جستجوی مقالات مرتبط با کلیدواژه « director » در نشریات گروه « هنر و معماری »

As a director, Robert Lepage is keen to employ an international and unfinished creativity in his creation methodology, a process by which the performer-author/actor-creator, in combination with the audience’s reaction, is used as part of the development of his mise-en-scène. The audience’s pleasure is also controlled and formed in some specific and significant elements of Lepage’s mise-en-scène. In this paper, I explore the ways in which the audience impacts Lepage’s mise-en-scène, and discuss the relationship between audiences and his performers. In Lepage’s theatricality and mise-en-scène, there are some specific tools and devices such as image, music, physical expression, a collage of different languages, film, pop and projection videos, internet, advertisement, painting, digital technology, slide, camera for live feedback or parallel images, visual arts and audio images occurring simultaneously. These elements are adjusted by the audience’s attendance. Lepage believes that the audience now has a new way of listening to stories, a new way of digesting stories, a new way of understanding stories. This is managed by Technical Presence as a way of thinking about the roles and functions of a theatre audience, and how the audience can be used and engaged and become more than just an onlooker. Increasingly, Lepage’s mise-en-scenes are based on the dramaturgy of visual images, rather than verbal language, to engage the audience. However, diverse languages are added to his theatricality (some lines) during his tours to different countries. All of these communicative tools/ features engage with the audiences to serve as a unifying factor to tell stories that bring people together.The audience’s expectations and comments affect Lepage’s mise-en-scène in two ways:(i) An indirect association with the audiences through the performers’ suggestions and comments;(ii) A direct association with the actual and public audiences.However different signs are prevalent in different cultures which can lead, using Lepage’s method, to comprehension. Therefore, it is important to understand the codes and meanings of the cultures in each individual audience who would be dependent on particular experiences. The backgrounds of codes and events, attached to the cultures, are vital to finding content and further understanding. Regardless of the difficulty of understanding different languages in different countries, Lepage attempts to establish an understandable language through a variety of associations with international audiences, his performers and their cultures. In contrast to Barba’s and Brook’s approaches, Lepage attempts to receive the actual audience’s expectations openly. His work is on the process of developing during each night’s performance. On the one side, Lepage’s approach is close to Boal’s approach, and both are in a direct association with audiences. However, Lepage does not request the audience’s collaboration physically or in participation. For Lepage, the opening night is the beginning of rehearsals and performing is the rehearsal process. This is why he uses the term open or public rehearsal for performance. It seems there is no end in developing Lepage’s mise-en-scène unless Lepage decides to end his show. Overall, there are nine ways in which the audience impacts Lepage’s

Theater and architecture create space and the spirit of life through settings, and both possess the nature of movement, time, rhythm, light, and color. Space and time are the most important common elements of these two arts. Theater directors and designers can put on meaningful and identity- based performances if they make organic use of the human-space relationship in creating space. Phenomenology, due to its ability to recognize the relationship between man and the setting, could be effective in this process. This article analyzes the concept of space in theater directing and performance from the perspective of Christian Norberg Schulz. The main issue of this interdisciplinary research is the evaluation of related conceptual and practical indicators between architecture and theater. Thus, to achieve the main purpose of the research according to Schultz’s theories and viewpoints, “Einstein on the Beach” performance which was designed and directed by Robert Wilson was analyzed. Therefore, by analyzing Schultz’s phenomenological perspectives on the existing structure in space cognition, a descriptive- analytical method was used to achieve the criteria for evaluating space and its characteristics in theater directing. The results show that to improve the organic relationship between the audiences and the actors with the performance, phenomenological approach can be given identity and meaning to the theater scene and performance through the relationship between man and the setting in the creation of space.

In order to present a diagram and model in shaping the mise-en-scène based on the audience’s expectations to show the relationship between the audiences, the dramèaturge and the director, this paper will focus on three main phases: (1) dramaturgy, (2) mise-en-scène, and (3) the quality and relationship between the pleasure of the audience, deadness and distance. This shows how the mise-en-scène is influenced through the Hozor-e-Teckniky. Hozor-e-Teckniky, which is related to the audience/ onlooker, can provide a direction for adjusting the theatrical elements in mise-en-scène. Based on receiving the audiences’ expectations and needs there is a mechanism to show how the directors can access to them. There are several ways and collaboration to understand and fix the theatrical elements by the directors. In this paper I am going to present a diagram which can also be revised throughout different aspects and pathways according to the any director’s work. The main question is: how the director can access to the audiences expectation in order to set his/her mise-en-scène? How many way are there?