Arnold Aronson defines scenography in the introduction of his book Looking Into the Abyss as “an all-encompassing visual-spatial construct as well as the process of change and transformation that is an inherent part of the physical vocabulary of the stage.” This definition also outlines my perspective on the core tenets of puppetry: that it performs “change and transformation,” and it is “the physical vocabulary of the stage.” Turning this relationship around, I suggest that scenography is the body of a performance and when it performs, or is ‘puppeteered,’ it becomes a being.
I study methodologies for and histories of performative scenography in theater and its debt to or applicability towards: comics, film, live art, and virtual reality. Associated critical areas of study include: affect, embodiment, consciousness, the phenomenology of time, touch, reality, and pretend.
Seeking ART RESIDENCIES to complete,
The Eye Which We Do Not Have - music and dramaturgy
General Rules of Wolf Life - choreography and dramaturgy
Meditation Zero - playwrighting