Scenography of theatrical Performance between Realism and Abstractionism
While the concept of the cinema in the era of the Greeks reflects the decoration of the background painting and the theatrical scene, we find it in the period of the Renaissance to simulate the natural in the drawing of the scenic background affected by the science Theatrical perspective, until the...
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | Arabic |
| Published: |
Arab Association for Islamic Civilization and Art
2018-07-01
|
| Series: | Journal of Architecture, Art & Humanistic Science |
| Online Access: | https://mjaf.journals.ekb.eg/article_20557.html |
| Summary: | While the concept of the cinema in the era of the Greeks reflects the decoration of the background painting and the theatrical scene, we find it in the period of the Renaissance to simulate the natural in the drawing of the scenic background affected by the science Theatrical perspective, until the realism came where the theatrical scene is functional, that it simulates the time and space and sends the viewer signs of the Semiologik so. In the modern era and with the beginning of the trends of modern art and the experiences of the artists against the realism, a new concept of the scenography has emerged on the surface, displacing its predecessor from being an ornate and a modern theoretical vision that refers to a formal equivalent of the text.With the emergence of schools, movements, trends and doctrines such as Chaldeanism, Surrealism and Abstractism, the theatrical or visual scene has become a major element in the theatrical play, producing a new visual and visual vision that presents the motives and dreams in visual images that are different from reality and simulated to the inner world of man. For example, the Tkabibion contributed to the manifestation of the invisible aspects of the picture. Picasso's work in the theater became null and void, and the abstract school came to the house of Mondrian. The trend towards processing the shape was changed, replaced and remodeled. To arrive at a new image of a structure that does not belong to the original but shows its essence. Hence, the concept of cinemography is transformed into something similar to the language of formation in theatrical vacuum. This has been aided by the technical advances of lighting and the movement of the stage, so that a new concept of synography will once again surface, which will be addressed in the period between realism and abstraction of the term evanescence between disappearance and appearance and its relationship which is inseparable from the plastic art and all Means and elements of theatrical presentation.
|
|---|---|
| ISSN: | 2356-9654 2357-0342 |