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- Holdar, Magdalena, 1970-
(author)
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Scenography in Action : Space, Time and Movement in Theatre Productions by Ingmar Bergman
- 2005
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Doctoral thesis (other academic/artistic)abstract
- Developments in technology and new aesthetic idioms in the past decades have changed the preconditions for the scenographer’s work in the theatre. Therefore, it has become problematic indeed to describe scenography as the sum of costume and set, although this continues to be the common definition of the concept. This study focuses on the interaction of different features in a theatre performance, such as scenography, actors, light and sound. The aim is to show that scenography, as opposed to set and costume, cannot be separated from the live performance, i.e. the context for which it is created.By investigating scenography from the parameters space, time, and movement, the thesis demonstrates that the art is anything but stable. On the contrary, it continuously changes shape, size, and appearance. The actors in particular play an important role in the organization of the space, thus exposing the instability of scenography in action.The analytical chapters in the thesis discuss four different movements, or transformations, in scenography, appearing in eight theatre productions staged by Swedish director Ingmar Bergman between 1984 and 1998. The first chapter, "Expansion," discusses how scenography incorporates new spaces, either through the actors’ movements or by quoting architectonic details from other parts of the theatre building. "Revolution" shows different ways of revolving scenography without the aid of technical devises such as the revolve stage. "Perforation," the third chapter, analyses the effects of a perforated set and its consequences for the spectators’ apprehension of scenography. The last chapter, "Metamorphoses," highlights actions that undermine the definition of some central concepts in performance, such as “performers,” “props,” and “spectators,” all of which are intertwined in the analysed productions.A concluding part of the dissertation elaborates on the effects of these movements and transformations in scenography, in particular as related to the physical and mental relationship between actor and audience.
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- Karahan, Anne, 1958-
(author)
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Byzantine holy images and the issue of transcendence and immanence : The theological background of the Late Byzantine Palaiologan iconography and aesthetics of the Chora church, Istanbul
- 2005
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Doctoral thesis (other academic/artistic)abstract
- On the basis of theological ideas in the Christian Orthodox tradition in general, and the Cappadocian Fathers in specific, this dissertation examines how the ontology of the transcendent triune God and the human and divine in Christ is implied or manifest in the Late Byzantine Palaiologan mosaics and murals of the Chora church.The study is divided into four chapters. The first chapter focuses on conceptual prerequisites in the tradition of Christian Orthodoxy and the three Cappadocian Fathers, for representation and indication of ‘the right belief’, and of beauty in a Christian sense. In addition to a brief historical background of holy images, it also explores how the Cappadocian concept of eikôn theou, during the iconoclastic era, was used as argument for holy images and how a semantic change of this concept paved the way for extensive use of images.The second chapter is an analysis of how, in the iconography and aesthetics of the Chora church in particular, but also in some Early and Middle Byzantine contexts, light, color, form and matter, abstraction and concretion are used to imply or represent the idea of a communion between the transcendent uncreated and uncircumscribed triune Christian God and the immanent divine and human presence in the world of Jesus Christ.The third chapter is an exploration of how abstraction is in communion with narration in the holy images of the Chora church and that this is a result of religious ideas on the theology, God’s constitution, and the economy, God’s actions. The study of these ideas shows that a paramount religious factor for Byzantine iconography and aesthetics is that the evangelical event, which pertains to the Gospel narrative, also has implications beyond the created in time and space; i.e. divine history differs from human history. To emphasize the divine disposition balance and unbalance, as well as kinetics and statics contrast the idea of eternal divine balance to that of the ‘unnatural’ unbalanced state of evil.The last chapter is a study of how patristic authority and significance of dogmatic tools such as apophatic and cataphatic theology are essential for analysis of the theological impact of holy images. A holy image is a divine darkness that enables the believer to have encounters with the divine.
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- Tillberg, Margareta, 1960-
(author)
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Coloured Universe and the Russian Avant-Garde : Matiushin on Colour Vision in Stalin's Russia, 1932
- 2003
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Doctoral thesis (other academic/artistic)abstract
- Colour vision was of fundamental importance in modernist art. One reason its significance has been studied so little with regard to Russian art is that Soviet archives were inaccessible until the early 1990s. This work is the first close study on a so-called laboratory in an art- and science institute in the Soviet Union in the 1920s. It is based on extensive research in twenty different Russian archives, each including numerous archival funds, in addition to the Stedelijk Museum Prentenkabinet in Amsterdam and other unpublished material.Contemporary ideas from German Bauhaus and De Stijl in Holland have received deserved attention. In the Soviet Union, avant-garde artists were silenced as enemies of the people – their priorities were other than the class struggle.The implicit narrative of the book, is about a group of intellectuals who struggled to work with what they believed in, e.g. an expansion and change of innate possibilities to create something never seen before, despite political oppression.The aim of this study is to present and analyse the hitherto unknown colour theory of Mikhail Matiushin (1866–1934) published in Leningrad and Moscow in 1932.The work is divided into five parts. The first part, Colour, deals with the contexts of history, colour and art. During the 1920s a number of institutes for interdisciplinary scientific research in art, design and architecture were founded in the Soviet Union. One of them was the Institute of Artistic Culture in Leningrad – GINKhUK – where Malevich and Tatlin also worked. One goal was to formulate a universal language with mathematics as the ideal science, to be collected into an encyclopaedia for visual culture (art, architecture, design); another goal was to redesign the world for the masses outside the ‘dead’ museums, and to produce a new kind of human being, a third goal. There the artist, musician and theoretician Mikhail Matiushin supervised the Department of Organic Culture with his Laboratory of Colour.The second part, Vision, analyses Matiushin's training programme, a variant of synaesthetical union of the senses, which includes an extension of the visual angle to a complete 360°; i.e., the consciously amplified eye, defined in Matiushin’s peculiar way.The third part, Culture, compares Matiushin with the theosophist mystics Pëtr Uspenskii and C. H. Hinton, the painter Wassily Kandinsky and the philosopher Henri Bergson.Part four, Ideology, sheds light on colour from those whose perspective was based on the State philosophy of dialectical materialism. By the early 1930s, the innovative institutes were closed down due to centralization of all expressions of culture under the banner of Socialist Realism.The last part, Synthesis, provides a detailed discussion on what happened after the 1930s. It concludes with the colour theory text, both its Russian original and for the first time in English translation.The belief is that Matiushin’s colour theory was not given any consideration after its publication in 1932. The results of this study show, however, that his colour handbook has been and still is used in the colour design of St. Petersburg.
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