ScenoFest 2003 LowRes.pdf

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SCENOFEST!

at the

EduComm


2/50SCENOFEST! 2003 1

SCENOFEST!at the

OISTAT Education Commission

Student section at the PQ03

Vystaviste, Prague, Czech Republic

June 13 25, 2003

SCENOFEST! activities:

SCENOFEST! Team Page 2

SCENOFEST! History Page 3

SCENOFEST! 2003 introduction Page 4 Lear for Our Times Exhibit & Critiques Page 7

Trans-National Co-operation Exhibit Page 13

Sound Design Page 17

Lighting Design Page 21

Puppet Days Page 27

Lectures Design Excellence Page 31

Great Partnerships Page 32

Design as Performance Page 33

Un Somni de Nit Sant Joan Page 37

Presenters and Participants Page 39

Participating Schools Page 43

About OISTAT Page 46

SCENOFEST! Sponsors and Partners Page 48

colophon

Responsible publisherOISTATP.O. box 151721001 MD AmsterdamThe Netherlandswww.oistat.org

Editorial contributionsPamela HowardMichael RamsaurMarina Raytchinova

Richard K. ThomasHenk van der Geest

Art EditorJerme Maeckelbergh

EditingJennifer Walker

PrinterHolin International Co., Ltd.3 Floor, No.9, Section 3, Renai RoadTaipei 106, Taiwan, R.O.C.

copyright 2005 OISTATAll rights reserved in all media. Nopart of this catalogue may be repro-duced in any form, copied or storedelectronically without prior permissionin writing from the publisher.

Layout and Artwork: Jerme Maeckelbergh

Selling price,in the whole world: 10.00

ISBN 90-78218-01-0


3/502 SCENOFEST! 2003

SCENOFEST! organizer: OISTAT Education Commission

(EduComm)

Organization Structure

Chair EduComm - Michael Ramsaur, U.S.A.Content - Pamela Howard, U.K.

Technical Director - Chris van Goethem, Belgium

EduComm SCENOFEST! Team

Puppet Days - Marina Raytchinova, BulgariaSound Design - Richard Thomas, U.S.A.Lighting Design - Markku Uimonen, Finland

Henk van der Geest, The Netherlands

Assistance to SCENOFEST!

Assisting Michael Ramsaur - Jessica Kaltman, U.S.A.

Assisting Pamela Howard - Ada Gadomski, U.K.General Assistance - Veronika Vorel, U.S.A.Prague Local Coordination - Leah Gaffen, Czech Republic

Administrative Support - Aluminium, Czech RepublicMoving Light Rig Designer - Kimmo Karjunen, Finland

Stage Sound Designer - Steven Brown, U.K.Sound Exhibition Sound Designer - Eileen Smitheimer, U.S.A.

Backstage Tours - Pavel Dautovsk, Czech RepublicWeb pages - Gustaf Kull & Mandy Khoshnevisan, U.S.A.

Additional Assistance to SCENOFEST!

Technical Assistance - Frits van den Haspel, The NetherlandsTicket work & Information Booth Staffing - Polly Ellis, U.S.A.

Ien Verbaenen, BelgiumSabrina Hamilton, U.S.A.

Photographer - Christa DAns, BelgiumCatalogue Layout and Photo Treatment - Jerme Maeckelbergh, Belgium

cover:

Lear of our Time and Country Hada Eilon, Pasit Gat-Segal, Sivan Veinstein, Tel Aviv, Israel



Michael Ramsaur, Chair EduComm

SCENOFEST! A brief historySCENOFEST! a Festival of Scenography was created in 1994 tomark the opening of the innovative new Masters Course in Sceno-graphy, known as the European Scenography Centres. The found-ing partners were Central Saint Martins College of Art and Design,London, U.K., and the Hogeschool voor de Kunst, Utrecht, The

Netherlands. Collaborators included the Institut del Teatre, Bar-celona, Spain, The Academy of Performing Arts (DAMU), Prague,Czech Republic, and the University of the Arts, Helsinki, Finland.The concept was to begin each new course in a different city witha festival of Scenography in which professionals and studentswould come together in an intensive week of performances, lec-tures, exhibitions, events, and dinners, which would celebrate theart of scenography in all its aspects.

The first SCENOFEST! was in London in September 1994, andfeatured as a guest artist Amy Trompetter of Barnard College, New

York, U.S.A., and formerly of Bread and Puppet Theatre, U.S.A.,with her innovate puppet performance of The House of BernardaAlba (Lorca). Subsequent SCENOFESTS! were able to host HarisPasovics Festival Theatre from Sarajevo; an exhibition of Cos-tumes by Doina Levitza from Romania; Galin Stoevs HomonculusTheatre from Bulgaria; Yukio Ninangawa from Japan; and manymany other distinguished visitors. SCENOFEST! was financiallysupported by many private sponsors, the Kaleidoscope programof the European Union, and the Soros Open Doors Society.

Central to the SCENOFEST! concept was always to give a publicvoice to the student and to provide a platform for them to showand talk about their work. In this way, knowledge and discover-ies could be shared and passed on. The last of the EuropeanScenography Centres SCENOFESTS! was in 2000, when thestructure of the project changed. Looking to be more pro-active,OISTAT EduComm made the decision to adopt projects ratherthan simply having meetings. For the Prague Quadrennial (PQ) 99OISTAT organized a side program of invited presentations, work-

shops, theatre tours, and a series of Tours ofthe PQ led by visiting international designers.At the 2001 EduComm meeting in Long Beach,California, Michael Ramsaur organized a highly

successful lighting workshop. For the PQ 03Pamela Howard proposed a project to enhancethe student experience for those attending thePQ 03 by building on the experience of formerSCENOFESTS! and creating the best ever cel-ebration of scenography.

SCENOFEST! at PQ 03 demonstrated howOISTAT EduComm can provide the platform forstudents and professionals to meet togetherand share their interests and expertise. Through

SCENOFEST! contacts and friendships aremade, exchanges organized, and continuedlong after the event. That was always the mainpurpose, both of SCENOFEST! and OISTAT the perfect partnership.



The EduComm SCENOFEST! 2003The Education Commission ofOISTAT, EduComm, organ-ized, in collaboration with the PQ,special exhibits, lectures, presen-tations, workshops, and theatre

tours during Prague Quadrennial.The SCENOFEST! was a Festivalof Scenography running concur-rently with the PQ. It was sited inthe Schools section of the Exhibi-tion Hall. The aim was to enhancethe student experience at the PQwith an exciting daily program. Theprogram was equally appropriatefor theatre professionals attendingthe PQ.

Daily at 2:30 pm, a prestigious program of guest speakers gave the

SCENOFEST! lectures - Great Partnerships or Design Excellence.These sessions were to inspire and influence the many young theatremakers who migrate to Prague in June every four years. A speciallycurated exhibition,A Lear For Our Times, looking particularly at site-specific venues, challenged theatre design students from 32 countries topresent new concepts for this universal play. TheLearexhibit formed thebasis of daily debates and critiques led by the many visiting scenogra-phers whose work was exhibited in the adjacent national exhibitions. Asmall exhibition recognized the important new work done under the titleof Trans-National Cooperation.

