Skip to main content
Article thumbnail
Location of Repository

Scenography and new media technologies: history, educational applications and visualization techniques

By Iryna Kuksa


The endemic presence of digital technology is responsible for numerous changes in contemporary Western societies. This study examines the role of multimedia within the field of theatre studies, with particular focus on the theory and practice of theatre design and education. In the cross-disciplinary literature review, I investigate such primary elements of contemporary media as interactivity, immersion, integration and hyper-textuality, and explore their characteristics in the performing arts before and during the digital epoch. I also discuss various IT applications that transformed the way we experience, learn and co-create our cultural heritage. In order to illustrate how computer-generated environments could change the way we perceive and deliver cultural values, I explore a suite of rapidly-developing communication and computer-visualization techniques, which enable reciprocal exchange between viewers, theatre performances and artefacts. I analyze novel technology-mediated teaching techniques that attempt to provide a new media platform for visually-enhanced information transfer.\ud My findings indicate that the recent changes towards the personalization of knowledge delivery and also towards student-centered study and e-learning necessitated the transformation of the learners from passive consumers of digital products to active and creative participants in the learning experience. The analysis of questionnaires and two case studies (the THEATRON and the VA projects) demonstrate the need for further development of digital-visualization techniques, especially for studying and researching scenographic artefacts. As a practical component of this thesis, I have designed and developed the Set-SPECTRUM educational project, which aims to strengthen the visual skills of the students, ultimately enabling them to use imagery as a creative tool, and as a means to analyze theatrical performances and artefacts. The 3D reconstruction of Norman Bel Geddes' set for The Divine Comedy, first of all, enables academic research of the artefact, exposing some hitherto unknown design-limitations in the original set-model, and revealing some construction inconsistencies; secondly, it contributes to educational and creative practices, offering an innovative way to learn about scenography. And, thirdly, it fills a gap in the history of the Western theatre design.\ud This study attempts to show that when translated into digital language, scenographic artefacts become easily retrievable and highly accessible for learning and research purposes. Therefore, the development of such digital products should be encouraged, but care should also be taken to provide the necessary training for users, in order to realize the applications' full potential

Topics: PN2000
OAI identifier:

