Presented at MATC- Mid America Theatre Conference, on May 2024.

ABSTRACT

Modernist Principles in Theatrical Space: An Examination of “Natasha, Pierre and the Great Comet of 1812”
The modernist architectural movement had a significant break with the traditional aesthetics and values of the 20th Century, such as Realism and Naturalism. The movement, led by the French-Swiss architect Le Corbusier (b. 1887) and German Mies van der Rohe (b. 1886), adopted a strategy that stripped houses and buildings of ornaments, leaving only "boxes" with their necessary elements to function. In the theatre, set designers Adolphe Appia (b. 1862) and Edward Gordon Craig (b. 1872) rejected realism in favor of a stage that transcended traditional representation by exploring verticality, lighting, and simple geometric shapes called symbolism.
Both modern approaches are similar and stem from the understanding that "less is more", with simplicity being the opposite of modesty: it is the sophisticated control of light, shadow, and shape. And nothing more. These references were used to address script and director requirements during the creation of the set design for the musical "Natasha, Pierre and the Great Comet of 1812" for the 2023-24 season at the Centre Stage, Penn State University.
This paper will analyze the scenic design of this production based on modernist principles and strategies, and explore how architecture and scenic design are two disciplines connected by their modern concepts and theatricality.

Presented at MATC- Mid America Theatre Conference, on May 2024
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XII Reunião Científica ABRACE, 2024

ABSTRACT
Scenographic Spatiality: An Interdisciplinary Study Between Theater and Architecture
We see discussions of scenography in theatrical representation; however, it can be associated with various fields such as television, cinema, festivals, exhibitions, and more, manifesting in various forms, be it material, digital, or mixed. In Brazil, for instance, there are few formally trained scenographers. We observe that self-taught individuals, architects, visual artists, actors, directors, lighting designers, and many others have acted as scenographers and produced works that establish a rich trajectory. This multiplicity makes it susceptible to various approaches.Therefore, we find scenographers with diverse backgrounds, coming from experiences that are not necessarily standardized. One way to develop this knowledge has been to discuss the importance of architecture and the visual arts in the field of scenography and, consequently, in the theater field.
This article seeks to reverse the logic of understanding scenography as originating primarily from the theatrical sphere. In this sense, the phenomenon will be analyzed based on an iconic work by Luis Barragán, the Convent of the Capuchin Nuns. This specific work, due to its ritualistic use and its requirements, allows for a good comparison with themes important to scenography, such as spatiality, color-light and pigment color, theatrical architecture, and finally, theatricality.

Presented at MATC- Mid America Theatre Conference, on May 2023

ABSTRACT
Modern Architecture: Similarities and Strategies of Abstraction
A significant aspect of modernity was a rupture with the aesthetic values of the past, starting the modernist movement in the beginning of the 20th century in the world. The set designer Adolphe Appia (b. 1862) rejected realism in favor of stage worlds that go beyond traditional representation. His approach proceeds from an austere point of view exploring verticality, lights and simple geometric shapes. At the same time, the modern architecture movement led by Le Corbusier (b. 1887) and Mies van der Rohe (b. 1886) had a similar strategy transforming houses and buildings in boxes with no ornaments and flat roofs but with refined proportions. The architecture movement had a manifesto that stated a different way of living, but it was also a response to the need to rebuild cities destroyed by war.
Both works ( scenography and architecture) had similar strategies on their design transforming signs and symbols into simple shapes without losing their meanings. This paper will analyze the similarities and strategies in between these two movements, their cultural and social context and how this resonates in other countries and cultures that have different signs and symbols.

André de Castro

scenic design - architecture