Scenography
Scenography ( english scenography ) can abstract as the science and art of staging the room to be understood. Scenographers work in an interdisciplinary manner in theater , film and exhibitions .
The professional field of scenography can be understood as a further development of the classic stage design . Most of the time, application and project-specific rooms are staged. These spaces can be experienced both real and virtually. Performances and installations are essential components of scenographic works that can also be found in the field of fine art. Due to the potential of its expressiveness, scenography is an essential part of non-verbal communication, which, in conjunction with other communication forms in the museum, has a lasting effect on the public.
Development of the scenography
With the impetus from the establishment of new museums, museum makers, architects and designers increasingly developed new forms of representation. With the claim of the new method of "museum staging" there was a role model in Germany: In 1980 the set designer Wilfried Minks and the composer Eberhard Schoener furnished the new BMW Museum in Munich. The history of mobility and the context of political history were created in a theatrical way under the title “Time Signals”. Many puppets and media were used. Under this impression, the planners at the “ Museum for Industrial Culture ” in Nuremberg proceeded less theatrically than contextualizing. In the first scenographic exhibitions - "Key fossils of industrial culture " in 1982, "Workers' memories" 1984, "Train of Time - Time of Trains" in 1985, Hermann Glaser and Jürgen Sembach illustrated the cultural and socio-historical contextualization with essential key exhibits. These exhibition experiments are considered to be the origin of scenographic design.
During this time, the redesign of the Rüsselsheim City Museum by Peter Schirmbeck and the Munich City Museum by Christoph Stölzl caused a sensation. The VDI anniversary exhibition at the TU Berlin, “Sciences in Berlin” (also with Jürgen Sembach), “Dawn of the Industrial Age” in Augsburg (design by Würth & Winderoll) and the major historical shows, such as B. "The time of the Staufer", 1977 (design Atelier Lohrer), and "Prussia. An attempt at a balance sheet ”, 1981, lived from these very popular design approaches. In Austria, the annual provincial exhibitions with enormous tourism funding resulted in spectacular exhibitions such as the scenographically complex provincial exhibition in Steyr “Work / Man / Machine” (designed by Hans Hoffer) in 1987.
The pros and cons of "staged" history presentation led to a public debate, which resulted in the planning of the two German history museums: the House of History in Bonn (designed by Würth & Winderoll) and the Historical Museum in Berlin. During this period, new museums such as the LTA in Mannheim (today Technoseum ) (design Atelier Lohrer), the German Museum of Technology Berlin in Berlin and the DASA - Working World Exhibition in Dortmund were created.
In the late 1980s and 1990s, many influences came from theater, film, and the fine arts. Artistically designed interiors such as the “Merzbau” by Kurt Schwitters (1933), the “ Cabinet of Abstracts ” by El Lissitzky (1927), the walk-in “Hon” by Niki de Saint Phalle (1967) had their traditional influence, as did the “lightning strike with light on deer ”by Joseph Beuys (1982) in the Gropiusbau. The "Documenta 5" (1972) and "The Museum of Obsessions" (1981) by Harald Szeemann , the media theories by Alexander Kluge and the "Documentary in Film" by Werner Herzog had a great influence on the museum planners, as did the development of the Regietheater, which was significantly shaped by personalities from the GDR such as Ruth Berghaus , Harry Kupfer and not least Heiner Müller .
The challenges of scenography with audience appeal culminated in the EXPO 2000 in Hanover - and was largely condemned in the museum world. The fast pace of visual impressions, the lack of seriousness, the non-binding nature of illusory worlds and the fogging up of the senses through overstimulation were criteria that ruled out the use of these methods in museums. At the beginning of the century, there were only a few museums in Germany that wanted to deal with the methods of scenography, and in some museums they even began to dismantle the classic object-oriented collection exhibition. The annual cycle of scenography colloquia began at DASA, in which a qualified discourse between museum people, scientists and designers began.
At present there are no longer any fronts between science and design in Germany, but the museum landscape itself is divided into opponents and supporters of scenographic methods. That spaces are shaped by every kind of their Bespielung of museum objects, makes scenographic expertise fundamental requirement: "You can not not figures" - similar to the metacommunicative axiom of Paul Watzlawick "You can not not communicate."
The demand for good exhibitions in a society saturated with digital media is increasing. This demand is based on the one hand in the lack of haptically comprehensible communication and in the authentic experience of original objects in non-virtual spaces and on the other hand in the need to have been there.
Individual evidence
- ^ Paul Divjak: Integrative Staging: on the scenography of participatory spaces . tape 5 . transcript Verlag, 2014.
