Sue Field - Scenographic Design Drawing: Performative Drawing in an Expanded Field
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Scenographic Design Drawing: Performative Drawing in an Expanded Field: summary, description and annotation
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This enlightening study explores the set design drawings for theatre and live performance, highlighting their unique qualities within the greater arena of drawing practice and theory. The latest volume in the Drawing In series, Scenographic Design Drawing encourages an interdisciplinary dialogue in the field of drawing with the inclusion of illustrations throughout.
Scenographic design drawings visualize the images in the designers minds eye early in the design process. They are the initial design tool in the creative engagement with theatre, opera, dance, and non-text-based performance. It is, in particular, this body of drawings that is unique as both a performative and a theatrical representation of multiple worlds within the stage space. Sue Field illuminates this illustration process and identifies how these drawings have functioned and developed over time.
Scenographic Design Drawing serves to satisfy an emerging global curiosity and a thirst for new knowledge and understanding in relation to the drawings executed by the historical and contemporary scenographer. This work addresses a critical research gap and shows how the scenographic design drawing continues to be a principal site of innovation, subjectivity, originality and authorship in theatre and live performance.
Sue Field: author's other books
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Scenographic Design Drawing
Drawing In
Series editors:
Russell Marshall, Marsha Meskimmon, and Phil Sawdon
Loughborough University, UK
Thinking through drawing has become a ubiquitous trope across the arts, sciences, and humanities. The rich vein of thinking, making, and visualizing through drawing that is being developed across these diverse fields affords an opportunity for sustained intellectual dialogues to emerge within, between, or without traditional disciplinary boundaries. The Drawing In series provides a space for new perspectives and critical approaches in the field of drawing to be brought together and explored.
Published titles:
Drawing Difference , Marsha Meskimmon and Phil Sawdon
Drawing Investigations , Sarah Casey and Gerry Davies
Performance Drawing , Maryclare Fo, Jane Grisewood, Birgitta Hosea, and Carali McCall
Scenographic Design Drawing , Sue Field
Forthcoming:
Serial Drawing , Joe Graham
Drawing as Phenomenology , Deborah Harty
Looking at Life Drawing , Margaret Mayhew
Scenographic Design Drawing
Performative Drawing in an Expanded Field
Sue Field
Contents
I would like to express my appreciation and thanks to my mentor Dr Vaughan Dai Rees, Associate Dean International/Engagement in the Faculty of Art & Design UNSW, Australia, and to all the extraordinary artists/scenographers who contributed their drawings and time for this monograph. Thank you Dr Antony Milch for your patience and encouragement and to his son, Sam Milch for providing me with his philosophical ruminations. A very, very special thanks to my father Dr Geoffrey Field, my mother Janice Field and my daughter Lucy because without their unrelenting support this amazing journey would never have happened. In the spirit of a theatre-going spectator, this was a long and challenging quest in pursuit of adventure and discovery, of wonder and astonishment.
