How is a feeling of world produced through staged material cultures? This question provides the through-line to my argument for this article. In an era of climate crisis, acts of representation that enact, invite or irritate conceptual models for ‘world feelings’ are increasingly urgent.

What do costumes do? I ask this question with two positions in mind. First, I am interested in how costumes produce a sense of atmosphere, occasion, or event. Second, I propose that costuming as a socio-material technology orientates feelings of world.

The concept of gender-assemblage is proposed as a critical framework to identify, critique and negotiate the more-than-human processes of gendering. Sin’s drag draws upon their non-binary identity to speculate renewed discourses, actions and expectations for gendered practices.

This chapter charts the findings of a research project that examined Meyerhold’s lost architectural experiment using computer-based 3D visualisation as a research method.

Taking the UK Grime artist Stormzy’s performance at Glastonbury 2019 as a case study, this article investigates the tactics, technologies and processes revealed through the act of staging atmospheres.

Silke Otto-Knapp’s paintings could be seen to represent stage environments. But at the same time, one could argue that, as with the stage environments they evoke, her paintings enact a feeling of place that others, complicates, and reveals normative orders of place. This is my starting point for proposing “painting scenographics.”

Frederick Kiesler’s unrealized Endless Theatre (1916–26) project is employed as a case study for articulating ‘paradata’ in heritage visualization.

This article investigates a proposed focus of ‘critical costume’. Critical Costume, as a research platform, was founded in 2013 to promote new debate and scholarship on the status of costume in contemporary art and culture.

Costume is subversive. It subverts the rules of a fashion system and exposes the theatricality of dress. Accordingly, the politics of costume are arguably a politics of ‘othering’: how the conscious subversion of appearance serves as an act of bodily estrangement. Yet, as evident in the Prague Quadrennial (PQ) tribes in June 2015, this othering is an active process that is undertaken equally by those engaged in the event of costuming and those who witness this act.

Costume is critical. It is critical to making performance, critical to spectator- ship, critically overlooked within scholarship, notable when in crisis, and a means of critically interrogating the body. It is therefore critical that we discuss costume. Yet, it is equally imperative for costume to find appropriate methods and frameworks to support new forms of practice. A critical discourse of costume aims to promote new questions and scholarship on the intersections between body, design and performance. This is the concern of critical costume.

This article returns to Diller Scofidio + Renfro's temporary structure for the Swiss Expo in 2002. Blur Building, or Blur, underlines the occurrence of time through its continuously shifting structure and ephemeral state.

To interrogate the role of architecture within intermedial digital opera, this article returns to a model of performance architecture as conceived by Swiss scenographer Adolphe Appia (1842–1928) and German architect Heinrich Tessenow (1876–1950) for the Festspielhaus Hellerau (1911).