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Anna Chrtková conducted this interview with British scenography theorist Rachel Hann on what are the differences in the understanding of scenography between the Anglophone and Czech contexts? And how can scenography theory help to better understand the present and shift our thinking about the future? Will you be addressing climate change in your keynote? What kind of worlds does scenography create through a trans lens? What might these worlds look like? What then are the superpowers that we have as scenographers?
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.
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.
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.