis identifies, ceno raphy allows museums for the creation of realistic, fragmented and metaphorical context. It either offers original context through recreation or regenerates context by bringing in new connections to communicate the object/content.

Hence, it can be said that Scenography contextualize entrance narratives that visitors carry to museums. It evokes the context behind elements/objects presented in museums mediating one’s perception.

Based on derived understanding it can be stated that Scenography implies context as a meaning-making tool relating to Museums.

From the analysis of examples of museums and case studies, it is evident that the use of Scenography is noticeable where it has been translated literally by means of replication or recreation. Contradicting to this, where it has been explained in form of abstract representation (symbolic or metaphorical) it is not perceived dominantly.

With this, the study points out that the translation of concepts of Scenography might not be evident, but it has its existence within the Museum. As the museum display concerns about how to use space, arrangement and organization of exhibits, connection with the overall concept, controlling visitors movement and engagement within museum content, Scenography acts as part of it.

The research thus rationalizes the use of Scenography in useum from replicatin somethin to definin the relationship between text, objects, space, and visitors. elatin to the field of patial/ nterior desi n, the research formulates Scenography as a concept that becomes a si nificant source of meanin and method in Museums.

Thus, Scenography can be considered as a process/ method or an approach that can be used in Museums to generate certain kind of effects and environment.

179

The study examines that Scenography, which was introduced in heatre can be used to define the notion of sta in in useums by means of isual, patial and Sensorial aspects.

From the understanding developed through the study, the research defines attributes to ceno raphy in relation to the Museum. It unfolds the quality of Scenography as Applicable, Perceptible and Relational based on its translation in Museums.

Attributes of Scenography in relation to Museums unfolding quality as

APPLICABLE based on

‘Mise-en-Scène’ Spatial translation of verbal text into Visual Contextualization

PERCEPTIBLE in terms of

Narrative sequence/ structuring of contents Transformation of space Atmospherics

Scenography offers interpretation and experience of what is seen by creating material reality for the presentation of immaterial.

The research further opens up the scope of analysing in depth the identified ceno raphic features such as ‘narration,’ ‘framing of objects,’ methods of ‘re-contextualization’ and ‘spatial conversion’ of content in relation to Museums. The study can be expanded upon how Scenographic techniques helps museums to communicate information more effectively and how does it impact the visitor’s experience.

180

RELATIONAL defining

Metaphorical associations Juxtaposing references Relation of elements with each other and as whole

181

182

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Anonymous. (2011, September 8). Scenography and numismatics: interview with scenographer Prof Eberhard Schlag. Retrieved from CoinsWeekly : https://www.coinsweekly.com/en/Scenography-andnumismatics-interview-with-scenographer-Prof-Eberhard-Schlag/4?&id=768 Anonymous. (n.d.). A Screen is a stage, is a set, is a story. Retrieved from http://people.artcenter.edu/~edarden/# Anonymous. (n.d.). POLIN Museum of the History of Polish Jews. Retrieved from Warsaw Local: https://warsawlocal.com/find/listings/polin-museum-history-polish-jews/ Banerjee, P. (2016, October 30). Partition Museum revisits history with hopes of better future. Retrieved from hindustantimes https://www.hindustantimes.com/india-news/displacement-diaries-partitionmuseum-revisits-history-with-hopes-of-a-better-future/story-jUN5sWDR37Inbk9Mxb4QBJ.html Britannica, T. E. (n.d.). Adolphe Appia. Retrieved from ENCYCLOPEDIA BRITANNICA: https://www.britannica.com/biography/Adolphe-Appia COMPELO. (2014, November 6). IMPERIAL WAR MUSEUM FIRST WORLD WAR GALLERIES BY FOSTER + PARTNERS. Retrieved from Design Curial: http://www.designcurial.com/projects/imperial-warmuseum-london-first-world-war-galleries Eagan, M. (n.d.). What is Scenogaphy ? - The origins of the stage design through architecture. Retrieved from WEBSITEArtsAlive.ca: http://www.artsalive.ca/collections/imaginedspaces/index.php/en/learnabout/scenography Exhibit Concepts, Inc. (n.d.). MUSEUM EXHIBITIONS. Retrieved from Exhibit Concepts, Inc.: https://www.exhibitconcepts.com/museum-exhibitions Gabe, M. (2014, July 1). Mise-en-scène. Retrieved from the Elements of Cinema: http://www.elementsofcinema.com/directing/mise-en-scene-in-films/ Gaekwad, M. (2016, October 25). The stage production of ‘Mughal-E-Azam’ is a faithful tribute to the classic film. Retrieved from Scroll.in: https://scroll.in/article/819793/the-stage-production-of-mughal-eazam-is-a-faithful-tribute-to-the-classic-film Hugh , R. M. (2016). Mordern Staging. Retrieved from shakespeare's staging : https://shakespeare.berkeley.edu/periods/modern-american-194522 hungrytigerbboy. (2010, September 9). Sweeney Todd - Design for Murder. Retrieved from krizzlekroo: http://krizzlekroo.blogspot.com/2007/12/sweeney-todd-demon-barber-of-fleet_08.html katmcdaniel. (2015, February 2). Dressing the Story: A Gallery of Operatic Set Design. Retrieved from Synkroniciti: https://synkroniciti.com/2015/02/02/dressing-the-story-a-gallery-of-operatic-setdesign/ Khare, R. (2016, May 28). Tribal Museum Bhopal. Retrieved from Bhopal.info: https://bhopal.info/explore/museums/tribal-museum/

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katmcdaniel. (2015, February 2). Dressing the Story: A Gallery of Operatic Set Design. Retrieved from Synkroniciti: https://synkroniciti.com/2015/02/02/dressing-the-story-a-gallery-of-operatic-setdesign/ Khare, R. (2016, May 28). Tribal Museum Bhopal. Retrieved from Bhopal.info: https://bhopal.info/explore/museums/tribal-museum/ Kobler, T. (n.d.). Shaping Stories. Retrieved from Holzer Kobler Architekturen: http://holzerkobler.com/process/shaping-stories Nerves, J. (2010). Erasmuskapelle ↓Archeological Exhibition. Retrieved from Jangled Nerves : http://www.janglednerves.com/en/erasmuskapelle/ Nicholson, L. (2014, February 15). Art in the Airport: Terminal 2 Mumbai. Retrieved from Apollo Magazine: https://www.apollo-magazine.com/art-airport-terminal-2-mumbai/ Nicoleta, A. (2009, 18 June). The Functions of Scenic Design. Retrieved from Scenography Wordpress: https://scenography.wordpress.com/tag/scenography-theory/ Sztyma, T., Wójcik, R., & Łoś, M. (n.d.). How to make a museum ? - Polin Museum of the History of Polish Jews.

