DIGITALSTAGE. Spatial Analysis of 21st Century Digital Scenographic Installations
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PERFORMANCE & SPACE PROCEEDINGS OF THE PERFORMING SPACE 2023 CONFERENCE 7 - 9 July, 2023, Nafplio, Greece Edited by Pablo Berzal Cruz, Athena Stourna, Christina Zoniou, Giorgos Kondis Scientific Committee Chair: Eftichios Pirovolakis, University of the Peloponnese Alba Balmaseda Domínguez, Università degli Studi di RomaTre Pablo Berzal Cruz, Universidad Politécnica de Madrid Giorgos Kondis, University of the Peloponnese Maria Mikedaki, University of the Peloponnese Andrea Moneta, Nottingham Trent University Alberto Morell Sixto, Universidad Politécnica de Madrid Athena Stourna, University of the Peloponnese Christina Zoniou, University of the Peloponnese Co-organised and hosted by: University of the Peloponnese Directed by Pablo Berzal Cruz within the framework of the Margarita Salas Programme, funded by: European Union - NextGenerationEU Ministerio de Universidades de España, Universidad Politécnica de Madrid ISSN 3057-434X ISBN 978-960-89135-6-1 2025
CONTENTS Introduction ······························································· i Keynote speaker: Dorita Hannah ······························································· 1 Contemporary Theatre Has Left the Theatre… ‘Houses’ Made of Bricks, Sticks and Straw Fatma Erkök ······························································· 15 Site-Specific Performance Works of Tugce Tuna: Examining Spatial Performativity through a Turkish Choreographer’s Perspective Kimvi Nguyen ······························································· 31 Embodied Topophilia and Vernacular Place-Making: An Analysis of British Artist Kimvi’s Filmed Performance Auntie's Tiles in the Chinese Context Dimitra Kordomenou ······························································· 43 “Lifting One's Head Up”: Two Cases of Public Nomadic Interventions Stefania Strouza ······························································· 61 Posthumanist Performativity in Heiner Müller’s Play ‘Despoiled Shore Medea-Material Landscape with Argonauts’ Evangelia Danadaki ······························································· 73 Metramorphosis: a Performative Model of Becoming and the Paradigm of Antigone (Again) Ilias Sapountzakis ······························································· 83 Tragic Space in Site-Specific Productions of Aeschylean Tragedies: Prometheus Bound (2010) by Theodoros Terzopoulos and Persians (2010) by Mike Pearson Aristotelis Kaleris & Gabi Castro ······························································· 94 De-form to Re-form. Architectural Preservation as Safekeeping of the Performative Structure of Space, an Experimental Study for the Temple of Apollo Epicurius at Bassae James Martin Charlton ······························································· 112 Farms, Libraries and Adventure Playground Spaces for Orwell, Hardie, Carroll and Fry: James Martin Charlton's Site-Responsive Productions of James Kenworth's Plays in Newham Rania Kapetanaki ······························································· 119 Reflecting on Four Performances in the Public Space of Athens Tyrone Grima ······························································· 132 Spatial Dynamics in Sartre’s Huis Clos: Otherness as a Spatial Oppression Magdalini Dourou ······························································· 146 The Politics of Space in Ça ira (1) Fin de Louis Directed by Joël Pommerat Thomas Symeonidis ······························································· 161 Aesthetic Description as Performative Act. On Re-Figuring Spatial Loss Dimitra Kanellopoulou & Stella (Styliani) Dimitrakopoulou ······································ 170 Performing Architecture: A Collaborative Educational Research in Acronafplia
Burcu Bostancı & Fatma Erkök ······························································· 181 Exploring Symbolic and Temporary Spaces in Urban Rituals Using Fire as their Primary Component Ursula Dimitriou, Aliki Kylika & Eliza Soroga ······················································ 193 Negotiating Performance Architecture as a Pedagogical Tool Valentina Rizzi ······························································· 203 Performing Bodies, Performing Architectures. Lab Excursion between Art Installations, Build Space and Transformative Practices Antonia Vasilakou ······························································· 216 Healing Flavors: Exploring Emotional Perception in the Landscape of Askleipeion Sanctuary Iro Grigoriadi ······························································· 230 The Notion of Space in Dance Performance Patricia Lazou ······························································· 236 Anti-Memory. The Space Where the Body Moves Becomes its Place of Origin Georgia Eleftheraki & George Tzamalis ······························································· 251 The "CATography" of Apo Syros. A Different Narration Fernando Zaparaín Hernández & Jorge Ramos Jular ·········································· 265 Digitalstage. Spatial Analysis of 21st C. Digital Scenographic Installations Pablo Llamazares Blanco ······························································· 275 Digital Stages for a New Performative Space. The Work of Random International Daniel Barba Rodríguez ······························································· 289 Digital Interactive Space Created by Adrien M & Clarie B Vasiliki