Název: Scenographic contraptions : designing uncertainty and orchestrating error for the generation of participatory scenography
Zdrojový dokument: Theatralia. 2024, roč. 27, č. 1, s. 79-111
Rozsah
79-111
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2024-1-5
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/digilib.80027
Type: Článek
Jazyk
Licence: CC BY-NC-ND 4.0 International
Přístupová práva
otevřený přístup
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
The method of 'scenographic error' (PENNA 2017a) is used to explain how – and to what extent – a scenographer can design and use the uncertainty provoked in audiences when invited to participate or interact with design-led performance work. The article draws on the premise of the embodied human brain as a prediction machine and the understanding of participation 'as an assemblage of peoples, objects and environments' (HARPIN and NICHOLSON 2017: 12). However, the assemblage is here reframed as a 'scenographic contraption' (PENNA 2013), and the notion of 'contraption' is used as an analytical framework for understanding scenographic processes of designing and experiencing participation and relational performance. Based on qualitative data (interviews with the audience-participants and images of the work) I explain how in specific works (WS I, 2014 and Hello Stranger East Midlands, 2023; WS III, 2015) I designed a 'rich landscape of affordances' (sensu RIETVELD and KIVERSTEIN 2014) using sound, taste, voice, props, objects, materials, technologies, etc., and orchestrated error as a way to manipulate uncertainty, intervene, and in some cases violate the audiences' expectations for the stimulation of novel paths of thinking, meaning-making, and collaborating.
Reference
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[14] COLOMBETTI, Giovanna and Evan THOMPSON. 2007. The Feeling Body: Toward an Enactive Approach to Emotion. In Willis Overton, Ulrich Mueller and Judith Newman (eds.). Developmental Perspectives on Embodiment and Consciousness. New York: Psychology Press, 2007: 45-68. DOI: https://doi.org/10.4324/9780203809778.
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[22] HANN, Rachel. 2018. Beyond Scenography. London: Routledge, 2018.
[23] HARPIN, Anna and Helen NICHOLSON. 2017. Performance and Participation. In Anna Harpin and Helen Nicholson (eds.). Performance and Participation: Practices, Audiences, Politics. London: Bloomsbury Publishing, 2017.
[24] HEATH ROBINSON MUSEUM. 2023. Our Collection [online]. [accessed 1.10.2023]. Available online at https://www.heathrobinsonmuseum.org/our-collection/.
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[26] HURLEY, Susan. 1998. Consciousness in Action. Cambridge: Harvard University, 1998.
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[28] INTERNATIONAL CHINDOGU SOCIETY. 2023. Exhibition Hall B [online]. [accessed on 1.10.2023]. Available online at http://chindogu.com/ics/?page_id=238.
[29] KEMP, Rick. 2012. Embodied Acting: What Neuroscience Tells us about Performance. London: Routledge, 2012.
[30] LOTKER, Sodja and Richard GOUGH. 2013. On Scenography: Editorial. Performance Research 18 (2013): 3: 3-6. DOI: https://doi.org/10.1080/13528165.2013.818306.
[31] MASSEY, Doreen. B. 2005. For Space. London: Sage, 2005.
[32] MCCONACHIE, Bruce and Elizabeth F. HART (eds.). 2006. Performance and Cognition: Theatre Studies and the Cognitive Turn. London: Routledge, 2006.
[33] MCKINNEY, Joslin and Philip BUTTERWORTH. 2009. The Cambridge Introduction to Scenography. Cambridge: Cambridge University Press, 2009.
[34] MURPHY, Maiya. 2019. Enacting Lecoq: Movement in Theatre, Cognition, and Life. Cham: Springer, 2019.
[35] NELSON, Robin. 2013. Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances. Basingstoke: Palgrave Macmillan, 2013.
[36] NEW OXFORD AMERICAN DICTIONARY. 2015. Contraption. Oxford: Oxford University Press, 2015.
[37] NOË, Alva. 2004. Action in Perception. Cambridge: MIT Press, 2004.
[38] OXFORD ENGLISH DICTIONARY. 2022. Contraption [online]. Oxford University Press, 2022. [accessed 15.03.2024]. Available online at https://www.oed.com/search/dictionary/?scope=Entries&q=contraption.
[39] O'REGAN, Kevin J. and Alva NOË. 2001. A Sensorimotor Account of Vision and Visual Consciousness. Behavioral and Brain Sciences 24 (2001): 5: 939-973. DOI: https://doi.org/10.1017/S0140525X01000115.
