This afterword for Tanja Beer’s book Ecoscenography reflects on the notion of ‘celebration’ as replacing ‘production’ in scenographic work cycles. The question I now ask is not why ecologically grounded scenographic practice should be embraced, but rather how.

Whether the fit of a hat or the flow of a dress, these costumed relations can alter an individual's performance. Athletes know this same relationship. To perform in a certain way again and again, requires a bodily preparation that is inclusive of the clothes worn.

Foreward for Scenography and Art History introducing how to approach scenography as a crafting of borders. I always feel that scenography works best at a border. If you arrive to this book as an art historian, border thinking is one key for unlocking its potential for art history. Indeed, I encourage you to think of scenography as the crafting of borders.