Theatre Design & Technology - Winter 2001 - 14

the next generation

In our visually oriented performance

Pete Brooks retained the fundamental structure for the
course, but he inflected its philosophy, curriculum and faculty
in a new direction. I was able to observe this development
thanks to a grant from the University of Utah's John R. Parks
Teachers' Fellowship.
The second generation of ESC began in the autumn of
1999 when eighteen students gathered from around the world.
They were between twenty and thirty-five years old, and the
group included a performance artist from Germany, a scene
designer from Japan, a choreographer from Spain, an architect from Malaysia and another from Mexico, and a video artist
from England. The students were a true demonstration of the
international, multi-cultural and cross-disciplinary premise of
the course (Figure 6).
Brooks' revised Course Handbook defines scenography
as "the complete text, or score of a performance or event,
whether live (theatre, performance art, spectacle), or mediated through technology (film, video, or computer)." It explains that "the course is fundamentally concerned with
authorship and if scenography is the text, the scenographer is
the author or co-author of this text." Brooks justifies this definition by arguing that "in our visually oriented performance
culture, the designer is the key figure. We believe that as traditional creative hierarchies disintegrate it is essential that designers are able to instigate or author projects." While he

culture, the designer is the key
figure. We believe that as traditional
creative hierarchies disintegrate it
is essential that designers are able
to instigate or author projects.
recognizes that "the course has its roots in the area of theatre
design (for) time-based or narrative art forms," he adds that
"we are also interested in limnal scenographic practices such
as architecture, non-performance-based installation and photography, as well as live art and other hybrid or interdisciplinary art practices."
It seemed to me, coming as I do from a very mainstream
theatre background, that the focus of the course (and the redefinition of scenography) moved away from the visualization
of traditional forms of theatre and toward what I would describe as performance art. My perception was corroborated
by Pamela Howard's wry advice to the students who were
about to see her scenography for Ibsen's The Masterbuilder.
"Please be aware, this is a play, and not performance art. It
has actors, and they speak, and there is a plot!"

Northern Illinois Univ.;
PMS185; p/u fall00 p. 17;
drop rules

TD & T

W I N T E R

2 0 0 1

13



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2001

Contents
Theatre Design & Technology - Winter 2001 - 1
Theatre Design & Technology - Winter 2001 - 2
Theatre Design & Technology - Winter 2001 - 3
Theatre Design & Technology - Winter 2001 - Contents
Theatre Design & Technology - Winter 2001 - 5
Theatre Design & Technology - Winter 2001 - 6
Theatre Design & Technology - Winter 2001 - 7
Theatre Design & Technology - Winter 2001 - 8
Theatre Design & Technology - Winter 2001 - 9
Theatre Design & Technology - Winter 2001 - 10
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Theatre Design & Technology - Winter 2001 - 12
Theatre Design & Technology - Winter 2001 - 13
Theatre Design & Technology - Winter 2001 - 14
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com