Suggested articles


  1. (1923). 269 Author of three books: `A Theatrical Presentation of the Divine Comedy of Dante Alighieri',
  2. (1998). 31: Cave Automatic Virtual Environment. Source: Beier
  3. (1998). 32: Data Glove. Source: Beier
  4. (1999). A History of Russian Theatre. Cambridge: doi
  5. (1924). A Project for a Theatrical Presentation of the Divine Comedy of Dante Alighieri.
  6. (1916). A.; designer, author, theatrical director and producer; born Adrian, Mich., 1893; son of Clifton Terry and Lulu (Yingling) G; student Cleveland School of Art, Chicago Art Inst.; married Helen Belle Sneider
  7. (1999). Acting in Cyberspace: The Player in the World of Digital Technology,
  8. (1996). Adding Intelligence to the Interface, doi
  9. (1994). Adolphe Appia: Artist and Visionary of the Modern Theatre. Camberwell: doi
  10. (2005). Another Thing the Romans Gave Us - Virtual Reality!
  11. (1993). Architecture, Actor and Audience. doi
  12. (2000). Art in Real-Time: Theatre and Virtual Reality. Seminar CIREN,
  13. (1996). Art into Theatre: Performance Interviews and Documents. doi
  14. (1993). Art of the Electronic Age. doi
  15. (1994). Augmented Reality: a Class of Displays on the Reality-Virtuality Continuum, doi
  16. (2002). Augmented Reality: a New Way of Seeing. doi
  17. (2003). Avatar Technology: Giving a Face to the e-Learning Interface. The e-Learning Developers'
  18. (1966). Behaviourist Art and the Cybernetic Vision,
  19. (1995). Being Digital. doi
  20. (2001). Being Virtually There - Reality and Presence in Mediated Learning.
  21. (2005). Blended Learning: Let's Get beyond the Hype. IBM Global Learning Services, White Paper
  22. (1998). Boxed Sets: Television Representations of Theatre.
  23. (1957). Brecht on Theatre: the Development of an Aesthetic.
  24. (1996). But is it Art? Computer Graphics and the Definition of Art.
  25. Challenges of Recreating Reality in Virtual Environments, doi
  26. (2000). Charting Past, Present and Future Research in Ubiquitous Computing. doi
  27. (1979). Cl
  28. (1999). Collaborative Mixed Reality in Mixed Reality Merging Physical World and Virtual World, doi
  29. (1999). Computer Modeling as A Tool for The Reconstruction of Historic Theatrical Production Techniques, doi
  30. (1994). Computer Scenographic. Carbondale : Southern Illinois
  31. (2003). Computer Visualization for the Theatre: 3D Modelling for Designers. doi
  32. (1964). Conquest of Ubiquity from Aesthetics, trans. by Manheim,
  33. (1999). Contemporary Performance/Technology, doi
  34. (1999). Creating A Context: The Case of King Lear, doi
  35. (2004). Creating Interactivity: The Virtual Object System. Virtual Objects System. Version 0.23.0.
  36. (1984). Culture as History: The Transformation of American Society in the Twentieth Century.
  37. (1992). Cyberarts: Exploring Art and Technology.
  38. (2000). Developing a Questionnaire. London: Continuum. _
  39. Digital Scenography: Bringing the Theatre into the Information Age,
  40. (1951). Divine Comedy Stage Model.
  41. (1992). El Cine del Futuro: The Cinema of the Future,
  42. (1999). Embodied Reason, doi
  43. (1970). Expanded Cinema. doi
  44. (2000). From Wagner to Virtual Reality. doi
  45. (1977). From Work to Text, in Image, Music, Text/Roland Barthes, doi
  46. (1993). Georg Wilhelm Friederich Hegel: Introductory Lectures on Aesthetics, doi
  47. (2006). http: //archeo┬Čuide. intranet. gr/project-htm " http: /hvww. blasttheory. co. uk/bt/work desertrain. html " http:
  48. (2004). Interactions: E-Learning at the University of Warwick,
  49. (2002). Interactive Storytelling: The Renaissance of Narration,
  50. (2002). Interactive Theatre Experience in Embodied and Wearable Mixed Reality Space, doi
  51. (1996). Learning with Technology: Using Computers as Cognitive Tools,
  52. (1991). Liquid Architectures in Cyberspace
  53. (2005). Looking into the Abyss: Essays on Scenography. Ann Arbor: doi
  54. (2006). Making Space: Caught between the Monster and the Wall, presented at the Making
  55. (1982). Max Reinhardt. Cambridge: doi
  56. (1998). Maximizing Usability: The Principles of Universal Design, doi
  57. (1920). Meyerhold and the Theatre Theatrical. Originally published in The Russian Theatre under the Revolution
  58. (1960). Miracle in the Evening: an Autobiography by Norman Bel Geddes. Edited by Kelley, doi
  59. (2002). Narrated Theory: Multiple Projection and Multiple Narration (Past and Future),
  60. (1977). New Models, New Visions: Some Notes Towards a Poetics of Performance,
