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.

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.

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.”

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.

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.

Beyond Scenography offers a manifesto for a renewed theory of scenographic practice for the student and professional theatrical designer. With sections on installation art and gardening as well as marketing and placemaking, this book is an argument for what scenography does: how assemblages of scenographic traits orientate, situate, and shape staged events.

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).