Retrieved from Google Arts & Culture: https://artsandculture.google.com/exhibit/wR7xiggx Wójcik, R. (n.d.). A 1000 year history of Polish Jews. Retrieved from Google Arts & Culture: https://artsandculture.google.com/exhibit/wR4060gq

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CHAPTER 1.

Illustration 1.01 an led er es rasmus apelle janglednerves.com/en/erasmuskapelle/

rcheolo ical

hibition

etrie ed from an led

er es http //www

Illustration 1.02 FISHANDFEATHERS. (2016, March 16). Denver Dinosaur Spotting. Retrieved from Fish&Feathers.travel: https:// www fishandfeathers tra el/united states/den er museum nature science/ Illustration 1.03 ATELIER BRÜCKNER GmbH. (2011). THE NATIONAL MARITIME MUSEUM. Retrieved from ATELIER BRÜCKNER GmbH: http://www.atelier-brueckner.com/en/projects/national-maritime-museum Illustration 1.05 REMEMBER BHOPAL. (n.d.). REMEMBER BHOPAL. Retrieved from https://rememberbhopal.net/ Illustration 1.06 bihar museum. (n.d.). Embrace. Enjoy. Discover. Grow - The wonderful world of the Children’s Gallery. Retrieved from Children’s Section: http://biharmuseum.org/children-section/childrens-gallery/ Illustration 1.07 Chrisostomos, K. (n.d.). National Archaeological Museum of Athens. Retrieved from Trip & Trail: https://www.tripandtrail.com/archaeological-museum-athens/ Illustration 1.08 eet , , u ust irasat halsa isited etrie ed from he www.sikhfoundation.org/sikh-arts-heritage/virasat-e-khalsa-visited/

nternational http //

Illustration 1.09 ATELIER BRÜCKNER. (2014). GERMAN HAT MUSEUM - LINDENBERG. Retrieved from ATELIER BRÜCKNER PROJECTS: http://www.atelier-brueckner.com/en/projects/german-hat-museum Illustration 1.10 an led ner es mb eutsches hrenmuseum lash tte ermanent hibition etrie ed from jangled nerves - projects: http://www.janglednerves.com/en/deutsches-uhrenmuseum-glashutte Illustration 1.11 AFP. (2017, January 30). Poland’s WWII museum caught in political crosshairs. Retrieved from THE EXPRESS TRIBUNE: https://tribune.com.pk/story/1311464/polands-wwii-museum-caught-political-crosshairs/ Illustration 1.12 - 1.13 le andra, , o ember he fi ht o er history as a fi ht o er oland s future etrie ed from museeum https //www museeum com/the fi ht o er wwii history as a fi ht o er polands future/ Illustration 1.14 Anonymous. (2009, November 9). You’re a Good Man, Charlie Darwin. Retrieved from SanDiego.Blog: https://blog. sandiego.org/2009/11/youre-a-good-man-charlie-darwin/ Illustration 1.15 Photos for Diorama-museum of Bhagavad-gita. (n.d.). Retrieved from yelp: https://www.yelp.com/biz_photos/diorama-museum-of-bhagavad-gita-los-angeles 187

Illustration 1.16 Jumpei, K. (2016, September 07). See Trains From Around the World at Hara Model Railway Museum. Retrieved from https //matcha p com/en/ CANADIAN MUSEUM OF HISTORY. (n.d.). CHILDREN’S MUSEUM IMAGE GALLERY. Retrieved from CANADIAN MUSEUM OF HISTORY: https://www.historymuseum.ca/visit/childrens-museum/about-the-childrens-museum/#tabs

CHAPTER 2.

Illustration 2.01 ilanesi, , pril new immersi e ourney to the eatro limpico in icen a etrie ed from ourin Club Italino: https://www.touringclub.it/notizie-di-viaggio/un-nuovo-percorso-immersivo-al-teatro-olimpico-di-vicenza Illustration 2.02 aporito, , ctober hy is he abinet of r ali ari considered the definiti e erman e pressionist film etrie ed from http //screenprism com/insi hts/article/why is the cabinet of dr cali ari considered the definiti e erman e press Illustration 2.03 Wax, R. (2017, November 8). ADOLPHE APPIA – IN DEPTH. Retrieved from GRAPHICINE: http://www.graphicine. com/adolphe-appia-in-depth/ Illustration 2.04 Clap, S. (2011, May 22). The 10 best theatre designs – in pictures. Retrieved from The Guardian: https://www. theguardian.com/stage/gallery/2011/may/22/set-theatre-design-in-pictures EYARBRO2013. (2013, November 7). Q&A: MICHAEL LEWIS. Retrieved from Theater at Emory: https://theateremory.wordpress.com/tag/edward-gordon-craig/ Baugh, C., Carver , G., & Fergusson, C. (n.d.). Gordon Craig and ‘Improvements in Stage Scenery’, 1910.1 . Retrieved from Scenography International: http://www.iar.unicamp.br/lab/luz/ld/C%EAnica/Artigos/Gordon%20Craig.pdf Illustration 2.05 ROYAL SHAKESPHERE COMPANY. (n.d.). The history of The Tempest in performance, from 1611 when it was first performed to today etrie ed from https //www rsc or u /the tempest/ about-the-play/stage-history Illustration 2.06 Anonymous. (n.d.). Production History. Retrieved from Hoppla, We’re Alive !: https://hopplawirliben.wordpress. com/play-dramaturgy-info/production-history/ Latour, J. P. (n.d.). Retrieved from Slide Player: https://slideplayer.fr/slide/7292173/ Latour, J. P. (n.d.). Retrieved from Slide Player: https://slideplayer.fr/slide/7292173/ Illustration 2.07 hungrytigerboy. (2010, September 9). Sweeney Todd - Design for Murder. Retrieved from krizzlekroo: http://krizzleroo blo spot com/ / /sweeney todd demon barber of eet html Illustration 2.08 Pantelides, T. (n.d.). The Theatrical Effect process in architectural space. Retrieved from https://www.arch.tuc.gr/ fileadmin/users data/arch tmpl/ereyniti es/year / antelidis pdf 188