  61. (1979). Norman Bel Geddes: An Exhibition of Theatrical and Industrial Designs.
  62. (1951). On the Nature of the Universe, trans. by doi
  63. (2001). Overture
  64. (1997). Perceptual Effects in Aligning Virtual and Real Objects in Augmented Reality Displays, presented at the 41' Annual Meeting of Human Factors and Ergonomics Society,
  65. (1989). Performance Reconstruction: the Vital Link between Past and Future, doi
  66. (2004). Performing the Past: the Virtual Revolution in Performance History,
  67. (2002). Presence in Front of the Fourth Wall of Cyberspace,
  68. Pushing Mixed Reality Boundaries, doi
  69. (2002). Reflections on Digital Imagery: Of Mice and Men,
  70. (1977). Reinhardt: `High Priest of Theatricality'. The Drama Review: TDR, doi
  71. (1999). Remediation: Understanding
  72. (2001). Review of doi
  73. (2003). Review of Internet Shakespeare Editions, A Shakespeare Suite CD-ROM.
  74. (1944). Scale factory 1929; City of Toledo
  75. (1933). Six Theatre Project for the Chicago World's Fair.
  76. (2006). Smart Laboratories: New Media,
  77. Staged Mixed Reality Performance `Desert Rain' by Blast Theory.
  78. (1995). Technology's Role in Education Reform: Findings from a National Study of Innovating Schools.
  79. (1995). The Aesthetics of Virtual Worlds: Report from Los Angeles.
  80. (1994). The Art and Architecture of Cyberspace,
  81. (1980). The Blue Rider.
  82. (2000). The Cyberstar: doi
  83. (1999). The design of software to support creative practice.
  84. (1922). The Divine Comedy: Drawings for a Dramatic Production by Norman Bel Geddes.
  85. (2005). The DVD Revolution: Movies, Culture, and Technology. doi
  86. (1988). The Ecstasy of Communication, doi
  87. (1968). The Empty Space.
  88. (2001). The Language of New Media. doi
  89. (1967). The Medium is the Massage: An Inventory of Effects. doi
  90. (1962). The Open Work, trans. by Cancogni, doi
  91. (1999). The Radical in Performance: Between Brecht and Baudrillard. doi
  92. (1849). The Revolution. Printed
  93. (1999). The Screen Test of the Double: the Uncanny Performer in the Space of Technology, doi
  94. (1988). The Signs of Our Times: the Secret Meanings of Everyday Life.
  95. (2000). The Societal Design of a Societal Cyberspace. Fairfax: Advanced Design Institute.
  96. (2001). The THEATRON Project: Guide to Good Practice; a Manual for Teachers.
  97. (1998). The VA project: The actual pilot test of the Visual Assistant was conducted in
  98. (1999). The Visual Assistant: Designing Software to Support Creativity. doi
  99. (1964). Theatre and the Plague, in The Theatre and Its Double: Essays by Antonin Artaud, doi
  100. (1989). Theatre Audiences and the Reading of Performance,
  101. (1997). Theatre Audiences: a Theory of Production and Reception. doi
  102. Theatre in Cyberspace: Issues of Teaching, Acting, and Directing.
  103. (1996). Theatre through the Ages. Available: http: //us. geocities. com/history of theatre webmaster/index.
  104. (2005). Theatre, Performance and Technology: doi
  105. (2003). Theory, Practice and Modern Drama. Available: http: //moderndrama. ca/crc/resources/essays/theories of drama.
  106. (1998). Towards a New Paradigm: Sovereignty on the Internet.
  107. (2000). Towards a Philosophy of Virtual Reality: Issues Implicit in Consciousness Refrained, doi
  108. (1968). Towards a Poor Theatre, doi
  109. (1995). Transforming Professional Development for Teachers. A Guide for State Policymakers. Washington DC: National Governors'
  110. (1964). Understanding Media: the Extensions of Man. London: Ark Paperbacks. doi
  111. (2003). Virtual Art: From Illusion to Immersion. London: doi
  112. (1990). Virtual Environment Operating System: Preliminary Functional Architechture. Memorandum M-90-2
  113. (2004). Virtual Environments & Stories: Narrative Event Adaptation in Virtual Environments. doi
  114. (2001). Virtual Reality Monitoring: Phenomenal Characteristics of Real, Virtual, and False Memories. doi
  115. (1990). Virtual Reality, as Unreal As It Gets, doi
  116. (1990). Virtual Reality: Directions of Growth. Notes from the SIGGRAPH '90 Panel
  117. (2004). Virtual Theatres: An Introduction. doi
  118. (1990). Virtual Worlds: No Interface to Design.
  119. (1999). Virtual_Stages: an Interactive Model of Performance Spaces for Creative Teams, Technicians and Students. doi
  120. (2000). Visual Digital Culture: Surface Play and Spectacle in doi

To submit an update or takedown request for this paper, please submit an Update/Correction/Removal Request.