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نقش رویداد هنری "چهار سالانه پراگ"(پی کیو ) در تبیین طراحی صحنه معاصر | ||
| نشریه هنرهای زیبا: هنرهای نمایشی و موسیقی | ||
| مقاله 6، دوره 24، شماره 4، دی 1398، صفحه 55-66 اصل مقاله (6.71 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22059/jfadram.2019.274103.615287 | ||
| نویسنده | ||
| رها علینژاد* | ||
| عضو هیات علمی دانشکده سینما و تئاتر /دانشگاه هنر | ||
| چکیده | ||
| در تاریخ معاصر طراحی صحنه به خصوص از حدود نیم قرن گذشته تاکنون، رویداد چهارسالانه پراگ (پیکیو)، نقش مهمی در تبیین طراحی صحنه معاصر دارد. پی کیو طی چندین دهه با دستاوردها و نوآوریهایی که در آن تجربه میشود، تعاریف سنتی طراحی صحنه را دستخوش تغییر میکند. در این مقاله تلاش میشود به اینکه چگونه تجربیات پیکیو، تعاریف و چارچوب‌های طراحی صحنه و فضا را تحت‌تأثیر قرار می‌دهد؟، پاسخ داده شود. در این مجال، فرض نگارنده بر این است که رویداد هنری چهار سالانه پراگ، در تغییر تعاریف و محدوده طراحی صحنه در زمان معاصر موثر است. ضمن بررسی دستاوردهایی مانند طراحی صحنه به مثابه اجرا، چالش فضای مشترک و عناصر آن، فضای معماری ناپایدار، و نقش اشیا و سازندگان در نتیجه این رویداد به مثابه جنبش هنری تاریخ معاصر قلمداد میشود که طراحی صحنه و برخی دیگر از هنرهای پیرامون خود را تحت تاثیر قرار داده و در تغییر و تحولات هنری و بینافرهنگی پیشرو است. این مقاله به روش کیفی انجام و به شیوه تحلیلی و توصیفی نگارش شده است و اطلاعات آن با استفاده از اسناد و منابع کتابخانهای و مشاهدات میدانی، جمعآوری شده است. | ||
| کلیدواژه‌ها | ||
| طراحی صحنه معاصر؛ چهارسالانه پراگ(پی کیو)؛ فضای مشترک؛ فضای معماری ناپایدار؛ اشیا؛ سازندگان | ||
| عنوان مقاله [English] | ||
| The role of the " Prague Quadrennial " ( PQ ) art event in explaining the contemporary stage design | ||
| نویسندگان [English] | ||
| Raha Alinejad | ||
| Faculty member of University of Art | ||
| چکیده [English] | ||
| In the history of contemporary art and culture, especially since about the last half of the century, the Prague Quadrennial (PQ) has played a significant role in explaining the stage design and its related arts. Given the process in the history of the event, initially an international exhibition of stage design called ‘Stage Design and Theater Architecture’ gave an independent identity to its traditional function making it always meaningful within a play. Throughout the process, given the new approaches to the event's changes and development, and the importance of the participation of influential artists, it was renamed the ‘Stage Design and Space,’ thus realizing its new approaches. The result of these experiences, on the one hand, affects the definitions and frameworks of stage design and space design, and on the other, challenges the artists of this area and their experiences. The main approaches in explaining the contemporary stage design and changing its horizons discussed in the present study include stage design as performance, shared space, performance space or unsustainable architectural space, objects, and makers, among others. This article tries to answer how the PQ experiences, definitions, and the context of the design of the scene and space affect the framework of a performance. According to the author's assumption, the four-year Prague art event is effective in changing the definitions and scope of contemporary stage design. As a result, the challenges and experiences of this interactive conference are explored at the PQ, and the definitions undergone fundamental changes in the stage design during this influential process are analyzed. In the stage design section as a performance, a process is examined that shows the stage design is out of its traditional form. This incident allows for the design of the scene to be unconnected to the text and the director and to be presented during the course of the event itself. In the space segment, a fresh look at the creation and field of space for a scene designer, including weather, music, and political space. In the area of sustainable architecture, the stage design draws out of theater halls and into urban space. Makers are the part in which their design and construction process function as a kind of implementation. Studying and evaluating the development process of PQ and drawing its main lines as a rich set can provide more research backgrounds and, on the other hand, PQ's policies during the periodic programs are responsible for several changes in the design of contemporary stage design. Among these policies, are A. creating transformation and preventing the conceptual stability of the stage design, which seems to be influenced by the post-modern life. B. dynamic and continuous experimentation, bringing creative solutions. C. freedom of action during these experiences is the basis of new approaches for participants. D. flexibility and the provision of change in programs that are the basis for greater convergence and the participation of experienced people. The present study is a qualitative research and of analytical and descriptive nature, employing observations and library resources for collecting the data. | ||
| کلیدواژه‌ها [English] | ||
| Contemporary Stage Design, Prague Quadrennial (PQ), Shared Space, Unstable Architectural Space, Objects, Makers | ||
| مراجع | ||
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Aronson, Arnold (2007), Exhibition on the Stage: Reflections on the 2007 Praque Quadrennial, Art and Theatre Institute, Prague. Aronson, Arnold (2012), The Disappearing Stage, Art and Theatre Institute, Prague. Howard, Pamela (2009), What Is Scenography?, Second Edition, Routledge, London and New York. Kuburovic, Branislava & Sodja Zupanc Lotker (2016), Shared Space Music Weather Politics, Art and Theatre Institute, Prague. Lehmann, Hans-Thies (2006), Postdramatic Theatre, treans. by Karen Jurs-Munby, Routledge, London and New York. lotker, Sodja; Jiri Herman, Simon; Banham, Aby; Kohen, Tomas & Svoboda, Rebekka A(2015) Prague Quadrennial of Performance Design and Space 2015, Art and Theatre Institute, Prague. McKinney, Joslin & Philip Butterworth (2010), The Cambridge Introduction to Scenography, Cambridge University Press, Bristol. Ring petersen, Anne (2015), Installation art between image and stage, Museum Tusculanum Press, Copenhagen. Suarez, Claudia (2017), Transformation of the Prague Quadrennial from 1999 to 2015, Edited by: Sodja Lotker, Art and Theatre Institute, Prague, Prague. | ||
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