Illustration 2.09 - 2.10 katmcdaniel. (2015, February 2). Dressing the Story: A Gallery of Operatic Set Design. Retrieved from Synkroniciti: https://synkroniciti.com/2015/02/02/dressing-the-story-a-gallery-of-operatic-set-design/ Illustration 2.11 Ratnam, D. (2016, September 16). A new life for museums. Retrieved from Livemint: https://www.livemint.com/ Leisure/Jhpj06QZE7qqFAChecQFIJ/A-new-life-for-museums.html himan, , pril irasat e halsa real uba in nandpur ahib, un ab etrie ed from ripoto lobal Community of Travellers: https://www.tripoto.com/trip/virasat-e-khalsa-a-real-ajuba-in-anandpur-sahib-punjab-5ae57f3d8cd38 eet , , u ust irasat halsa isited etrie ed from he www.sikhfoundation.org/sikh-arts-heritage/virasat-e-khalsa-visited/ Illustration 2.12 sodesi n n d irst orld ar allery nstallations / interacti es pro ects/first world war allery a installations interacti es

nternational http //

etrie ed from http //isodesi n co u /

Illustration 2.13 li s i, , ctober irtual isit to the useum of the istory of olish ews etrie ed from TURE.PL: https://culture.pl/en/article/a-virtual-visit-to-the-museum-of-the-history-of-polish-jews

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Illustration 2.14 Brückner, U. R., & Greci, L. (2013). Synaesthetic Translation of Perspectives. European Commission Illustration 2.15 Alamy. (2005, February 2). simon wiesenthal. Retrieved from Alamy: https://www.alamy.com/stock-photothe-museum-of-tolerance-features-holocaust-memorials-and-is-part-of-90467653.html?pv=1&stamp=2&imageid=B204DEBC-1B56-48B1-AE2F-D51AEAAA91EF&p=87120&n=2&orientation=0&pn=1&searchtype=0&IsFromSearch=1&srch=foo%3Dbar%26st%3D Illustration 2.16 POLIN Museum of the History of Polish Jews. (n.d.). A 1000 year history of Polish Jews. Retrieved from Google Arts & Culture: https://artsandculture.google.com/exhibit/wR4060gq Illustration 2.17 Parkway Museums District. (n.d.). Franklin Institute. Retrieved from Parkway Museums District: http://www.parkwaymuseumsdistrictphiladelphia.org/museums-more/franklin-institute/ Cook, C. (2014, March). Free Museums in Georgia. Retrieved from Georgia On My Mind: https://www.exploregeorgia.org/blog/free-museums-in-georgia Mordern Green Structures & Architecture. (n.d.). DS Group - Corporate Museum. Retrieved from Mordern Green Structures & Architecture: http://www.mgsarchitecture.in/projects/908-ds-group-corporate-museum.html li s i, , ctober irtual isit to the useum of the istory of olish ews etrie ed from TURE.PL: https://culture.pl/en/article/a-virtual-visit-to-the-museum-of-the-history-of-polish-jews sodesi n n d irst orld ar allery nstallations / interacti es pro ects/first world war allery a installations interacti es

-

etrie ed from http //isodesi n co u /

ACCIONA Producciones y Diseño. (2011). Museum of Navigation . Retrieved from ACCIONA Producciones y Diseño: http://www.acciona-apd.com/?portfolio=museum-of-navigation Salzberg, S. (2016, February 27). The Truth of Change in Every Solidarity. Retrieved from Sharon Salzberg: https:// www.sharonsalzberg.com/on-being-column-the-truth-of-change-in-every-solidarity/

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Illustration 3.01 CALARTS CENTRE FOR NEW PERFORMANCE. (n.d.). WHAT TO WEAR. Retrieved from CNP: https://centerfornewperformance.org/projects/what-to-wear/ LOREN FENTON. (2006). What to Wear. Retrieved from LOREN FENTON: http://lorenfenton.com/theater/ Illustration 3.02 ATELIER BRÜCKNER . (2011). GERMAN FILM MUSEUM. Retrieved from ATELIER BRÜCKNER GmbH: http://www. atelier bruec ner com/en/pro ects/ erman film museum Illustration 3.03 an led ner es mb hr ir www.janglednerves.com/en/ihr-wir/

a or e ional

hibition

etrie ed from an led ner es mb

Illustration 3.04 an led ner es mb it de l rchitecture i na e and ommunication esi n nerves gmbH: http://www.janglednerves.com/en/cite-de-larchitecture-2/

http //

etrie ed from an led

Illustration 3.05 Museum of Science and Industry, Chicago. (2009, October 8). YOU! The Experience Press Kit - TAKE A DRAMATIC JOURNEY THROUGH YOUR BODY, MIND AND SPIRIT. Retrieved from Museum of Science and Industry, Chicago: https://www.msichicago.org/press/exhibits-and-events/you-the-experience/ Illustration 3.06 ATELIER BRÜCKNER GmbH. (2010). TIM | STATE TEXTILE AND INDUSTRY MUSEUM. Retrieved from ATELIER BRÜCKNER GmbH: http://www.atelier-brueckner.com/en/projects/tim-state-textile-and-industry-museum Illustration 3.07 ATELIER BRÜCKNER GmbH. (2011). THE NATIONAL MARITIME MUSEUM. Retrieved from ATELIER BRÜCKNER GmbH: http://www.atelier-brueckner.com/en/projects/national-maritime-museum Illustration 3.08 Koltai, R. (n.d.). Suddenly Last Summer. Retrieved from Ralph Koltai 2018: https://ralphkoltai.com/theatre/ Illustration 3.09 Moliere’s The Miser - Scenic Design by R. Finkelstein. (n.d.). Retrieved from Stage Designs of Richard Finkelstein: http://www.rfdesigns.org/miser.htm Illustration 3.10 Howard, P. (2002). What is Scenography ? London: Routledge.