Each day on the SCENOFEST! stage, and sometimes just off the stage,

were demonstrations from schools who teach Design as Performance,a fast-growing aspect of scenography where the designers are also theperformers and the directors.

The SCENOFEST! stage also served as a sound laboratory and lightlaboratory for the many presentations and workshops focused on lightingand sound design. These workshops complemented the special lightingand sound exhibitions. A series of model theatre workshops were offeredwhere students from different countries worked together on group designassignments using a scale model theatre.

A Lear for Our TimesA thematic exhibit in which theShakespearean paradigm,KingLear, was interpreted by differ-ent schools and/or students; thesame subject was seen with newapproaches by young people fromdifferent countries. The exhibit gavethe opportunity for students to workon common projects ahead of thePQ.

This unifying exhibit gave the stu-dents an opportunity to participatein an informed critical debate withworld-renowned artists visiting the

OISTAT EduComm organized and presented a thematic exhibit:

Evaluation of SCENOFEST! 2003

at EduComm meeting in Istanbul,Turkey in December 2004.



PQ. The critiques of individual Leardesigns occurred in a chaired openforum in which each student pre-sented their design work to the vis-

iting artists and assembled crowd

The Lighting Design exhibits organized by OISTAT Lighting Design Work-ing Group included demonstrations and examples of lighting design, newequipment and creative use of advanced technology in lighting design.The Sound exhibits organized by OISTAT Sound Design Working Groupincluded demonstrations and examples of creative use of aesthetics andtechnology in sound design.

The exhibits, workshops and lectures provided examples of Lightingand Sound Design work accomplished by designers and students fromaround the world. The events served as an example for those unable toconceive of designing lights or sound. Common assignments broughtstudents together having addressed common problems and with theability to discuss the technical details in accomplishing such work. Theworkshops provided a forum to use current top-level technology underthe direction of experts from the field.

These presentations consisted of short, designer led performance piecesthat demonstrated the integration of scenic, costume, light and sounddesign and performers. These events allowed student groups to experi-ence bringing a performance to Prague and to create broader inter-est in the PQ. The performances highlighted the concept of designersbeing more integral to the creation of the full performance. They enabledstudent performers and designers from one country to work with studentcrews from another in creating the performances and presenting work.

Trans-National Cooperation

The Trans-National Cooperation Exhibit presented examples of en-tirely new projects where artistic, technical, financial and administrativeresources were brought together from different countries and cultures tocreate innovative, truly trans-national work.

of observers (students, teachersand designers). The critiques gavethe students a chance to hearopinions of their work beyond

that of their teachers from a broad

range of international profession-als. This was also an effective wayof providing a model for teacherson the critiquing of student design

work.

Lighting and Sound Design

Design as Performance



Great PartnershipsTheatre Directors and Designers who have significant-ly collaborated, spoke about their artistic partnerships.

Design Excellence

Presentations from Europes premiere Scenographers- set, costume, lighting and sound designers, archi-tects and theatrical innovators.

Design Techniques

Workshops on developments in theatre design andtechnology, concentrating on lighting design andsound design.

Puppet Days

Puppet Days gave students the chance tolook at the purpose and techniques ofpuppet design, presenting examples of a

style and mode of design and perform-ance not common in many areas of theworld. These three days provided theopportunity for close contact in orderto share this cultural style.

Information about SCENOFEST! at PQ03 was disseminated through OISTAT Centres, andalso directly to schools of Theatre Design. There was a website organized through theSCENOFEST! team at Stanford University.

SCENOFEST! registered1187 participants, from 203schools from 44 countries.It was free to all who pre-registered, and daily ticketscould be bought at the PQ.All events, including the fan-tastic closing fire ceremonywere fully attended. Thethree weeks of SCENOFEST!

expanded the life and vitalityof the PQ03 experience toboth organizers and partici-pants.

Theatre visitsSCENOFEST! also arranged a series of tours to themajor theatres in Prague. These tours gave studentsthe opportunity to see the cultural and educationalofferings in Prague and to see aspects of theatretechnology specific to the theatres. SCENOFEST! alsoarranged a series of meetings of OISTAT Commissionsto provide forums for visitors to meet and discusspertinent issues with the OISTAT Commissions.

Un Somni de Nit Sant JoanOrganized by the Institut del Teatre, Barcelona.

On 24 June, Midsummers Day, Joan Guillen ofElsComediants in Barcelona led an extraordinary all-day workshop culminating in an open air performanceevent, Un Somni de Nit Sant Joan a Fiesta ofFire for St. Johnthe Baptist Day.Participantsmade masksand costumes,then joined the

street paradewith fireworks,music, and foodat night outsideVystaviste.

OISTAT EduComm presented a rich program of

lectures, presentations, workshops, and discussions

during PQ03, including:


8/50SCENOFEST! 2003 7A Lear for Our Times

A LEAR FOR OUR TIMESEXHIBIT

The Lear for Our Times Challenge

by Pamela Howard

A Challenge was issued to theatre design schoolsto work on a theoretical design project to create ascenographic proposal for A Lear for Our Times using aunique approach, perhaps central to a found space, with

all the problems and advantages that come with such anapproach.

The purpose was to enhancethe student experience at PQby providing a special exhibitionwhere students and youngScenographers, who have workedon a common project, could meet

and discussthrough commondesign challenges,critiques, talks,and encounters.

continues on page 9


9/508 SCENOFEST! 2003A Lear for Our Times

Exhibit LE1Saint-Luc, Brussels, Belgiumcontact - Xavier De Coster [email protected] in the subterranean ruins of the Brussels Palacepresented by Isabelle Cantillana, 3rd year studentLear in the abandoned sanatorium at Tombeekpresented by Laurence Drevard, 3rd year student

Exhibit LE2Fac. of Fine Arts, Stage & Costume Design Dept.

Mimar Sinan University, Turkeycontact- Prof. Bengi Bugay [email protected]

A Lear of our Timespresented by Hande Tomris Kuzu, student

Contradictions in Learpresented by Tuba Buyuk Ustun, student

Exhibit LE3Department of Scenography,Latvian Academy of Arts, Latviacontact - Kristine Pasternaka [email protected]

Supermarketpresented by Kristians Brekte 1st year studentStadiumpresented by Ieva Kaulina 5th year student

Exhibit LE4Southern Methodist University, U.S.A.

contact - Scott Osborne [email protected] Russell Parkman [email protected]

Lear - the conundrum of existencepresented by Scott Osborne, student

Exhibit LE5The Stage Design Program of the Theatre Dept.Tel-Aviv University Theatre Dept., Israelcontact - Roni Toren [email protected] of our Time and Countrypresented by Hada Eilon, Pasit Gat-Segal, SivanVeinsteinMA set, costumes and lighting students

Exhibit LE6York University Theatre Dept., Toronto, Canada

contact - Teresa Przybylski [email protected] Lear for our Times

Group project 4th year stage andlighting design students

presented by Siobhan Sleath andLeslie Wright 4th year students

Exhibit LE7California State University, Long Beach, U.S.A.contact - Danila Korogodsky [email protected] Kingdom on an Oil Rigpresented by Jeffrey Eisemann MFA studentA Theatre Learpresented by Andrew Deppen MFA student

Exhibit LE8The University of South Carolina, Columbia, U.S.A.

contact - Nic Ularu [email protected]: The Human Condition: An exploration in limited

spacespresented by Kimi Maeda and Andrew Hungerford,

students

Exhibit LE9University of North Carolina, Greensboro, U.S.A.contact - Krystyna Loboda [email protected] Storypresented by Krystyna Loboda Iwaniec

Exhibit LE10Tamagawa University, Japan

contact - Rie Ono [email protected]

Nothingnesspresented by Sahoko Oshima and

Yoshitugo KobayashiLear in Tokyo

presented by Tomona Konita

A Lear for Our Times Exhibit and Critiques Organized by Pamela Howard

Assisted by Ada Gadomski



Why do another production of King Learwhen so many have already been done?and What more can anyone do? Thechallenge was to try and think about theprimary issue of what makes this play socompelling to so many people, and to thenfind a way of staging it that makes thisold play seem like a new play that is beingexperienced for the very first time.

