The history of scenography has evolved with ever-developing mechanic -al, electronic and material technologies. Scenography for performance shows a variety of effects to audience to help them to be absorbed into drama, but it is required to exclude any effect interrupting drama or inappropriate for its theme. Therefore, scenography also needs to theorize in reasonable manners. Adolphe Appia (1862～1928) creates innovative theories in scenographic aesthetics and Josef Svoboda(1920～2002) implements Appia's theories for his ...
The history of scenography has evolved with ever-developing mechanic -al, electronic and material technologies. Scenography for performance shows a variety of effects to audience to help them to be absorbed into drama, but it is required to exclude any effect interrupting drama or inappropriate for its theme. Therefore, scenography also needs to theorize in reasonable manners. Adolphe Appia (1862～1928) creates innovative theories in scenographic aesthetics and Josef Svoboda(1920～2002) implements Appia's theories for his stage works. These two theatre artists are called as pioneers of the modern scenography. Appia for his stage works focuses on the ‘Gesamtkunstwerk' theory advocated by Wilhelm Richard Wagner(1813～1883), and establishes new modern scenographic aesthetics. He suggests three dimensional set scene instead of two dimensional not in harmony with solid appearance of characters. In addition he underlines the roles of lighting on the stage. He argues that stage lighting should have a potential power to fuse theatrical characters in the stage beyond simply shedding a light. He classifies the stage lighting into two kinds of general and special. Appia arranges general lighting to identify space and time, while using special lighting for illuminating critical spots. This refers to his theory on spotlight introduced for the first time in history. Appia classifies arts into two categories of time arts such as music and space arts substituted for painting, sculpture and architecture. He emphasizes that performance by actors must combine the art of time with that of space. He called music ‘a living time' because the music gets vitalized once it meets with body of actors and then expresses the body in given space. In addition he finds that actors play a role in turning the space on the stage into a significant one, so he calls the stage ‘a living space.' He also suggests that the living time and space can be an art in fusion with illumination. Josef Svoboda, a well-known Czech scenographer, fe딘 free to use advanced stagecraft to realize Appia's scenographic theories. One of characteristics in Svoboda's stage is theatrical applications of image, ideas of using a harmony between slide machine and film machine. For positive applications of image on the stage, he enjoys using all mechanical techniques that can be operated in theatre. It is mirror that cannot be set apart from the stage of Svoboda. He changes position and angle of mirror, and breathes air into the mirror to make a variety of images with refraction. For him lighting is a biggest issue in his applications of images. The role of actors in performance cannot be inferior to anything else. The intensity of light must be high to make actors appear clearly behind the footlights, but superhigh illumination may cause images to fade out. Besides unreasonable reflection of mirror becomes also a concern. To overcome these problems, Svoboda devises low voltage lighting. Owing to development of the low voltage lighting, Svaboda's images make more theatrical illusions, and this technique still succeeds and evolves into various directions Appia has one thing in common with Svoboda. Both of them are attached to Wagner's dramas and Gesamtkunstwerk to accelerate the evolution of total arts. Their passion for total arts shows possible future directions of contemporary performing arts. Moreover, both of them focuse on the importance of lighting and sublime it conceptually into a sort of arts, preparing a foundation for lighting art to account for more and more parts in performing arts. This aspect is also revealed in Robert Wilson (1941～). Appia is different from Svoboda, particularly in functional aspect. The development of scenography under the influence of advanced stagecraft is different from theories. Appia developes scenographic theories for physical expressions of actors who are in the center of music and space bound with each other organically, while Svoboda's scenography puts more stress on scene itself rather than actors. This makes difference between producer Appia and scenographer Svoboda.
The history of scenography has evolved with ever-developing mechanic -al, electronic and material technologies. Scenography for performance shows a variety of effects to audience to help them to be absorbed into drama, but it is required to exclude any effect interrupting drama or inappropriate for its theme. Therefore, scenography also needs to theorize in reasonable manners. Adolphe Appia (1862～1928) creates innovative theories in scenographic aesthetics and Josef Svoboda(1920～2002) implements Appia's theories for his stage works. These two theatre artists are called as pioneers of the modern scenography. Appia for his stage works focuses on the ‘Gesamtkunstwerk' theory advocated by Wilhelm Richard Wagner(1813～1883), and establishes new modern scenographic aesthetics. He suggests three dimensional set scene instead of two dimensional not in harmony with solid appearance of characters. In addition he underlines the roles of lighting on the stage. He argues that stage lighting should have a potential power to fuse theatrical characters in the stage beyond simply shedding a light. He classifies the stage lighting into two kinds of general and special. Appia arranges general lighting to identify space and time, while using special lighting for illuminating critical spots. This refers to his theory on spotlight introduced for the first time in history. Appia classifies arts into two categories of time arts such as music and space arts substituted for painting, sculpture and architecture. He emphasizes that performance by actors must combine the art of time with that of space. He called music ‘a living time' because the music gets vitalized once it meets with body of actors and then expresses the body in given space. In addition he finds that actors play a role in turning the space on the stage into a significant one, so he calls the stage ‘a living space.' He also suggests that the living time and space can be an art in fusion with illumination. Josef Svoboda, a well-known Czech scenographer, fe딘 free to use advanced stagecraft to realize Appia's scenographic theories. One of characteristics in Svoboda's stage is theatrical applications of image, ideas of using a harmony between slide machine and film machine. For positive applications of image on the stage, he enjoys using all mechanical techniques that can be operated in theatre. It is mirror that cannot be set apart from the stage of Svoboda. He changes position and angle of mirror, and breathes air into the mirror to make a variety of images with refraction. For him lighting is a biggest issue in his applications of images. The role of actors in performance cannot be inferior to anything else. The intensity of light must be high to make actors appear clearly behind the footlights, but superhigh illumination may cause images to fade out. Besides unreasonable reflection of mirror becomes also a concern. To overcome these problems, Svoboda devises low voltage lighting. Owing to development of the low voltage lighting, Svaboda's images make more theatrical illusions, and this technique still succeeds and evolves into various directions Appia has one thing in common with Svoboda. Both of them are attached to Wagner's dramas and Gesamtkunstwerk to accelerate the evolution of total arts. Their passion for total arts shows possible future directions of contemporary performing arts. Moreover, both of them focuse on the importance of lighting and sublime it conceptually into a sort of arts, preparing a foundation for lighting art to account for more and more parts in performing arts. This aspect is also revealed in Robert Wilson (1941～). Appia is different from Svoboda, particularly in functional aspect. The development of scenography under the influence of advanced stagecraft is different from theories. Appia developes scenographic theories for physical expressions of actors who are in the center of music and space bound with each other organically, while Svoboda's scenography puts more stress on scene itself rather than actors. This makes difference between producer Appia and scenographer Svoboda.
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