Illustration 3.11 Merkle, L., & Stendhal, R. (2005, July). Renate Stendhal reviews - Remain of the Season Theatre and Opera. Retrieved from scene4magazine: https://www.scene4.com/archivesqv6/july-2005/html/stendhaljul05.html Wooden Furniture Ideas. (n.d.). WOODEN CUBE BOX THEATER DRAMA. Retrieved from Wooden Furniture Ideas: https://www.rexdixon.com/topic/wooden-cube-box-theater-drama Illustration 3.12 British Library. (n.d.). Photograph of Jonathan Kent’s production of The Tempest, 2000. Retrieved from British Library: https://www.bl.uk/collection-items/photograph-of-jonathan-kents-production-of-the-tempest-2000 Illustration 3.13 chale, nd etrie ed from ra is chale.com/annefrank/jb2f933vr3i0mqsm3tph3vpr3y2d5h

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c ale

http //www tra ism-

Illustration 3.14 nonymous n d

etrie ed from http //archi narodni di adlo c / rchi ni o ument oto rafie asp ad

Illustration 3.15 Castagnino , E. (2017, November 27). “Rusalka” at the Teatro Colón: Waiting for better opportunities. Retrieved from Tiempo de Musica: http://www.tiempodemusica.com.ar/noticia/noticia.ver.php?idpost=1699&idpagina=49 Illustration 3.16 andamm tudio cene from in ichard et by obert dmond ones etrie ed from illy ose Theatre Division, The New York Public Library: https://digitalcollections.nypl.org/items/510d47dc-9292-a3d9e040-e00a18064a99#/?zoom=true Illustration 3.17 - 3.18 Mckinnon, P., & Fielding, E. (2012). World Scenography 1975-1990. OISTAT. Illustration 3.19 Sweet, J. (2014). American Enterprise (scenery and projection design). Retrieved from Stage Designs of Richard Finkelstein: http://www.rfdesigns.org/enter.htm Illustration 3.20 Brooklyn Sound and Image. (n.d.). Richard Foreman. Retrieved from Brooklyn Sound and Image: http://brooklynsoundandimage.com/museum-and-gallery/richard-foreman/ Illustration 3.21 Ubulibri. (n.d.). Josef php?imgid=106878

Svoboda.

Retrieved

from

https://www.peroni.com/lang_UK/ext_panel_immagine.

Leclair, F. R. (1976). The Queen of Spades. Retrieved from National Arts Centre: http://www.artsalive.ca/collections/imaginedspaces/index.php/en/explore/the-queen-of-spades Illustration 3.22 Mckinnon, P., & Fielding, E. (2012). World Scenography 1975-1990. OISTAT. Illustration 3.23 Patel, N. (2017). Mughal E Azam. Retrieved from NEIL PATEL PRODUCTION DESIGN: https://neil-patel-9voi. squarespace.com/mughal-e-azam/ Illustration 3.24 Castel, L., & Tattoli, C. (2014, February 28). An Exhibition at the Fondation Pierre Berge–Yves Saint Laurent Celebrates Berber Culture. Retrieved from Condé Nast: https://www.architecturaldigest.com/story/berber-women-ofmorocco-fondation-pierre-berge-yves-saint-laurent Illustration 3.25 ATELIER BRÜCKNER GmbH. (2003). LWL-MUSEUM OF ARCHAEOLOGY. Retrieved from ATELIER BRÜCKNER GmbH: http://www.atelier-brueckner.com/en/projects/lwl-museum-archaeology Illustration 3.26 ATELIER BRÜCKNER GmbH. (1997). EXPEDITION TITANIC. Retrieved from ATELIER BRÜCKNER GmbH: http:// www.atelier-brueckner.com/en/projects/expedition-titanic Illustration 3.27 Starowieyska, M. (n.d.). POLIN Museum of the History of Polish Jews. Retrieved from fall in love with warjaw: https://warsawtour.pl/en/project/polin-museum-of-history-of-polish-jews/ Illustration 3.28 Mordern Green Structures & Architecture. (n.d.). DS Group - Corporate Museum. Retrieved from Mordern Green Structures & Architecture: http://www.mgsarchitecture.in/projects/908-ds-group-corporate-museum.html

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Illustration 3.29 Artforum International Magazine. (2017, September). RED, BLACK, AND BLUE: THE NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY AND CULTURE AND THE NATIONAL MUSEUM OF THE AMERICAN INDIAN. Retrieved from Artforum International Magazine: https://www.artforum.com/print/201707/red-black-and-blue-the-nationalmuseum-of-african-american-history-and-culture-and-the-national-museum-of-the-american-indian-70457 Illustration 3.30 POLIN Museum of the History of Polish Jews. (n.d.). A 1000 year history of Polish Jews. Retrieved from Google Arts & Culture: https://artsandculture.google.com/exhibit/wR4060gq Illustration 3.31 otems n landers ields useum um-exhibition-war-and-trauma.html

