By Patrice Pavis


‘We have strong cause to be cautious of mise en scène, yet that's all of the extra cause to question this wariness ... it appears photos from a functionality come again to hang-out us, as though to lengthen and remodel our adventure as spectators, as though to strength us to reconsider the development, to come to our excitement or our terror.’ – Patrice Pavis, from the foreword

Contemporary Mise en Scène is Patrice Pavis’s masterful research of the function that staging has performed within the production and perform of theatre all through heritage. This stunningly formidable examine considers:

  • the staged interpreting, on the frontiers of mise en scène;
  • scenography, which occasionally replaces staging;
  • the reinterpretation of classical and modern works;
  • the improvement of intercultural theatre and ritual;
  • new applied sciences and their utilization continue to exist the degree;
  • the postmodern perform of deconstruction.

But it additionally applies sustained serious awareness to the demanding situations of defining mise en scène, of monitoring its improvement, and of exploring its attainable futures. Joel Anderson’s robust new translation lucidly realises Pavis’s research of the altering chances for stagecraft within the context of functionality artwork, actual theatre and glossy theory.

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Extra info for Contemporary Mise en Scene

Sample text

This is something which criticism, like theory, cannot avoid. To accept that there exists a risk of legitimisation when any discourse on an artist, a movement, or a way of working, is proposed, even if it is a negative discourse. Nonetheless to remain aware of the relativity of this judgement in giving the reader the possibility of contesting or deconstructing it. To have (and raise) awareness about the cultural identity of whoever passes judgement, while still allowing them the right to talk about what does not concern them (another culture, another milieu, another identity, another religion).

A few international examples will perhaps tell us what we have gained in such performise, or mise en perf. 3 The difference between mise en scène and performance Mise en scène and performance: a shaky couple Playing on words, I propose to examine a very serious question: the way in which the two terms ‘mise en scène’ and ‘performance’ allow us, and also oblige us, to think about how a production is interpreted, and indeed about our very conception of theatre. The two languages, English and French, in fact see things very differently, and are more or less capable of describing the phenomenon of theatre as it constantly evolves.

The current state of the performance and mise en scène relationship Since the last decade of the twentieth century, the tendency to bring together mise en scène and performance art has been evidenced. The breadth and the importance of the phenomenon of performance The difference between mise en scène and performance 43 continue to increase. ’12 The growth of performance in all fields and as a new universal paradigm must influence our object of study and our way of comprehending it, in every sense of the word.

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