[40] PAAVOLAINEN, Teemu. 2009. On Spectatorship, Objecthood, and the Enaction of Visual Experience. In Laura Gröndahl, Teemu Paavolainen, and Anna Thuring (eds.). Näkyvää ja Näkymätöntä [Visible and Invisible]. Helsinki: Theatre Research Society in Finland, 2009: 10-34.
[41] PENNA, Xristina. 2013. Scenographic Contraptions - In Aid of the Body's Memory [presentation]. Critical Costume: Towards a Vocabulary of Scenographic Bodies. The Arts Centre, 17-18 January 2013. Edge Hill University, Ormskirk (UK).
[42] PENNA, Christina. 2017a. Towards a CogScenography: Cognitive Science, Scenographic Reception and Processes. Unpublished PhD thesis. University of Leeds, 2017.
[43] PENNA, Xristina. 2017b. Designing Uncertainty for Generating Audiences' Participation [presentation]. Worlding the Brain Symposium. Affect, Care, Engagement. 2-4 November 2017. University of Amsterdam, Amsterdam (The Netherlands).
[44] PENNA, Xristina. 2022. Designing Uncertainty for Generating Participatory Scenography [presentation]. Scenography WG. Theatre and Performance Research Association (TaPRA), 12-14 September 2022. University of Essex, Colchester (UK).
[45] PENNA, Xristina. 2023. Scenographic Contraptions: The Importance of Error, Exposure of Process and Inefficient Aesthetics for Orchestrating Conversation. In Kathrine Sandys and Lucy Thornett (eds.). Hello Stranger: The Festival. Aberystwyth: Performance Research Books, 2023: 22-25.
[46] RIETVELD, Erik and Julian KIVERSTEIN. 2014. A Rich Landscape of Affordances. Ecological Psychology 26 (2014): 4: 325-352. DOI: https://doi.org/10.1080/10407413.2014.958035.
[47] SHAUGHNESSY, Nicola (ed.). 2013. Affective Performance and Cognitive Science: Body, Brain, and Being. London: Bloomsbury Publishing, 2013.
[48] THOMPSON, Evan. 2007. Mind in Life: Biology, Phenomenology, and the Sciences of Mind. Cambridge: The Belknap Press of Harvard University Press, 2007.
[49] TRIMINGHAM, Melissa. 2002. A Methodology for Practice as Research. Studies in Theatre and Performance 22 (2002): 1: 54-60.
[50] VARELA, Francisco J., Evan THOMPSON and Eleanor ROSCH. 1991. The Embodied Mind: Cognitive Science and Human Experience. Cambridge: MIT Press, 1991.
[51] WHITE, Gareth. 2013. Audience Participation in Theatre: Aesthetics of the Invitation. Basingstoke: Palgrave Macmillan, 2013.
[52] ZUPANC LOTKER, Sodja. 2015. Expanding Scenography: Notes on the Curatorial Developments of the Prague Quadrennial. Theatre and Performance Design 1 (2015): 1-2: 7-16. DOI: https://doi.org/10.1080/23322551.2015.1023664. | DOI 10.1080/23322551.2015.1023664
[2] BAARS, Bernard J. and Stan FRANKLIN. 2007. An Architectural Model of Conscious and Unconscious Brain Functions: Global Workspace Theory and IDA. Neural Networks 20 (2007): 9: 955-961. DOI: https://doi.org/10.1016/j.neunet.2007.09.013. | DOI 10.1016/j.neunet.2007.09.013
[3] BLAIKIE, Norman. 2000. Designing Social Research. Cambridge: Polity Press, 2000.
[4] BLAIR, Rhonda and Amy COOK. 2016. Theatre, Performance and Cognition: Languages, Bodies and Ecologies. London: Bloomsbury Publishing, 2016.
[5] BLEEKER, Maaike and Isis GERMANO. 2014. Perceiving and Believing: An Enactive Approach to Spectatorship [online]. Theatre Journal 66 (2014): 3: 363-383. [accessed on 21.3.2024]. Available online at https://www.jstor.org/stable/24580351. | DOI 10.1353/tj.2014.0073
[6] BRUINEBERG, Jelle and Erik RIETVELD. 2014. Self-organization, Free Energy Minimization, and Optimal Grip on a Field of Affordances. Frontiers in Human Neuroscience 8 (2014): 599: 1-14. DOI: https://doi.org/10.3389/fnhum.2014.00599. | DOI 10.3389/fnhum.2014.00599
[7] BRUINEBERG, Jelle, Julian KIVERSTEIN and Erik RIETVELD. 2016. The Anticipating Brain is not a Scientist: The Free-Energy Principle from an Ecological-Enactive Perspective. Synthese 195 (2016): 1-28. DOI: https://doi.org/10.1007/s11229-016-1239-1. | DOI 10.1007/s11229-016-1239-1
[8] CAPPUCCIO, Massimiliano and Tom FROESE. 2014. Enactive Cognition at the Edge of Sensemaking: Making Sense of Non-sense. Basingstoke: Palgrave Macmillan, 2014.
