| Module Identifier | SG20210 | ||
| Module Title | PRINCIPLES OF SCENOGRAPHY | ||
| Academic Year | 2002/2003 | ||
| Co-ordinator | Mr Michael J Brookes | ||
| Semester | Semester 1 | ||
| Other staff | Mr Richard D Downing, Mr Simon J Banham | ||
| Co-Requisite | SG20110 For Joint Honour Scenographic Studies, SG20310 For Joint Honour Scenographic Studies | ||
| Course delivery | Lecture | 2 Hours 8 X 2HR LECTURE / WORKSHOP | |
| Seminars / Tutorials | 1 Hours 4 X 1 HOUR SEMINARS | ||
| Assessment | Semester Assessment | 4 x succinct analytical considerations - equivalent to 500 words each. Each of these assignments carries an assessment weighting of 25% and is conduted and submitted through two complimentary elements: 1. A verbal presentation in the form of an audio ar visual recording, not more than ten minutes in duration, and 2. a supporting word processed transcript, and any other relevant material, submitted in electronic form and limited to the capacity of single 1.44Mb 3.5" computer diskette. | 100% |
- to demonstrate an awareness of a range of basic principles informing the construction and interpretation of scenographic material.
- to demonstrate an understanding of the practical and conceptual consequences of basic principles informing the construction and interpretation of scenographic material.
- to conduct an analysis of spatial and durational aesthetic events generated, organised and presented according to these principles.
As an initial framework the material addressed will be organised across four key areas:
1. SPACE / PLACE
A consideration of notions of 'space', 'place', 'location' and 'context', through acknowledgement of the diversity of concurrent readings within the encounter of any, and all, meaningfully presented aesthetic events. Addressing the consequences of a range of 'views', to include:
- from within the confines of a clearly defined formal convention;
- within the environment of an immediate host or venue;
- within the actuality of local circumstances;
- as an informed act within a social and cultural history.
Principles will be identified and explored from the premises that:
- these readings, being both whole and independent, may directly inform and/or undermine intentions and allusions inherent within any other;
- while any hierarchy within the relative 'visibility' of these readings can be restructured, the full spectrum of these simultaneous readings is always present;
- that these readings can and will be redefined by shifts in 'viewpoint'; be they actual and structural, or as a consequence of other knowledge being brought to bear by the viewer.
2. TIME / DURATION
A consideration of duration as both a temporal and physical dimension. As the frame within which the defining thread of an event is realised as whole and complete. Exploring the characteristics of that 'journey' - be it across the trajectory of an action, narrative, or predetermined conceptual structure - beyond any measurement of the time it may take for the event of this duration to move from initiation to conclusion.
Principles will be identified and explored from the premises that:
- duration provides the primary dynamic arc of any meaningful and communicative aesthetic event;
- identification and choice of this defining durational framework provides the key conceptual structures, and fundamentally dictates form within any such event;
- that there is no necessity for all aspects of the event and its reading to exist across a single duration exclusively.
3. DELIVERY / ENCOUNTER
A consideration of the act of delivery and the moment of encounter as simultaneously distinct and inseparable. Identifying the 'moment' and method of delivery as a construct, allowing actions and information to be made specifically visible as a meaningful act. Acknowledging that there is no necessity for delivery to a single mode of encounter exclusively, or for multiple modes of encounter to be mutually inclusive.
Principles will be identified and explored from the premises that:
- only in the moment of encounter does the meaningful aesthetic event become manifest;
- strategies employed within the delivery of material not only determine 'what' is made visible, but also define parameters for 'how' and 'by whom' that material is encountered;
- that the mode and method of delivery, therefore, are fundamental within the selection of context and the provision of parameters of meaning.
4. STRUCTURE / PROGRESSION
A consideration of dramaturgy and conceptual strategy. Encouraging the holistic appreciation of principles, within both the composition and analysis of organised material. Suggesting that the organisation of material may be usefully examined in terms of:
- 'length', as a 'horizontal' sequences across the full frame of duration;
- 'depth', as a 'vertical' layering of concurrent and interdependent threads;
- 'breadth', as the 'range' or 'field' of concern addressed by that material within the chosen parameters of context and intention.
Principles will be identified and explored from the premises that:
- meaning generated within any particular instance of encounter is most directly informed by the material and modes of delivery that frame it;
- structures within which the instance and intention of material is both located and made appropriately visible can be in themselves inherently meaningful;
- that the identification and creation of such structures and strategies, be they conceptual and/or physical, is the key task of scenography.
Criteria for assessment:
i] For each of the analytical considerations assessment will be made upon the basis of the following criteria:
- Appreciation and articulation of the concepts addressed (20%)
- Evidence of individual research and additional reading (20%)
- Creative and conceptual employment of the media and form of submission (20%)
- Consistency and clarity of proposition (20%)
- Efficiency and sophistication of delivery (20%)
- to examine the practical and conceptual consequences of basic principles informing the construction and interpretation of scenographic material.
- to encourage the analysis of spatial and durational aesthetic events generated, organised and presented according to these principles.
- organisation and presentation of analytical and conceptual material.
- familiarity and facility with IT.