Sirakouli ······························································· 299 Virtual Spaces of Music and Dance. The TRaMIR Project on Intangible Heritage Christina Zoniou ······························································· 306 Performing Democracy. Site-Specific and Forum Theatre in Spintime, Rome Athena Stourna ······························································· 326 Of Real and Mythic Places: Performing in Archaeological Sites in the Argolid Andrea Moneta ······························································· 334 The City as a Museum: Restoring the Identity and Intangible Heritage of Nottingham's Multicultural Past through Augmented Reality and Location-Based Technology Alba Balmaseda Domínguez ······························································· 348 WET Cities: Reversing Bathing Rituals Pablo Berzal Cruz ······························································· 362 Spatial Performativity in the Natural Environment. At the Origins of the Asclepieion at Epidaurus Other Papers Presented at the Conference······························································· 375 Anna Tsichli Boissonnas (Abstract) ······························································ 377 Traumland - The Land of (our) Dreams. A Journey through Space, Body, Language and Performance for the Search of the Iconic and Sublime Place to Live in Surreal Times
Ioanna Papadopoulou (Abstract) ······························································· 379 This Used to Be my Playground… Argos as “Background”, as Scenery, as Past and as Present in the Aeschylean Tragedy Ufuk Soyöz ······························································· 379 Reconstructing Hellenistic Performance: Rituals of Nikephoria at the Precinct of Pergamon Altar Aycan Kizilkaya (Abstract) ······························································· 381 Site-Specific Theatre: A Case Study in Istanbul Elena Peytchinska (Abstract) ······························································· 382 Performing Stage: An Interdisciplinary Re-reading of the Black Box Eleni Linaki (Abstract) ······························································· 383 How the Tangible and the Intangible Cultural Assets of the Space Create a New Identity Anna Tzakou ······························································· 384 Performing Landscape as a “Dream of Presence”
Performing Space 2023 265 DIGITALSTAGE. Spatial Analysis of 21st Century Digital Scenographic Installations Fernando Zaparaín Hernández Research Group “ESPACIAR”, University of Valladolid, Spain Jorge Ramos Jular Research Group “ESPACIAR”, University of Valladolid, Spain Abstract This paper aims to prove the interests, references, and objectives of the research project titled 'DIGITALSTAGE: Spatial Analysis of 21st Century Digital Scenographic Installations' (20222025), a project funded by the Ministry of Science and Innovation of the Spanish Government through its National Research Agency. The main objective of the research project is to document, represent, and analyse, using digital architectural tools, the new spatiality that has been generated since the 1980s, particularly during the 21st century, in various scenographic installations (artistic, cultural, scenic, or audiovisual), due to the disruptive integration of digital software: videomapping, stagebots, sound environment, augmented reality, 3D modelling and projection, 360º vision, holograms, among others. The aim is to provide the academic community with a cohesive analytical graphic methodology and documentation enabling, above all, the assessment of the significant spatial categories present in these stage configurations. In addition to the existing theoretical studies, it is expected to offer a new perspective by analysing their three-dimensional characteristics through procedures that have been already effectively used to comprehend and represent space in architecture, a discipline inherently focused on spatiality. Keywords: Digitalstage, space, scenographic installations, research project.
266 Performing Space 2023 DIGITALSTAGE. Spatial Analysis of 21st Century Digital Scenographic Installations The aim of this research project is to document, represent, and analyse, using architectural tools, the new spatiality that have emerged since the 1980s, particularly during the 21st century, in various forms of scenographic installations (artistic, cultural, scenic or audiovisual). These developments stem from the disruptive integration of digital software, including video mapping, stagebots, sound environments, augmented reality, 3D modelling and projection, 360° vision, holograms, among others. This innovative multimedia approach has unlocked unprecedented avenues of expression and plastic configurations. The digital stage thus attains levels of illusion and immersion akin to those observed in the Italian theatre, but paradoxically more interactivity. Figure 1 Le mouvement de l’air, 2015. Adrien M & Claire B. Digital scenography, if it doesn't fall into mere sensationalism, wields a spatial power previously unattainable. Firstly, it harnesses new technical resources, and secondly, it is a complex amalgamation of diverse media and disciplines, transcending the constraints of time and space, resonant with the "hypermodernity" of our era. Studying these installations can propel architecture beyond its self-referential confines. Furthermore, they represent experimental and flexible constructions, introducing innovative three-dimensional categories.