[9] CLARK, Andy and David CHALMERS. 1998. The Extended Mind [online]. Analysis 58 (1998): 1: 7-19. [accessed on 21.3.2024]. Available online at https://www.jstor.org/stable/3328150.
[10] CLARK, Andy. 1997. Being There: Putting Brain, Body, and World Together Again. Cambridge: MIT Press, 1997.
[11] CLARK, Andy. 2013. Whatever Next? Predictive Brains, Situated Agents, and the Future of Cognitive Science. Behavioral and Brain Sciences 36 (2013): 3: 181-204. DOI: https://doi.org/10.1017/S0140525X12000477. | DOI 10.1017/s0140525x12000477
[12] CLARK, Andy. 2015. Surfing Uncertainty: Prediction, Action, and the Embodied Mind. Oxford: Oxford University Press, 2015.
[13] CLARK, Andy. 2023. The Experience Machine: How Our Minds Predict and Shape Reality. New York: Pantheon Books, 2023.
[14] COLOMBETTI, Giovanna and Evan THOMPSON. 2007. The Feeling Body: Toward an Enactive Approach to Emotion. In Willis Overton, Ulrich Mueller and Judith Newman (eds.). Developmental Perspectives on Embodiment and Consciousness. New York: Psychology Press, 2007: 45-68. DOI: https://doi.org/10.4324/9780203809778.
[15] DI BENEDETTO, Stephen. 2010. The Provocation of the Senses in Contemporary Theatre. London: Routledge, 2010.
[16] DI PAOLO, Ezequiel. 2005. Autopoiesis, Adaptivity, Teleology, Agency. Phenomenology and the Cognitive Sciences 4 (2005): 4: 439-452.
[17] ECO, Umberto. 1989. The Open Work. Cambridge: Harvard University Press, 1989.
[18] FRISTON, Karl. 2011. Embodied Inference: Or 'I think therefore I am, if I am what I think'. In Wolfgang Tschacher and Claudia Bergomi (eds.). //The Implications of Embodiment (Cognition and Communication)//. Exeter: Imprint Academic, 2011: 89-125.
[19] GALLAGHER, Shaun. 2005. How the Body Shapes the Mind. Oxford: Clarendon Press, 2005.
[20] GALLAGHER, Shaun and Matt BOWER. 2014. Making Enactivism Even More Embodied. Avant 5 (2014): 2: 232-247. DOI: https://doi.org/10.26913/50202014.0109.0011. | DOI 10.26913/50202014.0109.0011
[21] GIBSON, James J. 1986. The Ecological Approach to Visual Perception. New York: Psychology Press, 1986 [1979].
[22] HANN, Rachel. 2018. Beyond Scenography. London: Routledge, 2018.
[23] HARPIN, Anna and Helen NICHOLSON. 2017. Performance and Participation. In Anna Harpin and Helen Nicholson (eds.). Performance and Participation: Practices, Audiences, Politics. London: Bloomsbury Publishing, 2017.
[24] HEATH ROBINSON MUSEUM. 2023. Our Collection [online]. [accessed 1.10.2023]. Available online at https://www.heathrobinsonmuseum.org/our-collection/.
[25] HOHWY, Jakob. 2013. The Predictive Mind. New York: Oxford University Press, 2013.
[26] HURLEY, Susan. 1998. Consciousness in Action. Cambridge: Harvard University, 1998.
[27] HUTCHINS, Edwin. 2010. Cognitive Ecology. Topics in Cognitive Science 2 (2010): 4: 705-715. DOI: https://doi.org/10.1111/j.1756-8765.2010.01089.x.
[28] INTERNATIONAL CHINDOGU SOCIETY. 2023. Exhibition Hall B [online]. [accessed on 1.10.2023]. Available online at http://chindogu.com/ics/?page_id=238.
[29] KEMP, Rick. 2012. Embodied Acting: What Neuroscience Tells us about Performance. London: Routledge, 2012.
[30] LOTKER, Sodja and Richard GOUGH. 2013. On Scenography: Editorial. Performance Research 18 (2013): 3: 3-6. DOI: https://doi.org/10.1080/13528165.2013.818306.
