By Patrice Pavis
‘We have reliable cause to be cautious of mise en scène, yet that's the entire extra cause to query this wariness ... apparently photographs from a functionality come again to hang-out us, as though to delay and remodel our event as spectators, as though to strength us to reconsider the development, to come back to our excitement or our terror.’ – Patrice Pavis, from the foreword
Contemporary Mise en Scène is Patrice Pavis’s masterful research of the function that staging has performed within the construction and perform of theatre all through background. This stunningly bold learn considers:
- the staged interpreting, on the frontiers of mise en scène;
- scenography, which occasionally replaces staging;
- the reinterpretation of classical and modern works;
- the improvement of intercultural theatre and ritual;
- new applied sciences and their utilization live to tell the tale the degree;
- the postmodern perform of deconstruction.
But it additionally applies sustained serious realization to the demanding situations of defining mise en scène, of monitoring its improvement, and of exploring its attainable futures. Joel Anderson’s robust new translation lucidly realises Pavis’s research of the altering probabilities for stagecraft within the context of functionality artwork, actual theatre and smooth theory.
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Extra resources for Contemporary Mise en Scene
The point is no longer to interpret it, to reduce it to a signified, but to see it as a relative object, just as Tadeusz Kantor, onstage and alongside his actors, saw the staging as a landscape or an object to be shaped. 1 Non-mise en scène This relativism of the object leads us to that of mise en scène, to the idea that it is better to limit the performance to its minimum in order to make the text heard. Some artists, such as Claude Régy, start with the principle of ‘not staging’: ‘it should be more like going into labour; let go, knock down the walls, allow the free flow from far inside the author’s unconscious, as well as the actors’ unconscious, and thus, still without barriers, it reaches the spectators’ unconscious’.
And yet, even if the voice ‘naturally’ stages the text – since it necessarily gives a certain situation of enunciation – the reader can reduce to the minimum the visual effects, hide the dramatic choices, reduce the subtext, merely suggest some ‘sketches for the staging’ (Denis Podalydès). The voice must nonetheless control itself carefully: it limits itself to referencing the world by way of speech, rather than inscribing itself in the world, and participating in it. In reading the text, the reader onstage projects it into the space, creating and placing in the spectator’s head a fictional universe that seems to come straight out of the words to mingle with what is shown on the stage.
The emphasis shifted from the author of the text to the author of the mise en scène, notwithstanding that the interpretation of the latter would be decisive in giving a possible meaning to the play. This transfer of power ‘authorised’ the former stage manager, now the director, to run the operation, to control everything. This absolute 36 The difference between mise en scène and performance power was only possible if the stage closed in on itself, if it formed an tightly coordinated system of signs.
Contemporary Mise en Scene by Patrice Pavis