etrie ed from

http //totems com/ anders fields muse-

Illustration 3.32 Rosenblatt, J. (2008). National Infantry Museum & Soldier Center. Retrieved from BRENT JOHNSON DESIGN: http://www.brentjohnsondesign.com/projects/#/infantry/ Illustration 3.33 The Peterhof State Museum - Reserve. (2018, May 18). International Museum Day 2018. Retrieved from PETERHHOF - State Museum Reserve : https://en.peterhofmuseum.ru/events/187 Illustration 3.34 Djansezian, K. (2018, January 12). Essential places to visit in Johannesburg. Retrieved from CNN travel: https:// edition.cnn.com/travel/article/johannesburg-things-to-do/index.html Mtshali, N. (2016, August 22). Explore the Apartheid Museum. Retrieved from Gauteng Tourism Authority: https:// www.gauteng.net/blog/explore-the-apartheid-museum Illustration 3.35 ACCIONA Producciones y Diseño. (2011). Museum of Navigation . Retrieved from ACCIONA Producciones y Diseño: http://www.acciona-apd.com/?portfolio=museum-of-navigation Illustration 3.36 ATELIER BRÜCKNER GmbH. (2010). RAUTENSTRAUCH-JOEST-MUSEUM. Retrieved from ATELIER BRÜCKNER GmbH: http://www.atelier-brueckner.com/en/projects/rautenstrauch-joest-museum Illustration 3.37 ATELIER BRÜCKNER GmbH. (2011). THE NATIONAL MARITIME MUSEUM. Retrieved from ATELIER BRÜCKNER GmbH: http://www.atelier-brueckner.com/en/projects/national-maritime-museum Illustration 3.38 ATELIER BRÜCKNER GmbH. (2003). LWL-MUSEUM OF ARCHAEOLOGY. Retrieved from ATELIER BRÜCKNER GmbH: http://www.atelier-brueckner.com/en/projects/lwl-museum-archaeology Illustration 3.39 Finkelstein, R. (2015). Shakuntala. Retrieved from Stage Designs of Richard Finkelstein: http://www.rfdesigns.org/ shakuntala.htm Illustration 3.40 Bink, M. (2017, July 24). TIRPITZ MUSEUM BY BJARKE INGELS GROUP AND TINKER IMAGINEERS. Retrieved from a as architecture: http://aasarchitecture.com/2017/07/tirpitz-museum-bjarke-ingels-group-tinker-imagineers.html ay, nd irpit useum ustom desi n arde, enmar ispoulsen.com/uk/professionals/projekt/?id=23991

etrie ed from louis poulsen https //www lou-

Bink, M. (2017, July 24). TIRPITZ MUSEUM BY BJARKE INGELS GROUP AND TINKER IMAGINEERS. Retrieved from a as architecture: http://aasarchitecture.com/2017/07/tirpitz-museum-bjarke-ingels-group-tinker-imagineers.html 192

Illustration 3.41 CW Interiors. (2018, March 24). DS Group’s Museum is a spectacle to behold. Retrieved from CW Interiors: http:// www.cwinteriors.in/blog/ds-group-s-museum-is-a-spectacle-to-behold Illustration 3.42 La Fura dels Baus. (2011). Tristan et Isolde. Retrieved from La Fura dels Baus: https://www.lafura.com/en/works/ tristan-et-isolde/ Illustration 3.43 ATELIER BRÜCKNER . (2011). GERMAN FILM MUSEUM. Retrieved from ATELIER BRÜCKNER GmbH: http://www. atelier bruec ner com/en/pro ects/ erman film museum an led ner es mb erman ilm useum ermanent http //www an ledner es com/en/filmmuseum fran furt/

hibition

etrie ed from an led ner es mb

an led ner es mb erman ilm useum ermanent http //www an ledner es com/en/filmmuseum fran furt/

hibition

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ATELIER BRÜCKNER . (2011). GERMAN FILM MUSEUM. Retrieved from ATELIER BRÜCKNER GmbH: http://www. atelier bruec ner com/en/pro ects/ erman film museum Illustration 3.44 mb etrie ed from GmbH: http://www.atelier-brueckner.com/en/projects/cern-universe-particles

CHAPTER 4.

Illustration 4.01 arfield, , uly ne of the world s lar est a i bun ers ust transformed into a museum ta e a loo inside. Retrieved from BUSINESS INSIDER - INDIA: https://www.businessinsider.in/One-of-the-worlds-largest-Nazi-bunkers-just-transformed-into-a-museum-take-a-look-inside/articleshow/59690237.cms Bink, M. (2017, July 24). TIRPITZ MUSEUM BY BJARKE INGELS GROUP AND TINKER IMAGINEERS. Retrieved from a as architecture: http://aasarchitecture.com/2017/07/tirpitz-museum-bjarke-ingels-group-tinker-imagineers.html , uly , etrie ed from https //scandina ianattraction com/2017/07/04/tirpitz-museum-by-big-bjarke-ingels-group-opens-in-blavand-denmark/#jp-carousel-3097 Illustration 4.02 Hjortshoj, R. (2017). tirpitz museum denmark. Retrieved from tinker imagineers: https://www.tinker.nl/en/work/ tirpitz-museum-denmark Illustration 4.03 Hjortshoj, R. (2017). BIG - BJARKE INGELS GROUP TIRPITZ MUSEUM. Retrieved from Cube S.r.l. via del Pratello: https://www.theplan.it/eng/webzine/international-architecture/tirpitz-museum Hjortshoj, R. (2017). tirpitz museum denmark. Retrieved from tinker imagineers: https://www.tinker.nl/en/work/ tirpitz-museum-denmark Bink, M. (2017). TIRPITZ Museum (Denmark). Retrieved from Kloosterboer: http://www.kloosterboer-decor.nl/en/ portfolio/museum-centrum-blavand/ 193

