Tanja Beer, Griffith University Ecoscenography: An Introduction to Ecological Design for Performance

Описание: Second in our 2020-2021 research seminar series:

This presentation explores the topic of my forthcoming book entitled Ecoscenography: an introduction of ecological design for performance (Palgrave Macmillan 2021) based on my PhD research at the University of Melbourne, which I completed in 2016. The monograph examines the emerging concept of ‘ecoscenography’, a neologism that I use to bring performance design into an increased awareness of broader ecologies and global issues. In the book, I argue that the current ecological crisis calls for a new philosophy for theatre production that promotes more ecological (holistic, interconnected and symbiotic) ways of doing things. Related industries, such as architecture, product design and fashion have already shown us how a sustainable ethic can create exciting new processes and aesthetics. However, we are yet to fully grasp what a socially and environmentally conscious approach entails for the performing arts.
The ephemeral and specific nature of theatrical work means that most set and costume designs are only of valued for the duration of the performance season – often a matter of days or weeks – before they are discarded. Designers are trained to work towards Opening Night. How we ‘get there’ or what happens to our sets and costumes after the production ends is often neither a priority nor a consideration. Our focus as scenographers has typically been to create ‘experiences of impermanence’ – often extravagant spectacles with little regard for the prevailing permanence of unwanted remains (seen and unseen) which persist long after the event. Unlike typical theatre productions where the performance season is precedent, ecoscenography is comprised of three stages that are considered equally fundamental to the aesthetic consideration of the work – co-creation (preproduction), celebration (production) and circulation (post-production). Drawing upon literature across the ecological worldview (Hes & du Plessis 2015), systems thinking (Meadows 2008), biomimicry (Benyus 2002), ecomaterialism (Cohena and Duckert 2013; Alaimo 2010), regenerative development (Reed 2007) and others, the book provides an introduction to ecoscenography’s theoretical and practical framework, opening up new processes and aesthetics of theatrical design that enhance the social and environmental advocacy of the field.