Staging

from Wikipedia, the free encyclopedia
This article or the following section is not adequately provided with supporting documents ( e.g. individual evidence ). Information without sufficient evidence could be removed soon. Please help Wikipedia by researching the information and including good evidence.
Most of the article is blank. The item should be qualitatively improved with evidence or other evidence.

Under production (from the Greek σκηνή scene: German to "tent" or "stage") refers to the setting up and the public display of a work or thing. In a narrower sense, this applies to the field of performing arts . A self-contained work does not necessarily have to be brought onto the stage; open forms such as the performance can also be staged. The term is often used to mean directing and distinguishes staging as an artistic act from an exhibition or performance in the sense of a theatrical performance or film screening . In a broader sense, any other form of deliberately designed representation can also be referred to as staging.

Staging in art

The concept of staging comes from the theater . There it meant, according to the perspective coined by August Lewald in the 19th century: “'To put in the scene' means to bring a work to the fore in order to supplement the intention of the poet through external means and to strengthen the effect of the work. “Even today it is said that a theater performance is a“ successful staging ”. However, the success of a staging no longer means the correct, as faithful as possible performance of a piece, but rather describes general praise in the sense of a “good performance”.

In the meantime, the prevailing view is that there is not a single 'correct' interpretation of a work and that the staging of a play is therefore always more than just an illustration. Today, staging is understood to mean that it not only has a show function that expresses something that already exists elsewhere, but as a bundle of strategies that also create something new. This fact has also found its way into jurisprudence, which grants the creator of a staging, independent of the staged work, own copyrights.

The scenic implementation of a dramatic work usually takes place on a stage in front of an audience and is directed by a director or team of directors . The performance is also a staging, although here the clearly separated stage space is usually missing; but there is a direction . What is important here is no longer the history of the dramatic work, but the totality of the situation in which music, movement, language, light combine to form a total work of art.

In film art and in radio plays , too , one speaks of staging under the direction of a director who stages a story, a script or a character (see also Mise-en-scène ).

In art , staging is also understood to mean that the artist represents his point of view. He chooses z. B. a perspective , positions objects, places, people or situations with the aim of directing the perception of the recipient . In architecture and painting, a trompe l'oeil effect is achieved by means of a perspective illusion .

Media staging of reality

Mass media presentations such as reports, broadcasts of political or cultural events, sports etc. require a creative staging. Selection, use of technology, method of representation, comments and evaluations create an image for the recipient that is often described as “staged reality”. The media criticism sees this as a distortion of reality (see media manipulation ). A media staging takes place above all in the areas of politics and advertising . Stagings are also playing a growing role in protest , whereby the 68 movement with its increased recourse to happening-like forms of design brought about a change in the protest culture.

Self-presentation

In self-staging someone takes a conscious pose in front of the audience or the camera or exercises (general) control over the image that is made of them. Social action is often staged, one thinks of the popular and shirt-sleeved appearance of politicians in the election campaign and of the pompous staging and prop-rich representation of clergy. Likewise, business managers try to impress their audience when appearing in front of shareholders , the press , analysts and the public. They also use strategies that are familiar from the theater, such as bright lights, lofty stages, lively sets, and rhetoric , gestures and facial expressions that are as convincing as possible . - In contrast, in close relationships and emergencies it is about the disclosure of personal information, much less about the staging.

Many people want to put their actions in the right light for others. The sociologist Erving Goffman had described the principle of everyday self-expression as performance: "A 'presentation' (performance) can be defined as the overall activity of a particular participant in a particular situation, which serves to influence the other participants in some way."

See also

literature

  • Brigitte Biehl: Business is show business. How top managers stage themselves in front of an audience. Campus, Frankfurt am Main et al. 2007, ISBN 978-3-593-38472-6 (also: Frankfurt (Main), University, dissertation, 2006).
  • Erving Goffman : We all play theater. The self-expression in everyday life. (Translated from English by Peter Weber-Schäfer . 1st edition). Piper, Munich 1968, (10th edition, ibid. 2002, ISBN 3-492-20312-4 ).
  • Nadine Haepke: Sacred productions in contemporary architecture. John Pawson - Peter Kulka - Peter Zumthor (= architectures. 20). Transcript, Bielefeld 2013, ISBN 978-3-8376-2535-6 (also: Hannover, Leibniz University, dissertation, 2012).
  • Jürgen Kühnel : Introduction to film analysis. 1: The characters of the film (= series media studies. 4). 3. Edition. Universi, Siegen 2008, ISBN 978-3-936533-13-2 (Mise en scène: pp. 45–86).
  • Hans-Thies Lehmann : Post-dramatic theater . Publishing house of the authors, Frankfurt am Main 1999, ISBN 3-88661-209-0 (essay).

Web links

Wiktionary: Staging  - explanations of meanings, word origins, synonyms, translations

swell

  1. ↑ Stefan Hemler: Protest productions. The 1968 movement and the theater in Munich. In: Hans-Michael Körner, Jürgen Schläder (Eds.): Münchner Theatergeschichtliches Symposium 2000. Utz, Munich 2000 (= Studies on Munich Theater History 1 ), pp. 276–318, here pp. 315–318, ISBN 3-89675- 844-6 , http://edocs.ub.uni-frankfurt.de/volltexte/2009/12019/pdf/HEMLER_Protest.pdf ( Memento from October 29, 2013 in the Internet Archive )