Landscape dramaturgyAna Vujanovićhttps://www.academia.edu/37812064/Landscape_dramaturgy_Space_after_perspectivehttps://www.academia.edu/34879796/Meandering_together_New_problems_in_landscape_dramaturgy

Notes from the texts:
On that slippery terrain I identify a tendency in contemporary performing arts that I name‘landscape dramaturgy’. Here we cannot speak of the traditional Western idea of landscape, which has human inhabitation as its ultimate purpose and which involves humans’ interventions into the Earth’s surface as the integral element. (Stilgoe 2015) In an artistic sense, we thus cannot speak of the traditional landscape oil on canvas, where the land is staged for the viewer as ‘scenery’. To carefully approach the tendency I call landscape dramaturgy, apart from the changed conception of dramaturgy, we should accept a new notion of landscape as the morphology of the Earth’s surface, which is not a ‘shoveled land’ – as Stilgoe plays with its etymological root, the landschop – and thus entirely defined by human needs and purposes. Landscape dramaturgy is therefore a metaphor that has a strong epistemic rationale, grounded in rethinking the position of the human mind and human agency in the world. It may be especially cogent if we associate the landscape with an indifferent thingness of the world in the moment of the epochal questioning of the Anthropocene and indeed detrimental results of humans playing the main role in the life of the Earth.Ana VujanovićDramaturgy as an organization of experience ·
Vujanović points to the idea of dramaturgy, through the change from thinking in semiotic categories of "performance text" (verbal text, scenography, lights, etc.) to thinking about affects and experience as the main tissue of performance. ·
From stratigraphy (semantic layers and their coordination and superposition) to landscape dramaturgy. For Vujanović, it is a slow, seemingly winding dramaturgy: a composition without nature that is progressing somewhere returns to an earlier point, and then to a new direction. It creates failure in our expectations, patterns that can stigmatize our experience.

As one of the characteristics of Landscape dramaturgy, Vujanović cites the abolition of the personal view, which seems more radical, because he experiments with the suspension of the perspective order that structures the perspective at one point. Optically speaking, suspension manifests in spaces, things, and bodies present on stage in their actual sizes, shapes, proportions, and renderings instead of as it seems to us - where objects in the first plane appear larger than those in the third plane - as in classical theatrical scenography accepts perspective. According to Vujanović, landscape dramaturgy evokes perspective in performances through tactics such are:

  1. Multiplication of personal views (eg works by choreographer Sebastian Matthias) breaking the fourth wall with the audience, spectators are on all sides of the play, the individual view is provoked by the presence of others views); All viewers have the right to their individual view. But no one can see the whole that is there. Also, such modes are not so critical or visionary but rather accurate according to the current social organization of neoliberal capitalism. Another variant is physically divided space: strictly choreographed and stylized performance while the audience walks around. In this case, the space is composed of two unequal registers: those who know the structure of work and those who are trying to break it.
  2. Challenging the personal view with the perspective of one point - the personal view of the spectator towards the performing space is abolished, the theatrical apparatus is interrupted, the performance in the dark, the focus on the inner world of the play.
  3. Sharing views - the temporality of seeing the same thing: the tension between the individual and the collective register of views.
Temporality as visual communicationInternet logic. ·
Premises of thought through hypertext and hyperlinks and the production and circulation of images, as a new dominant means of communication. Although time groups change their structure and change from one image to another. The time needed to develop communication is treated with the visual composition.
Browsing the internet is used as a dramaturgy or dramaturgical structure of a dance work, where the human perception of time is confused because we get lost in the chronological time itself.
Attention and presence
Spend time with - finding your own pace with works of art in which we decide for ourselves whether we want to implement contemplation, consumption, or lack of thinking. Spangberg, Natten.

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