The use of different spaces, is oneaspect of our contemporary theatre thatis radically changing scenography andbringing the architectural and scenicworlds closer together, and at the sametime making new demands on performersand directors. Very often, a visual artistcan see the potential of a space and howa production can happen.

These are just some ofthe themes addressed by38 scenography schoolsworld-wide. A selection of

the results was shown inthe special SCENOFEST!exhibition and formed thebasis of discussions andcritiques on the work.

No language barriers exist when the work is shared!The excitement and anticipation of seeing all the worktogether was enormous, and the process of criticalfeedback from the many visiting scenographersto PQ was extraordinary.



Exhibit LE11Estonian Academy of Art Dept. of Scenography,Estoniacontact - Lilja Blumenfeld [email protected] Lear in the Muuga Harborpresented by Mari-Liis Bassovskaya, MA studentDesert in the Food Factorypresented by Marge Martin and

Riina Degtjarenko, MA students

Exhibit LE12Espaco Cenografico de Sau Paulo, Brazilcontact - Jose Serroni [email protected]

King Lear in Found Spacespresented by Ana Paulo Aquino and

Silvia Piratininga Jatoba, Students

Exhibit LE13ENSAV : La Cambre, Brussels, Belgiumcontact - Catherine Cosme [email protected] Lear on Locationpresented by Catherine Cosme, 3rd year student

Exhibit LE14Fac. of Applied Arts, Scenography & Costume Dept.,

University of Arts, Belgrade, Serbiacontact - Nina Vicentic [email protected]

Lear at the Kalemegdan Fortresspresented by Tijana Bjelajac, Sonja Jovanovic

5th (final) year students

Exhibit LE15M. Litovchin Humanities Institute of TV and RadioBroadcasting, Russia

contact- [email protected] by Regina Shemayeva, student (in French)Lear presented by Dina Romaneyeva, student

Exhibit LE16AGRFT, Academy for Theatre, Radio, Film & TV,

Ljubljana, Sloveniacontact - [email protected]@guest.arnes.si

Under the sad mountainpresented by Ana Rahela Klopcic, student

Exhibit LE17Unicamp - Universidade Estadual de Campinas, Brazilcontact - Marcio Tadeu [email protected] TerreirosGroup Projectpresented by Luciana Mizutani & Ricardo Harada,students

Exhibit LE18University of Regina, Theatre Dept., Canada

contact - Kathleen Irwin [email protected] Dionysian Lear

Group projectpresented by Blayne George and Leen Vorno,

students

Exhibit LE19University of California, Los Angeles, U.S.A.contact - Kristina Lenss [email protected] for our Timespresented by Kristina A. Lenss, MFA Costume Designstudent

Exhibit LE20

Academy of Fine Arts, Warsaw, Polandcontact - Pawel Dobrzycki [email protected]

Group Project presented by the students

Exhibit LE21Graduate School Scenographic Dept., DramaticAcademy of Russiacontact - Maxim Obrezkov [email protected] country has its own Lear - Each country has itsown peoplepresented by Max OrbiThe black and white world of Learpresented by Olga Zolotukhina

Exhibit LE22University of Connecticut, U.S.A.

contact - Olivera Gajic [email protected] Lear in Corporate America

presented by Olivera Gajic, MFA 3th year

Exhibit LE23Academy of Fine Arts, Florence, Italycontact - Tasos Protopsaltis [email protected] Lear in 360

presented by Tasos Protopsaltis



Exhibit LE24University of Haifa Theatre Design Program, Haifa

University, Israelcontact - Tali Tal Itzhaki [email protected]

Walking the Green Line: King Lear andJerusalem 2003

presented by students

Exhibit LE25Royal Welsh College of Music and Drama, U.K.contact Sean Crowley [email protected] Gas Cooling Towerpresented by Duncan Cormack and Sara Bean,students

Exhibit LE26Purdue University, West Lafayette, Indiana, U.S.A.contact - Richard K Thomas [email protected]

King Lear at Ground Zeropresented by David Swenson and Jesse Dreikosen

Exhibit LE27Escuela Nacional de Arte Teatral, Mexicocontact - Gabriel Negrete [email protected] in Four Gamespresented by Amanda GutierrezThe High Priest Learpresented by Benjamin Barrios

Exhibit LE28The Dramatic Art and Design Academy, New Delhi,

India

contact - Nissar Allana [email protected] Lear - Maharaja Yashwant Raopresented by Amal Allana

Exhibit LE29BA Hons Theatre DesignCroydon College, Surrey, U.K.A Lear for our Timespresented by Giuliana Vincenzi, student BA

Exhibit LE30Faculty of Theatre,

Dept. of Open Forms and Puppet TheatreAcademy of the Performing Arts, Praguecontact - Pavel Kalfus [email protected]

Lear A Celtic Legendpresented by 2nd year students

Exhibit LE31National Academy of Arts, Sofia, Bulgariacontact - Marina Raytchinova [email protected] Lear in Varnapresented by Manoela Andonova, student 3th yearMy Learpresented by Svetla Staneva, student 3th year

Exhibit LE32Nothingham Trent University, U.K.

contact - Samantha Deane [email protected]

Lear for a Modern Societypresented by Samantha Deane, BA Hons Theatre

Design student

Exhibit LE33VSMU. Dept. of Puppetry.Academy of Music and Dramatic Arts, Bratislava,SlovakiaContact - [email protected] by Petra Strelingerova, studentLearpresented by Zuzana Malcova, student

Exhibit LE34Superior dArte Dramatic, Especialitat dEscenografia

Institut del Teatre, Barcelona, Cataloniacontact - Ramon B Ivars [email protected]

A Lear For Our TimesCollective project presented by 2nd year students

Costume, Set and ModelingNomad Lear

Collective project presented by 2nd year studentsCostume, Set and Modeling

Exhibit LE35Hochschule fr Bildende Kunste, Dresden, GermanyHochschule fr Schauspielkunst Ernst Busch, Berlin,

Germanycontact Prof. Peter Kleinert, BerlinProf. Henning Schaller, Dresden [email protected] Lear For Our Timespresented by students from both schools



Exhibit LE36Wimbledon School of Art, U.K.

contact - [email protected] Costumes of Lear

presented by Ellan Parry, student

Exhibit LE37

School of Techn. Arts, Design Methodology V (BFA3)Hong Kong Academy of Performing Artscontact - Donato Moreno [email protected] in Hospital presented by Elsa LEUNG Chui BikLear in Gangland presented by Barry CHEUNGLear in Outer Space presented by Violet WU Suet Yin

Exhibit LE38National Taipei University Dept. of Architecture, Taiwan

Taipei University of the Arts: Dept. of Theatre Design,Taiwan

contact - Samuel Hwang [email protected] Cycle of Life presented by Chi-Chieh HuangThe Nature of Love presented by Tien-Yu Tseng

Daily King Lear Critiques

moderated by

Pamela Howardand guest designers

Nissar

Chris

Lilja

Xavier

PawelDeclan

Heiner

Kazue

Dorita

Kathleen

RamonDanila

Jean-Guy

Nick

Marina

Joaquim

Jose

Miodrag

Nic

Allana (India)

Barreca (U.S.A.)

