Scholarlink

In recent years the international and cross-disciplinary domain of scenography has undergone significant theoretical and practiced changes that also apply to UK developments (Hann 2019, von Rosen & Kjellmer 2021). These changes encompass not only models of co-authoring performance with stage and costume designers but also explicitly designer-led production processes and experimentations with design as feeling in decolonial, ecological and political practices (Lamford 2018, Helve 2022, Lindgren 2021). Drawing on these new and critically productive understandings, in this chapter I will apply scenography as a theoretical lens for analysing the experimental, feminist, and decolonial work of UK-based theatre scholar, activist, and artist Alda Terracciano. Experimental in this chapter refers to Terracciano’s way of employing unorthodox and multisensory methods to normative settings. In addition, my way of writing has an experimental touch, as a way of grappling with scenographic powers and lures. I first met Terracciano in 2013, in the context of Critical Heritage Studies at University College London and the University of Gothenburg in Sweden, and have since then been able to closely follow her performative actions “to construct a feminine paradigm of sensory art and challenge stereotypical representations of ‘others’” (aldaterra.com). My exploration will address Terracciano’s provocative Bacon and Eggs intervention from the 2015 conference Challenge the Past—Diversify the Future, in which she employed the scenographic, multisensory tools of smell (frying bacon and eggs), video, and bodily action to target urgent colonial issues. I will also explore her project Mapping Memory Routes of Moroccan Communities (2016–2017) including the performative event and cross-genre installation Zelige Door on Golborne Road launched at Rich Mix in London in 2017, and then touring internationally. Overall, this chapter foregrounds scenography theory as a way of bringing out and making accessible the performative powers of current experimental, activist, and feminist art and theatre. In doing so, it offers an argument for how scenographic approaches can seed the evocative interplay between art and society in a world in need of hope, care, and constructive change.

错误：搜索内容不能为空，请输入英文关键词
错误：关键词超出字数限制，请精简
高级检索

Frying Bacon and Eggs: Scenographic Approaches to Alda Terracciano’s Activist and Experimental Performances

  • 章节

  • 发表日期：

    2025年

查看全文
  • Astrid von Rosen

摘要

In recent years the international and cross-disciplinary domain of scenography has undergone significant theoretical and practiced changes that also apply to UK developments (Hann 2019, von Rosen & Kjellmer 2021). These changes encompass not only models of co-authoring performance with stage and costume designers but also explicitly designer-led production processes and experimentations with design as feeling in decolonial, ecological and political practices (Lamford 2018, Helve 2022, Lindgren 2021). Drawing on these new and critically productive understandings, in this chapter I will apply scenography as a theoretical lens for analysing the experimental, feminist, and decolonial work of UK-based theatre scholar, activist, and artist Alda Terracciano. Experimental in this chapter refers to Terracciano’s way of employing unorthodox and multisensory methods to normative settings. In addition, my way of writing has an experimental touch, as a way of grappling with scenographic powers and lures. I first met Terracciano in 2013, in the context of Critical Heritage Studies at University College London and the University of Gothenburg in Sweden, and have since then been able to closely follow her performative actions “to construct a feminine paradigm of sensory art and challenge stereotypical representations of ‘others’” (aldaterra.com). My exploration will address Terracciano’s provocative Bacon and Eggs intervention from the 2015 conference Challenge the Past—Diversify the Future, in which she employed the scenographic, multisensory tools of smell (frying bacon and eggs), video, and bodily action to target urgent colonial issues. I will also explore her project Mapping Memory Routes of Moroccan Communities (2016–2017) including the performative event and cross-genre installation Zelige Door on Golborne Road launched at Rich Mix in London in 2017, and then touring internationally. Overall, this chapter foregrounds scenography theory as a way of bringing out and making accessible the performative powers of current experimental, activist, and feminist art and theatre. In doing so, it offers an argument for how scenographic approaches can seed the evocative interplay between art and society in a world in need of hope, care, and constructive change.