Figures
Sue Field. Scenographic thinking drawing for The Curse of the House of Atreus : black pen on bond paper, 148 210 mm, 1998 |
Sue Field. Scenographic design drawing for The Curse of the House of Atreus : black pen, colored ink, and gouache on bond paper, 148 210 mm, 1998 |
Sue Field. Scenographic design drawing for The Curse of the House of Atreus : black pen, colored ink, and gouache on bond paper, 148 210 mm, 1998 |
Dan Potra. Scenographic thinking drawing for Dracula : black pen and colored pencil on paper, 148 210 mm, 2017 |
Dan Potra. Scenographic thinking drawing for Dracula : black pen and colored pencil on paper, 148 210 mm, 2017 |
Filipa Malva. Scenographic thinking drawing for Eu Uso Termotebe e o Meu Pai Tambm (I Use Termotebe as My Dad Before Me): black pen on paper, 2018 |
Sue Field. Scenographic thinking drawings for All of Me : black pen and collage on bond paper, 148 210 mm, 1993 |
Sue Field. Scenographic design drawing for All of Me: black ink and watercolor on paper, 420 594 mm, 1993 |
Michael Scott-Mitchell. Scenographic thinking drawings for Madama Butterfly : black pen on paper |
Michael Scott-Mitchell. Digital drawing for Madama Butterfly : D3.js, 2019 |
Robert Wilson. Storyboard drawing: charcoal on paper for Einstein on the Beach , 1976 |
Arthur Boyd. Double Figure with Shark Head and Horns (Elektra backdrop), 19623, etching and aquatint, printed in black ink with plate-tone, from one plate, 39.6 46.7 cm |
Production photograph for Elektra , 1966. Australian News and Information Bureau |
Production photograph for Elektra , 1966 |
David Hockney. Cobweb Drape, Toms House from The Rakes Progress 1975. Ink on paper, 19 24. |
Norman Bel Geddes: Scenographic design drawing for The Divine Comedy , 192130 |
Elizabeth Diller and Ricardo Scofidio. Architectural model of Slow House with drawings on acetate/glass inserted into the model, 1991 |
Frank Gehry. Scenographic design drawing for Don Giovanni: black pen on paper |
William Kentridge. Untitled (drawing from Wozzeck 6): Charcoal and red pencil on Velin Arches Cover White (440 gsm). 121 160 cm, 2016 |
William Kentridge. Scenographic design drawing for Untitled (drawing from Wozzeck 63): charcoal on paper, 164 196 cm, 2017 |
William Kentridge. Untitled (drawing from Wozzeck 17): Charcoal and red pencil on Hahnemuhle paper 56.5 78 cm, 2016 |
Gabriela Tylesova. Scenographic thinking drawing for Swan Lake , black wings: charcoal on bond paper, 2019 |
Gabriela Tylesova. Scenographic thinking drawing for Swan Lake , masque ball: charcoal on bond paper, 2019 |
Gabriela Tylesova. Scenographic sketch model drawings for Swan Lake : lead pencil on mix media, 2019 |
Dan Potra. Scenographic thinking drawing for The Perfect American : black pen and gouache on bond paper, 148 210 mm, 2013 |
Paul Barritt. Scenographic design drawing for The Magic Flute : black pen and mix media on paper, 2012 |
Paul Barritt. Scenographic design drawing for The Magic Flute : black pen and mix media on paper, 2012 |
Paul Barritt. Scenographic design drawing for The Magic Flute : black pen and mix media on paper, 2012 |
Paul Barritt. Scenographic design drawing for The Magic Flute : black pen and mix media on paper, 2012 |
Sue Field. Panoramic drawing, No Exit : mixed media on watercolor paper, 12,240 660 mm, 2017 |
Sue Field. Thinking drawing for No Exit : black pen on bond paper, 148 210 mm, 2016 |
Sue Field. Detail of panoramic drawing, No Exit : mixed media on watercolor paper, 1020 660 mm, 2017 |
Sue Field. Panoramic drawing, The Chairs : black pen and ink on printed script and sheet music, approximately 9000 600 mm, 2015 |
Sue Field. Thinking drawings, No Exit : black pen, colored marker pens, and collage on bond paper, 148 210 mm, 2017 |
Sue Field. Photograph of the Drawn Absence situated within the scale model, 2018 |
Sue Field. Scenographic scale model, within a scale model, 2017 |
Sue Field. Photograph of the Drawn Absence situated within the scale model, 2018 |
Plates
Sue Field. Scenographic design drawing for The Curse of the House of Atreus : black pen, colored ink, and gouache on bond paper, 148 210 mm, 1998 |
Sue Field. Scenographic design drawing for The Curse of the House of Atreus : black pen, colored ink, and gouache on bond paper, 148 210 mm, 1998 |
Dan Potra. Scenographic thinking drawing for Dracula : black pen and colored pencil on paper, 148 210 mm, 2017 |
Sue Field. Scenographic thinking drawings for All of Me : black pen and collage on bond paper, 148 210 mm, 1993 |
Arthur Boyd. Double Figure with Shark Head and Horns (Elektra backdrop), 19623, etching and aquatint, printed in black ink with plate-tone, from one plate, 39.6 46.7 cm |
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