Performing Space 2023 267 Analogous to brief essays, they diverge from architecture primarily in their more fictional essence, with a diminished emphasis on utility. These installations create the configuration of space not solely through geometric delineations, but also via phenomenological elements: light, imagery, graphics, atmosphere, and sound. This architectural research project focuses on a contemporary form of scenography. Its methodology is predicated on a reasonably grounded assumption: the graphic tools employed in architectural analysis and spatial definition can offer valuable insights into understanding digital stage installations, which aspire to create both physical and illusory environments. This hypothesis has been substantiated through prior comparative studies examining the spatial dynamics across architecture and various artistic disciplines. With the collaboration of the international team of the University of Valladolid Recognised Research Group ESPACIar, the investigations have explored the interplay between architecture and diverse fields such as video games, graphic narrative, cinema, exhibition design, as well as the sculptural works of Oteiza, Chillida, Judd, and Christo & Jeanne Claude. Figure 2 Anar-hi anant (2000). Eugénia Balcells. Graphic and Planimetric Analysis by ESPACIar Research Group Diagrams. The field of digital stage installations serves as a rich source of insight for architectural practice, given its reliance on sketches and assembly instructions for design and execution. Over time, these drawings become vital resources for the analysis of the works. Thus, our research proposes to begin by compiling preparatory documentation from a curated selection of stage productions. Subsequently, to enhance and systematise this information, we aim to conduct spatial explorations employing dihedral, axonometric, and 3D systems, supplemented by dynamic digital models illustrating variations in configuration and lighting. This approach will not only facilitate the documentation and definitive definition of the works for permanent or
268 Performing Space 2023 reproducible purposes but will also enable: 1) the analysis of their spatial attributes, 2) comparison across different installations, and 3) classification into various formal typologies. To streamline the selection process for case studies, we will focus on digital stage productions staged since the year 2000 within the proximate European context (Spain, Italy, Portugal, France, etc.). This geographical focus is chosen because the researchers are embedded in this cultural milieu and have access to pertinent audiovisual documentation. Where feasible, preference will be given to works that are currently accessible for attendance or for which recordings are available. We aim to analyse a minimum of three examples from each of the primary modalities, including digital art installations, experimental theatre, musical events, urban video mapping, video-dance, entertainment shows, multimedia exhibitions, museum installations, circus performances, among others. Some of the thematic lines to be explored include: the relational power of the void, the spatial value of shadows, projections and superimpositions, narrative and phenomenological space, ephemeral architectures, interaction with digital graphic, and the modelling of scenographies and the depth of the screen. Background and Conceptual Framework In numerous technical and artistic aspects, digital stage resources diverge significantly from the traditions, even as they persist in the primal aspiration to craft illusory spaces for narratives and rituals – already implicit in the flickering shadows cast by fires in caves. However, conceptually, their genesis can be traced back to three pivotal innovations of the 20th century: 1) The post-dramatic theatre, which emancipates itself further from textual constraints. 2) The interactivity inherent in virtual environments within video games. 3) The advent of multimedia environmental formats epitomised by the art installation. The research project will primarily draw upon the latter precursor of digital scenography: the art installation. This choice is motivated by the recent completion of another research project on the topic and by the spatial nature of art installations, which aligns even more closely with architectural design — the field to which most group researchers belong, including a member who has conducted his doctoral research on the spatial dynamics of video games. In terms of dramaturgy, contemporary virtual stage designs continue the challenge initiated by Georg Fuchs in 1909 to "re-theatricalise the theatre", liberating the scenic aspect (mimesis) from the predominance of the verbal element (logos). This evolution has even ventured into performances solely reliant on imagery, light, rhythm, or sound environments, sometimes devoid of narration or live actors (Sánchez, 2002, p. 15). To achieve this, new audiovisual media have perpetuated the stage's ongoing rejuvenation proposed throughout the twentieth century, from the contributions of Appia and Craig to those of Wilson and Lepage, who