This article investigates the artist Sin Wai Kin’s (單慧乾) speculative approach to drag through the prism of ‘transgendering-assemblages’. Influenced by the assemblage theory of Manuel DeLanda and Jasbir Puar, I propose that transgendering-assemblages actualize the properties of transness through particular trans techniques.

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.

Interview with trans artist Ada M. Patterson (b. 1994, Bridgetown) based between Barbados, London and Rotterdam. She works with masquerade, performance, poetry, textiles and video, looking at the ways storytelling can limit, enable, complicate or abolish identity formation.

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.

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.

To talk about ‘trans performance’ is to talk about performances that enact and investigate trans as a political act of affirmation, self-determination, and the felt affects of cis regulation. This paper is a working statement on the stakes at play in arguing the vitality of trans voices and perspectives for our collective social thriving.

Reflecting on writing Beyond Scenography, this essay in English and Portuguese documents the lecture ‘Scenographic Futures’, presented as part of the session PQ TALKS, at PQ 2019, a position statements called ‘Changing the Question’is presented to reflect if rather than asking what is scenography, now the question is what does scenography do?. How scenography affects, channels, and orientate experiences of stage, place, and world.

For the Design Studio for Social Intervention, I consider ‘justice scenographics’ to offer a model for speculating renewed human-world relations based on a climate ceiling model of economics.

My embracing of ‘practice research’ (see Hann 2015) seeks to bring the established positions on conducting research through practice together under one heading. Indeed, I had become tired of the circular arguments that would occur about the differences between practice as/through/based/led research.

The Festspielhaus Hellerau (1911) is recognized as the first purpose-built “studio “performance space. Scenographer Adolphe Appia and architect Heinrich Tessenow’s architectural legacy is once again an active site of experimentation following a2006 renovation. Moreover, the current artistic residency of William Forsythe’s dance company has continued Appia’s vision for afuture performance practice through an intermedial approach. Importantly, the body, within the work of Forsythe and Appia, remains alocus of artistic convergence as it encompasses the “open “architecture at Hellerau.