Blumenfeld (Estonia)

de Coster (Belgium)

Dobryzci (Poland)Donnellan (U.K.)

Goebbels (Germany)

Haetano (Japan)

Hannah (New Zealand)

Irwin (Canada)

Ivars (Barcelona)Korogodsky (U.S.A./Russia)

Lecat (France)

Ormerod (U.K.)

Raytchinova (Bulgaria)

Roy (Spain)

Serroni (Brazil)

Tabacki (Serbia)

Ularu (Romania/U.S.A.)


14/50SCENOFEST! 2003 13Trans-National Exhibit

Trans-National ExhibitThe small but very spe-

cial trans-national co-

operation exhibition

reflects the many innova-

tive projects started by

young scenographers

to break down national

barriers and make new

work together a hugelyimportant action in these

dark and difficult times.

Drama knows no bound-

aries, and theatre travels

without passports. We

know there has been agreat deal more wonder-

ful work than is possible

to show, and much of it

has not been document-

ed, but where young

people have workedtogether, either through

Erasmus, Tempus, Socrates, or similar schemes,

or by encouraging NGOs to use art and drama as

part of their cultural programs, there is no doubt that

there is a new and visible group of scenographic

pioneers.

SCENOFEST! is proud to be able to show some of

their work.


15/5014 SCENOFEST! 2003Trans-National Exhibit

Exhibit TN 1Bulgaria/Serbia/Japan

Title:Via Sfera

Place and dates :

2002 2003Principal funders:

Via Pontica

Contact:[email protected]

Via Pontica is the name of one of the main migration paths of birds, and also thename of an international symposium for plastic and performing arts which takesplace in Yasna Poljana, one of the first resting places after the birds long flightover the sea. Every September for the last six years artists from all over the worldhave met in Yasna Poljana to work with natural materials in open spaces. In 2002seven young artists from Bulgaria, Japan and Serbia met there and formed an

art group also named Via Pontica. They combine land art, photography, video,sculpture, painting, music, dance and theatre in happenings and performancesin the open air, in the city and rural spaces, searching for a dialogue between thehuman and the invisible and for new ways of communicating with spectators.

Via Obuvki (Via Shoes) is an experiment in walking, transforming the normalways of moving by using unusually shaped and constructed shoes: high shoeswith heavy stones inside, shoes with bells, shoes leaking sand, pipe shoes,wooden cross shoes, rolling shoes and mechanized clapping shoes. In 2002,these shoes walked along the streets of Belgrade, Sofia and Copenhagen. ViaLabyrinth includes labyrinths made in Yasna Poljana on the bottom of a dry lake(2001) and in fields in Trigrad (2002), and a horizontal sculpture of 600 trees inDeliblatska Pescara, Serbia for an open-air museum. Via lights (Trigrads canyon,

2002) is an installation which creates an impossible road by sewing up the endsof canyon and lighting stitches in the dark. The most recent work, Via Sfera, is apoetical act in which seven people walk inside transparent spheres from morn-ing until dark, opening a space for contemplation in the minds of spectators andperformers.

Exhibit TN 2Canada/Estonia/U.K.

Title: Scenolink

Trans-National partners:Theatre Department, University of Regina,

Saskatchewan, CanadaEstonian Academy of Arts, Tallinn, Estonia

Central School of Speech and Drama,London, U.K.

Place and dates:Regina, Tallin, London, September 2002

- May 2003

Principal funders:University of Regina

Central School of Speech and DramaEstonian Academy of Fine Arts


Scenography, or the ordering of space to represent or con-

vey the dramatic field of performance, is a meta-lingual sys-tem of visual signs. The scenographer develops a subjectiveinterpretation of the spatial and temporal co-ordinates of aplay text within the real time and space of a specific venueof presentation. In this way, the performance is framedby the scenographers unique response to the dramaticcontent, by the local context of the performance and by theglobal context that inevitably impinges. The understand-ing and representation of space are embedded in culture,specifically in local culture.

In order to problematise and interrogate the local/global bi-nary within a performance aesthetic, students from radicallydifferent locations developed scenographic treatments foreach of three locally representational scripts: Brad FrasersSnake in Fridge (Canada), Jaan Tattes The Highway Cross-ing (Estonia) and Sarah Kanes Blasted (U.K.).

Each group researched local concerns that resonate withintheir text as well as the local contexts that shape the othertexts. Conventional research methods were supplementedwith on-going Internet discussion among the three groups.Co-coordinators from each institute supervised the interac-tion of the groups, and the development of each project.


16/50SCENOFEST! 2003 15Trans-National Exhibit

The Butler International Theatre Project is a summer work-shop run by the Department of Theatre at Butler University,Indianapolis, devoted to exploring trans-national collabora-tions between students, professional artists and arts educa-tors living in Indianapolis, and master artists and theatrecompanies from around the world. In May 2002, Butler

invited the European Live Art Network (ELAN) to Indianapo-lis to create a site-specific work in the Catacombs beneaththe City Market in the heart of the downtown area. ELAN isa performance training, research and production companycreated in 1989 by Firenza Guidi and David Murray. Basedin Wales, its mission is to create performances that promotecollaborations between artists from Wales, Europe and be-yond, in the belief that the language of performance unifieswithout abolishing cultural differences or erasing identity.

Firenza Guidi: When I started my correspondence withButler, we discussed the possibility of finding a perform-ance site that would have a historical and cultural reso-

nance for the city. At the same time I started to researchthe brain and the mind, maps and urban planning, and the

correspondences between them. I searched for a text that would provide a concrete starting point. Buchners Woyzeck pre-sented itself as the perfect option: a structure-less text, unshaped, fragmentary and hallucinatory, like a deranged mind.Twenty-five students and artists worked with ELAN for twelve days, culminating in three public performances. The model ofwork was repeated by ELAN in subsequent projects in Wales, Italy and India from July to November 2003. The collabora-tion between Butler University and ELAN continues, with a new project planned for spring 2004.

Look, look over there!Whats that?