Bink, M. (2017, July 24). TIRPITZ MUSEUM BY BJARKE INGELS GROUP AND TINKER IMAGINEERS. Retrieved from a as architecture: http://aasarchitecture.com/2017/07/tirpitz-museum-bjarke-ingels-group-tinker-imagineers.html Bink, M. (2017, July 24). TIRPITZ MUSEUM BY BJARKE INGELS GROUP AND TINKER IMAGINEERS. Retrieved from a as architecture: http://aasarchitecture.com/2017/07/tirpitz-museum-bjarke-ingels-group-tinker-imagineers.html Bink, M. (2017, July 24). TIRPITZ MUSEUM BY BJARKE INGELS GROUP AND TINKER IMAGINEERS. Retrieved from a as architecture: http://aasarchitecture.com/2017/07/tirpitz-museum-bjarke-ingels-group-tinker-imagineers.html Illustration 4.04 Hjortshoj, R. (2017). BIG - BJARKE INGELS GROUP TIRPITZ MUSEUM. Retrieved from Cube S.r.l. via del Pratello: https://www.theplan.it/eng/webzine/international-architecture/tirpitz-museum Illustration 4.05 Bink, M. (2017, July 24). TIRPITZ MUSEUM BY BJARKE INGELS GROUP AND TINKER IMAGINEERS. Retrieved from a as architecture: http://aasarchitecture.com/2017/07/tirpitz-museum-bjarke-ingels-group-tinker-imagineers.html Illustration 4.06 , uly , etrie ed from https //scandina ianattraction com/2017/07/04/tirpitz-museum-by-big-bjarke-ingels-group-opens-in-blavand-denmark/#jp-carousel-3097 Campaya.co.uk. (2017, December 8). Tirpitz museum in Blåvand: New top attraction at the Danish West Coast. etrie ed from campaya https //www campaya co u / enmar / e ion of outhern enmar / arde unicipality/Bl%C3%A5vand/tirpitz-museum-in-blaavand-new-top-attraction-at-the-danish-west-coast.a Bink, M. (2017, July 24). TIRPITZ MUSEUM BY BJARKE INGELS GROUP AND TINKER IMAGINEERS. Retrieved from a as architecture: http://aasarchitecture.com/2017/07/tirpitz-museum-bjarke-ingels-group-tinker-imagineers.html Illustration 4.07 Bink, M. (2017, July 24). TIRPITZ MUSEUM BY BJARKE INGELS GROUP AND TINKER IMAGINEERS. Retrieved from a as architecture: http://aasarchitecture.com/2017/07/tirpitz-museum-bjarke-ingels-group-tinker-imagineers.html Illustration 4.08 BIG-Bjarke Ingels Group. (2017, September 29). BIG-Bjarke Ingels Group: Tirpitz, the museum of the Atlantic all etrie ed from loornature http //www oornature com/bi b ar e in els roup tirpit museum atlantic-wall-13056/ Illustration 4.09 - 4.11 Bink, M. (2017, July 24). TIRPITZ MUSEUM BY BJARKE INGELS GROUP AND TINKER IMAGINEERS. Retrieved from a as architecture: http://aasarchitecture.com/2017/07/tirpitz-museum-bjarke-ingels-group-tinker-imagineers.html Illustration 4.12 Host Unusual Limited . (n.d.). Bunker Pavilion. Retrieved from Host Unusual Limited : https://hostunusual.com/ categories/host-unusual/bunker-pavilion/ , uly , etrie ed from https //scandina ianattraction com/2017/07/04/tirpitz-museum-by-big-bjarke-ingels-group-opens-in-blavand-denmark/#jp-carousel-3097 , uly , etrie ed from https //scandina ianattraction com/2017/07/04/tirpitz-museum-by-big-bjarke-ingels-group-opens-in-blavand-denmark/#jp-carousel-3097 194

Illustration 4.13 Hjortshoj, R. (2017). BIG - BJARKE INGELS GROUP TIRPITZ MUSEUM. Retrieved from Cube S.r.l. via del Pratello: https://www.theplan.it/eng/webzine/international-architecture/tirpitz-museum Illustration 4.14 Bink, M., Seymour, C. J., & Hjortshoj, R. (2017). tirpitz museum denmark. Retrieved from tinker imagineers: https:// www.tinker.nl/en/work/tirpitz-museum-denmark Illustration 4.15 , uly , etrie ed from https //scandina ianattraction com/2017/07/04/tirpitz-museum-by-big-bjarke-ingels-group-opens-in-blavand-denmark/#jp-carousel-3097 Bink, M., Seymour, C. J., & Hjortshoj, R. (2017). tirpitz museum denmark. Retrieved from tinker imagineers: https:// www.tinker.nl/en/work/tirpitz-museum-denmark Illustration 4.16 Bink, M., Seymour, C. J., & Hjortshoj, R. (2017). tirpitz museum denmark. Retrieved from tinker imagineers: https:// www.tinker.nl/en/work/tirpitz-museum-denmark , uly , etrie ed from https //scandina ianattraction com/2017/07/04/tirpitz-museum-by-big-bjarke-ingels-group-opens-in-blavand-denmark/#jp-carousel-3097 Illustration 4.17 - 4.18 Bink, M. (2017, July 24). TIRPITZ MUSEUM BY BJARKE INGELS GROUP AND TINKER IMAGINEERS. Retrieved from a as architecture: http://aasarchitecture.com/2017/07/tirpitz-museum-bjarke-ingels-group-tinker-imagineers.html Illustration 4.19 ay, nd irpit useum ustom desi n arde, enmar ispoulsen.com/uk/professionals/projekt/?id=23991

etrie ed from louis poulsen https //www lou-

, uly , etrie ed from https //scandina ianattraction com/2017/07/04/tirpitz-museum-by-big-bjarke-ingels-group-opens-in-blavand-denmark/#jp-carousel-3097 Illustration 4.20 Bink, M. (2017). TIRPITZ Museum (Denmark). Retrieved from Kloosterboer: http://www.kloosterboer-decor.nl/en/ portfolio/museum-centrum-blavand/ , uly , etrie ed from https //scandina ianattraction com/2017/07/04/tirpitz-museum-by-big-bjarke-ingels-group-opens-in-blavand-denmark/#jp-carousel-3097 Illustration 4.21 - 4.22 Bink, M. (2017, July 24). TIRPITZ MUSEUM BY BJARKE INGELS GROUP AND TINKER IMAGINEERS. Retrieved from a as architecture: http://aasarchitecture.com/2017/07/tirpitz-museum-bjarke-ingels-group-tinker-imagineers.html Illustration 4.23 Kloosterboer . (2017, July 18). World-wide attention for the TIRPITZ museum. Retrieved from kloosterboer de verbeelding uitgebeeld: http://www.kloosterboer-decor.nl/en/2017/07/18/over-de-hele-wereld-aandacht-voor-hettirpitz-museum/ Bink, M. (2017, July 24). TIRPITZ MUSEUM BY BJARKE INGELS GROUP AND TINKER IMAGINEERS. Retrieved from a as architecture: http://aasarchitecture.com/2017/07/tirpitz-museum-bjarke-ingels-group-tinker-imagineers.html

