UDC 792
DOI: 10.36871/hon.202402033
Authors
Olga S. Nevolina,
Moscow Art Theatre School (Institute of Higher Professional Education) named after
V. I. Nemirovich-Danchenko at the Moscow Art Theatre named after A. P. Chekhov, Moscow, 125009, Russian Federation
Abstract
The term “scenography” is now widely used throughout the world. In recent years, it is in demand not only in the theatre sphere, but is used in relation to exhibition projects, concerts, shows and other events. However, it has no generally accepted definition and has multiple meanings. The desire to identify the causes of this phenomenon is the basis for the research; the historical-genetic method was chosen as the main research tool. The article examines the evolution of the term “scenography” in the context of the theatre art development. The role and functions of the artist in the creation of a performance have changed in different historical periods, which was reflected in terminology. In the XXth century, the ancient Greek word “scenography” found a new life due to powerful creative reforms in theatre art. Gradually it went beyond its narrow initial definition and began to be widely used by theorists, practitioners and critics in various meanings. This process continues today. Considering the diversity of artistic forms and approaches in contemporary art, this trend requires careful understanding and reflection in the theory of scenography and improvement of the terminological apparatus. The material of the article is relevant for researchers, critics and practitioners of theatre art and related fields of activity.
Keywords
scenography, set designer, theatre decorative art, theory of scenography, expanded scenography