Theres something big moving through the marketLook, look it is moving its arms and calling us to follow

Maybe he can take us home

Theatre and visual art are our common language. Theseprojects aimed to open up the imagination of participantsand audiences experiencing theatre for the first time, atheatre which takes place in the hidden corners of theworld an IDP camp in Sudan, a squatter town in Tanzania,an amphitheatre in Zambia. It draws on everyday life, tellingstories from the market, with characters emerging fromfables and stories and landscape. Scenography doesntneed a building: a circle of dust is the stage, with the lan-guage of the market, fleeting images, open co-operation,and dreamlike themes, real, tragic and understood withlaughter.In Sudan, we worked for War Child, which runs psycho-social creative arts programs for children in post-conflictzones. Using palm leaves, foam and cloth, we created apair of puppets to draw people to performances where chil-dren told stories and performed improvisations about theirhopes and dreams and lives. Women from local literacygroups used the puppets to spread health messages andto promote girls education.The Three Sisters of Africa was a participatory Theatre for

Development Project on gender issues: a young girl learnsthe wisdom of the elephant and the value of education, her sister learns that small things can make a difference from thefable of the dung beetle, another sister learns from the butterfly and dares to stand up against corruption. The crowd isclose to fever as a mock election takes place and ballot boxes are piled in the dust of the stage.

Exhibit TN 4U.S.A./Wales

Title:Woyzeck: Brain Matters and Mind Stuff

Trans-National partners:European Live Art Network (ELAN) andButler University, Indiana

Place and dates:Indianapolis, Indiana, May 13 25 2002

Principal funders:Butler University

Central Indiana Community FoundationWales Arts International

Contact:

[email protected]

Exhibit TN 6aU.K./ Sudan/ Tanzania/ Zambia/ Kenya

Title:Salaam Gaberone

andThe Three Sisters of Africa

Trans-National partners:1. Sudan: War Child Netherlands and

GOAL Sudan office2. East Africa: British Council and

Theatrum Botanicum

Place and dates:1. Khartoum, Sudan and Dar Es Salaam

camp, Omdurman,Sudan, April - June 2002

2. Tanzania, Zambia and Kenya, Septem-ber - November 1999

Principal funders:1: War Child Netherlands, GOAL Sudan;

2: the British Council



17/5016 SCENOFEST! 2003Trans-National Exhibit

In a light studio in Teheran in January 2001, a group of30 students are gathered, chattering and laughing anddrawing. They are working with international artists and inmixed-gender groups in the first project of its kind since theIslamic Revolution. The energy is unstoppable. Groups are

running about with pigment and charcoal, handfuls of col-oured plastic, huge red flags. Tomorrow they will have therun of the Tatra Shah National Theatre, and the audiencewill be led onto the stage to sit on cushions and to enterinto a new world where an Iranian Macbeth, a fragment of aCaspian Song line, the fable of Hossien Golli, the rich manwho realizes the folly of his ways, will weave a tapestry ofscenography and sound for the new generation.

This project was a co-operation with Scottish artists fromUnited Creations, directed by Roxana Pope. Challengingthe text-based, director-led theatre which dominates inIran, we worked in three studios: performance was led by

Skye Reynolds, composition was led by electro-acousticcomposer Pippa Murphy and composer Professor Nigel Osbourne, and scenography was led by Miriam Nabarro. Thesegroups were then brought together to devise a spectacle with image and sound as its starting point. Despite ongoing re-forms, the society is still codified, and text is only one language of expression. The smallest gesture becomes a political actand can provoke censorship. Some of these drawings are created by the talented scenographer Saeed Aghai.

sa Kierkegaard (b. Sweden 1976) and Joffrey van der

Vliet (b. the Netherlands 1974) are students of theatre andfilm design at the Gerrit Rietveld Academy in Amsterdam.Together they form a creative film making unit. Both havea strong visual drive and are perfectionists: they decidedto demand a certain level of quality to calm their restlessminds. Always looking for people to help them get thingsdone better they found a small group of people fromaround the world willing to help them. Asa and Joffrey cre-ate story boards, story lines, costumes, dolls, maquettesand film-sets. They also direct, edit and work on light andsound.

The people who have helped us a lot:Simon Eriksen, the sweet Danish Viking, is our sound engineer

Remco Swart from the Netherlands draws story boards and is a swift cameramanPaloma Gonzalez from Chile is an occasional production manager and camerawoman

Jessie the Diva from England sings soundtracks and is also a great performerRemy from Amsterdam the accordion player

Ab from BEO who lends us his scale theatre as a film set for the puppet scenes.

Friends and fellow students from different countries are our actors.

Stills, props, costumes and figures from the films Othello (2003) and Threepenny Opera (2003).

Exhibit TN 6bGreat Britain/ Scotland/ Iran

Title:Songlines: theatre co-operations in Iran

Trans-National partners:

United CreationsStudents from Teheran University, IranStudents from the National School of Arts

and Film, Teheran, IranScenographers from the National School

of Arts and FilmTatra Shah National Theatre, Teheran, Iran

Place and dates:Fadjr Festival 2001, January 2001


Exhibit TN 7The Netherlands/Sweden

Title: Magnetron Pirates

Trans-National partners:sa Kierkegaarrd (Sweden)

andJoffrey van der Vliet (The Netherlands)

Place and dates:ongoing

Principal funders:

funded by participants in the projectContact:

[email protected]


18/50SCENOFEST! 2003 17Sound Design and Composition

Richard K. Thomas

First International Exhibition of

Sound Design

and Composition 19 Exhibits from 11 countriesThe Prague Quadrennial and OISTAT EduComm pre-sented the First International Exhibition of Sound Designand Composition at the 2003 SCENOFEST!. The exhibitcontained a continuously running display of exciting

sound scores and compositions from around the world,presented on DVD with digital audio accompanied byproduction photographs. The exhibition was organizedand designed by Richard K. Thomas (U.S.A.); KindariOConnor (U.S.A.) designed the DVD; Eileen Smitheimerdesigned the media system (U.S.A.); the sound system

was provided through the generous sup-port of d&b Audiotechnik (Germany)

with special thanks to SimonJohnston, John Taylor and

Werner 4 Bayer; theDVD design and produc-tion was donated byElliot Hall of MusicProductions, Purdue

University in WestLafayette IN, withspecial thanks toSteve Hall, BillCallison and David

Swenson; Veroni-ka Vorel assistedin the staging ofthe event.


19/5018 SCENOFEST! 2003Sound Design and Composition

William Liotta, Tulane University,United States of America

The Trojan Women

Christoph Baumann, ASEA-BROWNBOVERIBaden, Switzerland

Limmat Magic

Jethro Joachim, Dulaang U.P. Theatre,Philippines

El Publico

Peter Schaerli, Suisse Image/Calypso Films,

Switzerland

Grenzgaenge

Lau Wing Tao, Actors Family, Hong Kong

Under Construction

Assen Avramov, Theatre Sfumato, Bulgaria

QuartetSomnium Ulixus

Hans Feigenwinter, Swiss Radio DRS2,Switzerland

Cosmos Hotel

Richard K Thomas, Purdue University Theatre,United States of America

The Tempest

The Theatre Academy of Finland Presents:

PendulumA sonic exhibition of a moving microphone listening to many

speakers in a sinusoidal cyclical manner.

GalleryA sonic hallway where different sonic experiences present

themselves at every step.