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Illustration 4.24 Bink, M. (2017). TIRPITZ Museum (Denmark). Retrieved from Kloosterboer: http://www.kloosterboer-decor.nl/en/ portfolio/museum-centrum-blavand/ Hjortshoj, R. (2017). BIG - BJARKE INGELS GROUP TIRPITZ MUSEUM. Retrieved from Cube S.r.l. via del Pratello: https://www.theplan.it/eng/webzine/international-architecture/tirpitz-museum Bink, M., Seymour, C. J., & Hjortshoj, R. (2017). tirpitz museum denmark. Retrieved from tinker imagineers: https:// www.tinker.nl/en/work/tirpitz-museum-denmark Illustration 4.25 Bink, M., Seymour, C. J., & Hjortshoj, R. (2017). tirpitz museum denmark. Retrieved from tinker imagineers: https:// www.tinker.nl/en/work/tirpitz-museum-denmark BIG-Bjarke Ingels Group. (2017, September 29). BIG-Bjarke Ingels Group: Tirpitz, the museum of the Atlantic all etrie ed from loornature http //www oornature com/bi b ar e in els roup tirpit museum atlantic-wall-13056/ Bink, M. (2017). TIRPITZ Museum (Denmark). Retrieved from Kloosterboer: http://www.kloosterboer-decor.nl/en/ portfolio/museum-centrum-blavand/ Illustration 4.26 - 4.52, 4.56 Photographs of Tribal Museum, Bhopal are taken by the author Illustration 4.53 Anonymous. (n.d.). GOND TRIBES. Retrieved from www.indianmirror.com: http://www.indianmirror.com/tribes/ gondtribes.html Jain, J. (1986). Parallel Structures: Ritual Dimensions of Some Tribal Dwellings. Retrieved from Architexturez: https://architexturez.net/doc/az-cf-166230

DIAGRAM CREDITS

Diagram 4.02 Bjarke Ingels Group. (2017, September 07). Tirpitz Museum. Retrieved from DANISH ARCHITECTURE CENTRE: https://arcspace.com/feature/tirpitz-museum/ Diagram 4.03 BIG-Bjarke Ingels Group. (2017, September 29). BIG-Bjarke Ingels Group: Tirpitz, the museum of the Atlantic Wal. etrie ed from https //www oornature com/bi b ar e ingels-group-tirpitz-museum-atlantic-wall-13056/

NOTE: All the diagrams and photographs other than mentioned are produced by the author.

I would like thank Darshit Mehta regarding his help with Bibliography and Illustration credits.

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PERSPECTIVES ON SCENOGRAPHY

The adaptation of a given space for a theatrical happening.

- Jerôme Maeckelbergh The spatial translation of the scene.

- José Carlos Serroni The visualisation of the dramatic text—seeing is believing!

- Iago Pericot The evocation of a text or idea, transforming and resolving the scenic space.

- Frederic Amat The visual intersection of the ordinary, with the imaginative.

- Stavros Antonopoulos

SPATIAL

The interplay of space, time, movement and light on stage.

- Josef Svoboda The transformation of drama into a system of visual signs - Ioanna Manoledák isual art and desi n in different media

PERFORMATIVE

- Taurus Wah

Everything on stage that is experienced visually—in essence, a human being in a human space. - Tali Itzhaki The art of space in action.

- Ilmars Blumbergs

Seamless synthesis of space, text, research, art, actors, directors and spectators that contributes to an original creation.

-Pamela Howard

EXPERIENTIAL

Creation involved working with architecture, dramaturgy, intentional use of media and the staging of narrative experience in space.

-Margaret Choi Kwan Lam A visual art which includes dramatic, emotion and communication elements.

- Hamzah Mohammed Tahir The dynamic role design plays upon the stage, orchestrating the visual and sensory environment of performance.

- Dorita Hannah Materialisation of the imagination.

- Josef Ciller

The complete metaphoric realisation of the visual world of the play.

- Delbert Unruh The grown and designed space, symbol and simulation, phenomenon and philosophy, reception and reality, method, metaphor and magic.

- Uwe Brückner

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Scenography is not about exhibiting an object but portraying the ethos or the culture that it originates from.

It is the Alchemy of space, time and context. It is about intangible more than tangible.

- Rajeev Sethi The scenography is an integral part of the overall concept of the exhibition. The scenography becomes the means by which the aims and the content of the e hibition are defined, and e en precedes selection of the exhibits themselves.

-Tristan Kobler No other creative discipline has recourse to such a multi-faceted, integrative range of instruments for designing space as scenography. Scenography instrumentalises the tools of the theatre, film and the fine arts to create unmistakable spatial dramaturgies.

-Uwe R. BrĂźckner

Shape colour and light turned into a non-real reality in a collective.

-Roni Toren The quest for dramatic time and space.

-Alan Nieh

The world of imagination, the place where I can travel through the future and past and bring my own world to the stage.

-Georgi Alexi-Meskhishvili The visual space of the performance conceived through an idea, shaped into a physical and architectural whole.

- Miodrag Tabacki

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LIST OF RELEVANT MUSEUMS IN INDIA EMPLOYING SCENOGRAPHY

Tribal Museum, Bhopal

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Swaraj Nanawada Museum, Pune

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Partition Museum, Amritsar

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DS Group Corporate Museum, Noida

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Use of actual materials to recreate the essence of tribal houses.

Installation of multiple original objects that represent events and myths associated with the community.

Dramatic effects created by using theatrical composition and lighting.

Translation of tribal crafts into visual and spatial construct narrating the story.

Spatial elements informing about the original setting.

Display element created by juxtaposing text and photographic collage.

Three-dimensional murals are recreating historical events of the past.

Miniature paintings and pictures, referencing to the plot of the incident.

Graphics as backdrops depicting essential elements connected to the historical event.

Displaying archival newspaper, objects, and photographs, video recordings that connects different stories related to the movement.

Digital screens speak of the stories of the people, creating an empathetic understanding.

The story is narrated in the form of visual metaphors by recreating scaled objects.

Spatial elements are constructed using actual materials, depicting the original setting.

Objects/ elements are recreated that generate metaphoric associations with the oral stories.

isual recreation of an e ent throu h arious physical and technological means.

The display talks about the journey of a company in the form of dramatic storytelling that is both visual and experiential.