[31] MASSEY, Doreen. B. 2005. For Space. London: Sage, 2005.
[32] MCCONACHIE, Bruce and Elizabeth F. HART (eds.). 2006. Performance and Cognition: Theatre Studies and the Cognitive Turn. London: Routledge, 2006.
[33] MCKINNEY, Joslin and Philip BUTTERWORTH. 2009. The Cambridge Introduction to Scenography. Cambridge: Cambridge University Press, 2009.
[34] MURPHY, Maiya. 2019. Enacting Lecoq: Movement in Theatre, Cognition, and Life. Cham: Springer, 2019.
[35] NELSON, Robin. 2013. Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances. Basingstoke: Palgrave Macmillan, 2013.
[36] NEW OXFORD AMERICAN DICTIONARY. 2015. Contraption. Oxford: Oxford University Press, 2015.
[37] NOË, Alva. 2004. Action in Perception. Cambridge: MIT Press, 2004.
[38] OXFORD ENGLISH DICTIONARY. 2022. Contraption [online]. Oxford University Press, 2022. [accessed 15.03.2024]. Available online at https://www.oed.com/search/dictionary/?scope=Entries&q=contraption.
[39] O'REGAN, Kevin J. and Alva NOË. 2001. A Sensorimotor Account of Vision and Visual Consciousness. Behavioral and Brain Sciences 24 (2001): 5: 939-973. DOI: https://doi.org/10.1017/S0140525X01000115.
[40] PAAVOLAINEN, Teemu. 2009. On Spectatorship, Objecthood, and the Enaction of Visual Experience. In Laura Gröndahl, Teemu Paavolainen, and Anna Thuring (eds.). Näkyvää ja Näkymätöntä [Visible and Invisible]. Helsinki: Theatre Research Society in Finland, 2009: 10-34.
[41] PENNA, Xristina. 2013. Scenographic Contraptions - In Aid of the Body's Memory [presentation]. Critical Costume: Towards a Vocabulary of Scenographic Bodies. The Arts Centre, 17-18 January 2013. Edge Hill University, Ormskirk (UK).
[42] PENNA, Christina. 2017a. Towards a CogScenography: Cognitive Science, Scenographic Reception and Processes. Unpublished PhD thesis. University of Leeds, 2017.
[43] PENNA, Xristina. 2017b. Designing Uncertainty for Generating Audiences' Participation [presentation]. Worlding the Brain Symposium. Affect, Care, Engagement. 2-4 November 2017. University of Amsterdam, Amsterdam (The Netherlands).
[44] PENNA, Xristina. 2022. Designing Uncertainty for Generating Participatory Scenography [presentation]. Scenography WG. Theatre and Performance Research Association (TaPRA), 12-14 September 2022. University of Essex, Colchester (UK).
[45] PENNA, Xristina. 2023. Scenographic Contraptions: The Importance of Error, Exposure of Process and Inefficient Aesthetics for Orchestrating Conversation. In Kathrine Sandys and Lucy Thornett (eds.). Hello Stranger: The Festival. Aberystwyth: Performance Research Books, 2023: 22-25.
[46] RIETVELD, Erik and Julian KIVERSTEIN. 2014. A Rich Landscape of Affordances. Ecological Psychology 26 (2014): 4: 325-352. DOI: https://doi.org/10.1080/10407413.2014.958035.
[47] SHAUGHNESSY, Nicola (ed.). 2013. Affective Performance and Cognitive Science: Body, Brain, and Being. London: Bloomsbury Publishing, 2013.
[48] THOMPSON, Evan. 2007. Mind in Life: Biology, Phenomenology, and the Sciences of Mind. Cambridge: The Belknap Press of Harvard University Press, 2007.
[49] TRIMINGHAM, Melissa. 2002. A Methodology for Practice as Research. Studies in Theatre and Performance 22 (2002): 1: 54-60.
[50] VARELA, Francisco J., Evan THOMPSON and Eleanor ROSCH. 1991. The Embodied Mind: Cognitive Science and Human Experience. Cambridge: MIT Press, 1991.
[51] WHITE, Gareth. 2013. Audience Participation in Theatre: Aesthetics of the Invitation. Basingstoke: Palgrave Macmillan, 2013.
[52] ZUPANC LOTKER, Sodja. 2015. Expanding Scenography: Notes on the Curatorial Developments of the Prague Quadrennial. Theatre and Performance Design 1 (2015): 1-2: 7-16. DOI: https://doi.org/10.1080/23322551.2015.1023664. | DOI 10.1080/23322551.2015.1023664