Eldad Lidor, Habima National Theatre, Israel

Stones In His Pocket, The Chairs, The Kiss of theSpider Woman, The View From the Bridge

Roberto Domeniconi, Ohio Theatre, SwitzerlandCampo di Anime

Rick Malone, The Sheldon Vexler Theatre,United States of America

The Diary of Anne Frank

Rikard Borggrd, Teater Giljotin, Sweden

San Clemente

Rupert Lally, United Kingdom

A Buried Life

Yossi Mar-chaim, Teatron Rechnov, Israel

Avaz

Ross Brown, Central School of Speechand Drama, United Kingdom

Mundane Moments

Eric Zoran, Grad Theatre City Budva, Serbia

Karoline Neupert

Dick Bagwell, Pasadena Shakespeare Co.,United States of America

Henry V

Sebastian and Florian Henckel-Donnersmarck,Wiedemann & Berg, Germany/Austria

Nikolaus Schapfl, Arlecchino, Der Templer,

Gregg R Fisher, Central School of Speech

and Drama, United Kingdom

Cosmonauts Last Message


20/50SCENOFEST! 2003 19

Surround Sound Design WorkshopSteven Brown, U.K.

Steven Brown presented a demonstration of hiswork and led a discussion about designing sound fortheatre in the round. Steven also designed the soundsystem for the SCENOFEST! Mainstage.

Sound Lectures & PresentationsTheater in the Dark

Presented by Gregg Fisherand Students of the LondonCentral School of Speech and

Drama, U.K.Students from the London CentralSchool of Speech and Dramapresented an exploration of thepower of sound to communicatewhen no visual stimulus is present.

The Self Contained Scenographic ActorYossi Marchaim, Israel.

Yossi Marchaim presentedexamples of his research includinga 6-channel multi-media piece forthe Israeli Pavilion in Venice, andthe relationship between lighting,MIDI, and the self containedscenographic actor, a concept inwhich performers carry their ownlight and sound sources.

King Lear in FranceJon Gotlieb, U.S.A.

Jon Gottlieb described the creation of the sounddesign for the Brewery production of King Lear inLos Angeles in 2002 and the challenges involved inmoving the production to France for the 2003 FrictionsFestival (Le Thtre National de Dijon, Bourgogne).

Composer Vladmir Franz

Czech RepublicLeading Czech composer and painter VladmirFranz presented a lecture on his art, philosophy andcompositions.

Sound Design and Composition


21/5020 SCENOFEST! 2003Sound Design and Composition

19th Century Male Tailoring

Graham Cottenden, U.K.

Development of Scenic SpectacleFrank Mohler, U.S.A.

Wrapping up Moliere in PaperEdith del Campo, Chile.

Design for the PerformerDonatella Barbieri & Biddy Strowbridge,U.K.

Design Technique talks in theArchitecture Stage

Site Specific Sound Design

Jyrki Sandell, Theatre Academy, Finland.

Jyrki Sandell discussed the making of two special sound exhibits forSCENOFEST!: Penduli, a microphone mounted to a pendulum thatundulated over 24 loudspeakers and Gallery, a dreamlike virtual space in

a long corridor where sound emanted from many doors and openings.

Lear at Ground Zero

David Swenson andJesse Dreikosen, U.S.A.

Purdue University graduatestudents presented their designs fora site-specific production of KingLear that re-examined Americanculture, values, and beliefs in theshadow of the World Trade Centerdisaster. Visit the King Lear at Ground Zero Website at: http://web.ics.purdue.edu/~zounds/KLAGZ/index.html

Theatre Academy of Finland Student Sound PresentationsPresented by: Juhani Liimatainen, and students from the Theatre Academy of Finland.

Sound and lighting students from the Theatre Academy of Finlandpresented their final project work that culminated the second year of theirgraduate studies.


22/50SCENOFEST! 2003 21Lighting Design Presentations

Lighting DesignPresentations

13 Presentations from 6 countries

Lectures

Moving Light Workshops

Student Moving Light Design Demonstrations

As lighting is a key component of scenography, it was important that it should take anactive and responsible part at the activities in SCENOFEST! and at the PQ as a whole.The activities included workshops, exhibitions, demonstrations and presentations.Markku Uimonen of the Finnish Theatre Academy, faculty of Light and Sound cooper-ated very closely and on a massive scale; they equipped a full theatre with a movinglight rig that was used throughout the full PQ.

The Netherlands supportedenormously by providing a

mobile 1 to 4 scale modeltheatre where workshopswith students could be held,under the supervision offour Dutch lightingdesigners.

Thanks to the initiatives ofMichael Ramsaur, lightingplayed an important role in

SCENOFEST! 2003.

Henk van der Geest

Lighting at the PQ03


23/5022 SCENOFEST! 2003

Designing with Moving Lights - Movement,

Kimmo Karjunen,

Theater Academy Finland

Designing with Moving Lights - Color,

Henk van der Geest,

The Netherlands

Lighting & Sound Design for Water Spectaculars,

Sigwulf Turek,

Germany

Theatrical Architectural Lighting Design,Cindy Limauro,

Carnegie Mellon University, U.S.A.

Designing Theme Parks and Themed Environments,

Norm Schwab,Light Switch, U.S.A.

Lighting Design,

Wolfgang Goebbel,

Germany

Lighting Design Presentations



Michael Ramsaur, U.S.A.and students

Kees van de LagemaatThe Netherlands

Sigwulf Turek, Germany

Moving Lights


25/5024 SCENOFEST! 2003Lighting Design Presentations

Henk van der Geest

JanChris Duijvendak

Niko van der Klugt

Kees van de Lagemaat



1:4 Model StageLighting Design Workshops

Three 3 Day Workshops

Group 1: Henk van der Geest

Group 2: JanChris Duijvendak, Niko van der Klugt

Group 3: Kees van de Lagemaat

A unique chance to experiment with shape, space, color and light withthe 1:4 Scale Theatre. As we see computers becoming popular, there isstill value in working with the Scale Theatre, because it offers the pos-sibility to see real light rather than a picture of the light. The palpabilityand reality of shapes and colors are aspects that have real value.

The SCENOFEST! was a wonderful mixture of students from differ-ent countries and different cultures. In order to take advantage of thismixture and these differences in people, three groups were formed ofstudents from different nationalities- as well as from different areas of thetheatre discipline. Dramaturges, directors, set designers, costume de-signers, lighting designers, and sound designers, but also actors, danc-ers, singers, and technicians all contributed to the creative process.

Three different workshops were offered, each with its own theme andsupervised by a different Dutch lighting designer. The workshops were athree-day process, with the students working with the workshop coach

at certain specific times, and aside from those hours the students workedwithin their group to realise the collective product.

The process in each workshop was split into the following stages:

1. Establish the concept and spatial design (Day 1, followed by discussion)

2. Building the maquette and lighting plot (Day 2, followed by discussion)

3. Rehearsals and presentation (Day 3, presentation in the afternoon)

The 1:4 Scale Theatre Stage was 3m x 5.5m in size (12m x 22m in reality)and equipped with sufficient materials and equipment. There was enoughlighting equipment for up to 48 fixtures in the grid and another 40 fixtureson the floor around the stage. There was also gauze, a white backdropand possibilities for black box settings.

Saturday-Monday, June 14-16Henk van der GeestTheme:Autonomous light as concept

Wednesday-Friday, June 18-20JanChris DuijvendakTheme:Light as scenery, what more do you need?

