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Trinity: Visual dramaturgy, the body as scenographer and author

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This visual essay will introduce Brave New Worlds’ costume-led devising process in the creative evolution of their production, Trinity. Brave New Worlds is a collaboration between movement specialist and director Valentina Ceschi, and artists and scenographers Guoda Jaruseviciute and myself, Kate Lane. Their work centres on the body as scenographer and on collective authorship of design and direction and examines the following research questions: How can a costume direct the body’s movement and this movement direct the design development? How do you create a dramaturgy from the scenography, invoking concept and narrative? If body scenography is the central focus for the performance, how do other design aspects collaborate to create a complete scenographic experience? This visual essay will present the working methodology of a visual dramaturgy, examining the use of the body as the instigator in the scenography, the dialogue between the costume and the performer, and between the designer/performer as subject, author and object of the design. It will explore the stages of production, and creative processes involved, from initial research on concept through design development to the implications of site-specific locations on the scenography and final dramaturgy. In the process, it places costume as author and dramaturg.
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Document Type: Research Article

Affiliations: Central Saint Martins, 0000000085170017University of the Arts London

Publication date: December 1, 2019

More about this publication?
  • Studies in Costume & Performance aims to encourage, generate and disseminate critical discourse on costume and the relationship between costume and performance. It considers costume as a symbiotic articulation of the body of the performer which is visual, material, temporal and performative. Whether performed live, seen through the camera lens or found in an archive, costume embodies and reflects the performance itself.

    The journal will bring together experts in costume, scenography, performance, fashion and curation as well as critically engaged practitioners and designers to reflect and debate costume in performance, its reception in production, exhibition and in academic critical discourse. Submission will include visual essays. The journal is double-blind peer-reviewed in order to maintain the highest standards of scholastic integrity.

    Past and current practice is considered through the ‘reading’ of the costumed body as a communication of embodied, cultural, social, artistic and historical narratives. As such this journal is an articulation of practice, which, through this process redefines practice itself.

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