Theatre set is created with lifelike mannequins recounting the history of the company.

Juxtaposing two-dimensional representative scenery with actual objects to bring out a live experience of being into the same place.

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LLDC Museum, Kutch

• • • • •

Bihar Museum, Patna

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Mankind Museum, Bhopal

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iraasat e halsa, nantpursahib

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• • •

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Objects are displayed about the physical and cultural landscape of the region.

The display showcase craft through mannequins and textile boards.

Spatial elements created about the practicing craft.

Graphical process boards of making are created along with samples and real artefacts.

Stories related to the craft and community is conveyed through photographs and description.

Display illustrate the scenes of history, wildlife of the region and explain the archaeological process.

Interactive digital technology integrated into the setting created out of replicated materials generates playful learning for children.

Creating dioramas to inform actual context.

Dramatic recreation of the stories by replicating elements or creating a miniature version of the original elements

Display of the living history through objects and recreating setting.

The objects/elements are displayed in the arrangement of its parts and also as a whole to understand the process of construction.

Recollection of real materials against photographs and texts to give insight into the content presented.

The display consists of no objects and is entirely based on immersive experience generated throu h isuals, audio, film pro ections, and other technological means.

The narration of the story is produced by large size murals depicting each detail of the time, place and events.

Dramatic effects are created by lights and theatrical setting describing the context.

Experiential metaphors and installations are produced that spatially and visually associate to the narration of the content.

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LIST OF RELEVANT INTERNATIONAL MUSEUMS EMPLOYING SCENOGRAPHY

Het Scheepvaartmuseum, Amsterdam National Maritime Museum

• • • •

Polish Jews Museum, Warsaw

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Archaeology Museum of Alicante, Spain

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Tirpitz Museum, Denmark

• • • •

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The objects are grouped in categorized to create a unique narrative space.

The objects are staged in a series to compare and differentiate in a given created setting. isual bac drops are created, emphasi in the setting by digital means.

Different elements composed together generate an atmosphere of the place.

Spatial metaphors are created that narrates the story, integrating all the events of the time.

The display allows visitors to visualise themselves as that being in actual location by recreating spatial elements of space against projected screens.

Oral stories are integrated with text and images.

Recreation of Polish context by replicating construction style and elements of street facade.

The display imparts knowledge not only through text but various illustrations, maps, timelines that gives a brief history from prehistoric period till now.

The life–scale replication of the excavation of various archaeological sites are recreated.

The objects are placed against a recreated actual setting, while also isolating and creating new methods of connections.

Diverse objects of different categories are placed together to create a thematic space.

The exhibition is seamlessly integrated into the existing space that is revived and recreated.

Modern materials are used to create a context of the bunker as a fortress.

The spatial arrangement of the elements generate a metaphoric association of the place and reveal the original functioning of the space.

Objects are displayed into the recreated context, placed in a virtual projected setting of a scenic journey of time and space.

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Rautenstrauch Joest Museum, Cologn, Germany

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Westphalian State Museum of Art and Cultural History, Munich, Germany

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German Film Museum, Frankfurt

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Apartheid Museum, Johannesburg

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Objects are placed according to themes, narrating a different story in each space.

Digital means are used to create a surprise factor, revealing new connections to the objects presented.

Objects are staged in different settings, referencing through timeliness, maps, visuals, graphics, photographs and text.

Exhibitions consist of chronological paths and thematic spaces, connecting history over the years.

Each space re-contextualize the historical objects differently, ranging from displaying real materials to an abstract setting.

The objects are isolated, taken out of its original display and are placed in an unfamiliar setting which allows for interpretations.

The exhibition integrates the components of the cinematic and dramatic composition in its display.

The elements provide an interactive exploration of the multifaceted nature of isual media and film Elements of display and objects are grouped according to themes and are represented in a way to enhance a conversation with viewers. pace narrates the means and methods of the film The objects frame emotional effect when displayed a ainst the produced illustration of film ima es

The display consists of spatial and visual metaphors throughout the space that speaks of the incidences, people and the place.

Space itself narrates the story by associating meanings to each of the elements presented.

The spatial arrangement of the elements generates the essence of the chronological events happened in the past. arious associations are enerated throu h real size photographs, texts, oral stories, objects and the display itself.

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INTERNAL REVIEW FEEDBACK

REVIEW 01.

- Thesis needs to inform why Scenography is important for Museum communication.

- What is the Scenographic perspective ?

- What will you call Scenography ? oes ceno raphy e ist in the museum or it is been identified throu h theories - What is Scenographic performance in terms of Museums? ow ceno raphy can be analysed o analyse ceno raphy usin principles of isual perception - How are they broken into form, construction, composition, arrangement ?

- Does Museums create a visual theatre ?

- The frame work of the thesis needs to be structured - How do you quantify Scenography?

- What is that quality of Museum that is parallel to Scenography?

- By which one quality Scenography can be detailed out? - Theatrical Scenography - What are different modes? - Categorisation - What kind of quality does it produce? - the study of that quality through Scenography / (Theatrical Scenography) - Introduces the need for Scenography - What are the attributes/ characters / principles to the Qualities ?

REVIEW 02.

- Understanding towards what museums consist of and how do they operate.

- How are Museums culturally different ?

- What is the perspective that research is focusing upon within Museum display?

- Analyse what kind of Scenography is produced by Museums.

- Is Scenography in Museums based on Performance, Digital means, Context, Social events‌?

- Reference to concepts of Post-Modern, Modern, Post-structural Scenography and Environmental theatre.

-What can be the parameters to study Scenography in Museums?

- Is there a Scenographic approach which is already there in Museums or it is being analysed through the research?

- What does the research concludes? Is conclusion open-ended for other interpretations or it determine the specific alues that ceno raphy enerates in useums - Identify museums that haven’t used Scenography in their approach and how it is different?

- Why Museums need to use Scenography? Rationalise the approach.

REVIEW 03.

- Provide a close ended title of thesis topic efine si nificance of the study oes research identifies the component of ceno raphy that are currently used in useum desi n - How does the understanding of Scenography relates to Museum exhibition design?

- Mention summary of main points, implications and opinion in conclusion.

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