Monday-Wednesday, June 23-25Kees van de Lagemaat and Niki van der KlugeTheme: The invisible of light, the 4th and 5th dimension


27/5026 SCENOFEST! 2003Lighting Design Presentations

Student Designs: Moving LightMoving Light Design for King Lear

Andrew Ried & Storm Staley,Stanford University, U.S.A.

Bryan Miller,Carnegie Mellon University, U.S.A.

Andre Fischer, Martin Heyer, Raffael Pollak,Olsen Rhl, David OresicBavarian Theater Academy, Germany

Allen Fung,Hong Kong Performing Arts Academy, Hong Kong

William Iles, Matti Jukula, Sami RautanevaTheatre Academy of Finland, Finland

Aaron Held, Jessica Shaw, Paul TobenTufts University, U.S.A.

Lighting Design BoothCarnegie Mellon University, Pennsylvania, U.S.A.

Exhibit of lighting designs and use of LED(Light Emitting Diode)

Lighting Fixtures

Contributing designers

Jennifer Alexander, Bryan Miller, C. Todd Brown,Brant Murray

Supervised by Cindy Limauro

Model Box - 1:20 Model Stage Lightingby Charles Kirby, lighting designer

Charles Kirby invited any studentwith a stage model at the PQ, tobring the model to the Model Box.Mr. Kirby worked with the studentto create a lighting design with theModel Box lighting system whichincluded 40 fiber optic lightingfixtures that could be coloured and

focused, and the designer could setlighting looks on the model withthe use of the self contained controlboard.


28/50SCENOFEST! 2003 27

Puppet DaysOrganized by

Marina Raytchinova

10 presentations and performances

from 5 countries

The Puppet days at SCENOFEST! offered a rich program

of presentations, workshops, puppet theatre perform-

ances and visits to marionette artists studios. In many

countries there are no professional educational pro-

grams in puppet theatre design, therefore the aim was to

present to young designers and students the variety of

artistic approaches and techniques employed by puppet

theatre artists worldwide.

The program acquainted young people with Japanese

Bunraku theatre, European marionettes, and papier-

mch puppets and masks, exploring both mastery in

traditional puppet theatre techniques, as well as artistic

freedom and imagination in the use of these techniques

in contemporary puppet theatre.

Puppet Days


29/5028 SCENOFEST! 2003Puppet Days

Japanese King Lear

Noriyuki Sawa

Aoyama Theater, Japan

One-man show, that explorestraditional Asian puppet theatretechniques and their moderninterpretation. The perfomanceswere followed by discussions.

Bunraku Puppetry

Heideki Nakajima

Japan

Wide Awake and Dreaming

Royal Welsh College ofMusic & Drama, U.K.

Student performances, followedby post show discussions.

Lecture about traditionaltechniques, costumes

and make up


30/50SCENOFEST! 2003 29Puppet Days

Academy of Theatreand Film Arts, Bulgaria

Workshop Paper Masks & Puppets

Vasil Rokomanov

and students

National Academy of Art, Sofia, Bulgaria

Max and Moritz

Maya Petrova and workshop students


31/5030 SCENOFEST! 2003Puppet Days

The Marionette Workshop

Michaela Bartonova

Mirek Trejtnar

Antonin Muller

Czech Republic

Jonna Grimstoft: Puppet-maker

Gustaf Kull

Dalen Puppetry Center, Sweden

Puppet Theatre Networks and Festivals in Sweden.

Students exhibit at DAMUAcademy of Performing Arts

Prague, Czech Republic

Guided tour withProf. Petr Matasek.

Visits to workshops of Czech puppet designers and makers, whodiscussed the technology of designing a traditional Czech woodenmarionette and explain the process step by step.


32/50SCENOFEST! 2003 31SCENOFEST! Lectures

Jean-Guy Lecat

FranceThe Open CirclePeter Brooks Theatre Environments

Miodrag Tabacki

Serbia & MontenegroThe work of Miodrag Tabacki

SCENOFEST! Lectures

Design Excellence

Heiner Goebbels

GermanySound and Scenography

Wolfgang Goebbel

GermanyLighting Design

Petr Matasek

DAMU, Czech RepublicPuppet: Its Meaning, Form, and Sense on the Stage

Central European Viewpoint


33/5032 SCENOFEST! 2003SCENOFEST! Lectures

Chris Barreca&

Travis PrestonU.S.A.

The SCENOFEST! 2003

Keynote Presentation

Dr. Anna RieraInstitut del Teatre Barcelona

Antoni Clav: Theatre Designs

Declan Donnellan&Nick Ormerod

United Kingdom

Herbert Kapplmller&

Max Keller

Switzerland & Austria

Christoph Marthaler&Anna Viebrock

Switzerland & Germany

SCENOFEST! Lectures

Great Partnerships


34/50SCENOFEST! 2003 33

Design as Performance10 presentations and performances from 5 countries

At the beginning of the century the great theatre innova-

tor Edward Gordon Craig advocated

moving away from purely

paper projects in teach-

ing, to making sceno-

graphic works di-

rectly on stage. He

thought the stage

should be used as

a canvas, and that

performers could and

should be the Scenogra-

phers themselves, so they

could physically experience space

and light. Now, many schools have developedthis approach into design as performance and the daily

program on the SCENOFEST! stage shows the diversity

of approaches to scenography. This is not meant to be

drama, but more an alternative to studio design work,

recognizing the links between theatre, fine art and per-

formance art that have developed over the past decades.This work, like the other exhibition reflects strongly the

interdisciplinary nature of theatre, and how significantly

the boundaries between different art forms seem in-

creasingly incidental and artificial. Daily performances

of ingenuity, invention and innovation prove that there is

still space to be original and new, especially when mak-

ing work that has to speak for itself without all the secu-

rity of theatrical hardware!



35/5034 SCENOFEST! 2003

Lines,the Composition from Lear

Nihon UniversityCollege of ArtJapan

A Birds TaleLaban SchoolU.K.

Naked Circus

CentralSaintMartinsCollegeof Art

U.K.

The Ulysses Project

Institute del Teatre, Barcelona, Spain

The Mahabarata Project

India

Ognen

National Academy of ArtSofiaBulgaria

Both Exist in Their Own Way

National Theatre School of CanadaandConcordia University, Montreal, Canada

Glass Menagerie

Academy of Performing Arts

Prague, Czech Republic



36/50SCENOFEST! 2003 35

100 Years of SolitudeCentral Saint Martins College of Art and DesignU.K.

The Spatial CollageRussia

Via Sfera

National Academy of Art, SofiaVia Pontica International GroupBulgaria

Siamoises CabotinesEcole Nationale Suprieure des

Arts Visuels de la CambreBelgium

fin de vacio / hole end,National School of TheatreMexico

Comenius, Labyrinth of the World and Paradise of the Heart

Slavic & East European Studies, Baylor University/DAMU, Czech Republic and U.S.A.

