A Prop’s Story: from everyday life to the stage

An everyday object can be used in performance as a mediator between the reality of the stage and that of the narrative. It can go back and forward between these universes, allowing performers to play with the boundaries between presentational and fictional spaces, as defined by Gay McAuley in Space...

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Main Author: Filipa Malva
Format: Article
Language:English
Published: Universidade Federal do Rio Grande do Sul 2013-07-01
Series:Revista Brasileira de Estudos da Presença
Subjects:
Online Access:http://seer.ufrgs.br/presenca/article/view/35076/26141
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author Filipa Malva
author_facet Filipa Malva
author_sort Filipa Malva
collection DOAJ
description An everyday object can be used in performance as a mediator between the reality of the stage and that of the narrative. It can go back and forward between these universes, allowing performers to play with the boundaries between presentational and fictional spaces, as defined by Gay McAuley in Space in Performance – re-positioning the narrative, either mentally or spatially. Performers can achieve this change by manipulating the perception of an object’s function, scale, sound and aesthetics. The performer uses the object’s original characteristics, such as colour, texture, form and design purpose, as potential clues, reframing them to establish new links with the main narrative. This process of transformation makes for a fluid scenography/dramaturgy relationship where performers, scenographer and, of course, spectators share the experiencee an emerging theatrical creation.
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spelling doaj.art-1e819db416cb474581a6d3254846fc0d2022-12-22T03:51:02ZengUniversidade Federal do Rio Grande do SulRevista Brasileira de Estudos da Presença2237-26602013-07-0132601616A Prop’s Story: from everyday life to the stageFilipa MalvaAn everyday object can be used in performance as a mediator between the reality of the stage and that of the narrative. It can go back and forward between these universes, allowing performers to play with the boundaries between presentational and fictional spaces, as defined by Gay McAuley in Space in Performance – re-positioning the narrative, either mentally or spatially. Performers can achieve this change by manipulating the perception of an object’s function, scale, sound and aesthetics. The performer uses the object’s original characteristics, such as colour, texture, form and design purpose, as potential clues, reframing them to establish new links with the main narrative. This process of transformation makes for a fluid scenography/dramaturgy relationship where performers, scenographer and, of course, spectators share the experiencee an emerging theatrical creation.http://seer.ufrgs.br/presenca/article/view/35076/26141ScenographyStage PropertyPractice-as-researchObjectEveryday
spellingShingle Filipa Malva
A Prop’s Story: from everyday life to the stage
Revista Brasileira de Estudos da Presença
Scenography
Stage Property
Practice-as-research
Object
Everyday
title A Prop’s Story: from everyday life to the stage
title_full A Prop’s Story: from everyday life to the stage
title_fullStr A Prop’s Story: from everyday life to the stage
title_full_unstemmed A Prop’s Story: from everyday life to the stage
title_short A Prop’s Story: from everyday life to the stage
title_sort prop s story from everyday life to the stage
topic Scenography
Stage Property
Practice-as-research
Object
Everyday
url http://seer.ufrgs.br/presenca/article/view/35076/26141
work_keys_str_mv AT filipamalva apropsstoryfromeverydaylifetothestage
AT filipamalva propsstoryfromeverydaylifetothestage