Getting Out

Sangmyung University, Korea

Mayfly

DAMU

Czech Republic

All OnceAlternative & Puppet Theatre Department, AMUCzech Republic



37/5036 SCENOFEST! 2003

Scenes from Lear

Hochschule fr Bildende Knste Dresden,and Hochschule fr Schauspielkunst Ernst Busch Berlin, Germany



38/50SCENOFEST! 2003 37

All attending the Quadrennial were welcome to attend any of these events includ-

ing the closing ceremony. In addittion to advertisements in OISTAT Publications,

SCENOFEST! was promoted primarily through OISTAT Centres and directly to schools.

Promotion directly to schools was most successful because of the EduComms many

contacts with teachers and schools worldwide.

Un Somni de Nit Sant Joan

On 24 June, Midsummers Day, Joan Guillen of Els Co-

mediants in Barcelona led an extraordinary all-day work-

shop culminating in an open air performance event. UnSomni de Nit Sant Joan - a Fiesta of Fire for St. John the

Baptist Day. Participants made masks and costumes,

then joined the street celebration with fireworks, music

and food outside Vystaviste.

Un Somni de Nit Sant Joan


39/5038 SCENOFEST! 2003Un Somni de Nit Sant Joan


40/50SCENOFEST! 2003 39

Ross Brownsound designer, U.K.

He has worked professionally as acomposer, musician, sound designer

and technician for theatre and lecturersin theatre sound design and music forperformance at the Central School ofSpeech and Drama in London. Otherwork includes site-specific multi-mediadevised performances and BBC radiodramas and numerous theatre scores.His theatre sound design work rangesfrom innovative large-scale productionsto small-scale work on the Edinburghfringe and at off-West End theatres.Sound and operating and technicalwork includes numerous large-scale

musicals, West End productions andnational tours.

Stephen Brownsound designer, U.K.

He is the Head of Soundat Royal Exchange TheatreManchester with additional extensivecredits in theatre sound design for the

Royal Shakespeare Company, andWest End productions. He has exten-sive engineering and operating creditsincluding the Royal National Theatre.He was the sound consultant for themajor refurbishment of the Royal Ex-change Theatre.

Declan Donnellandirector, U.K.

With designer NickOrmerod, he formedCheek By Jowl in 1981. Freelance workincludes Macbeth and Philoctetes atthe Finnish National Theatre in Hel-sinki, Romeo and Juliet for the EnglishShakespeare Co. and The School ForScandal for the Royal ShakespeareCompany. Maly Dramatic Theatre ofSt Petersburg and Boris Godunov byPushkin for the Russian Theatre Con-federation which opened at the Mos-

cow Art Theatre. Opera Credits includeFalstaff at the Salzburg Festival. AsAssociate Director of the Royal NationalTheatre. He is the first Director of theRoyal Shakespeare Company Academy

in Stratford upon Avon. He has wonseveral awards in Paris, London, NewYork and Moscow including the OlivierAward for Outstanding Achievement in1991. He has written The Actor and theTarget.

JanChrisDuijvendak

lighting designer,The Netherlands

He toured with the Haarlem Toneel ofthe Netherlands, was chief techniquesin Theater De Lieve Vrouw in Amers-foort and is now Lighting designer forTelevision and Theatre and teaches at

the Amsterdam School of Arts, TheatreTechniques. As partner in the Lightingdesigners collective LD design he isresponsible for commercial and publicbroadcasting companies includingwork on comedys and talk shows. Hisstyle in lighting design in TV is saidto be theatrical. Because of his widebackground and experience he is ableto cooperate with many disciplines likedirectors, scenographers, actors, soundand camera. Often this leads to a set-

ting that is developed by the director,scenographer and him, with of courselight as an inspiring center. Productionsin which that clearly show are Galavan Het Nederlandse Lied (KRO enRadio2), The KRO Kerst-Concerten,the Radio2-Concerten, Memories(KRO), and Helden (KRO), 50yearsTV and 75years KRO.

Vladmir Franzsound designer,composer, painter,Czech Republic

The winner of the prestigious AlfredRadok Prize (also known as the Worldand Theatre Magazine Prize) he hashad almost eighty exhibitions and artcompetitions both home and abroad.He has composed music for more thanninety theatre performances, includingperformances for the Pragues National

Theatre, the City Theatre of Zlin, andthe Master and Margaritte Festival inPrague castle. He has also composedmusic for Czech movies, operas,and radio plays. At the moment he is

composing an opera Povetron to the K.Capeks novel.

Chris van Goethem

technician, Belgium

He started in 1983 as atechnician and founded thenon-profit company TEAD that spe-cialises in training, stage management,production and consulting. His fieldsof experience include lighting, produc-tion and special effects. In 1999 hefounded the technical theatre programat the RITS School in Brussels, wherehe currently teaches, and he is also theCoordinator of the vocational training

for technical theatre for VDAB.

Wolfgang Goebbellighting designer,Germany

His designs have beenseen in international operahouses and theatres. He has lit showsat the Schaubhne in Berlin, Burgth-

eater Vienna, Playhouse Zrich, GorkiTheater, Royal Shakespeare Company,Thtre de la Ville Paris, Thtre duChaillot Paris, Salzburger Festspiele,het Toneelhuis Antwerpen, DeutscheOper in Berlin, Komische Oper Berlin,Wiener Staatsoper, English NationalOpera, Royal Opera Covent Garden,Scottish Opera, Welsh National Opera,Grand Thtre de Genve, GrandTeatro del Liceo Barcelona, Metropoli-tan Opera New York, National TheatreTokyo, Teatro alla Scala Milano

Heiner Goebbelssound designer,scenographer,Germany

In the middle of the 80s hebegan composing and directing audioplays of his own. For many of these hewas awarded: e.g. with the Hoerspiel-

preis der Kriegsblinden, the Prix Italia(85, 92, 95) and the Karl Sczuka Preis(84, 90, 92). In 1993 he was awardedthe Hessischer Kulturpreis. Invitationsto nearly all major theatre, new mu-

BIOGRAPHIES OF SOME OF THE SCENOFEST! PRESENTERS

Biographies SCENOFEST! Presenters


41/5040 SCENOFEST! 2003

sic, jazz and performing arts festivalsand tours with all his ensembles, theproductions for stage and the portraitconcerts of the Ensemble Modern gothim to more than 30 countries in thelast 15 years. He is a member of theAkademie der darstellenden Kuenstein Frankfurt and the Akademie der

Kuenste in Berlin, professor at theInstitute for Applied Theatre StudiesJustus Liebig University in Giessen. In2001 he was awarded with the Euro-pean Theater Prize - New TheatricalRealities and was awarded a GrammyNomination. Awarded with the HeraldAngel Award of the Edinburgh Interna-tional Festival for Hashirigaki. His firstbook is Komposition als Inszenierung.

Jonna Grimstoftpuppet-designer,puppet-builder,puppeteer andscenographer, Sweden

She (with others) started the WOOD-SHED-THEATRE in 1969 and theRAJA-THEATRE in 1981. Puppet-de-signer and -builder for the SwedishState television, exhibitions in Hxmu-seet at Sandsln, dalen, in Kramfors

Arthall, and with artistic theatre-masksin Gteborg.

Pamela Howardscenographer, U.K.

Her 40-year career hasestablished her at the fore-front of her field. She is the founder ofthe European Scenography Centresand MA Scenography Course at CentralSt Martins College. She is author ofWHAT IS SCENOGRAPHY? She servedas curator of the recent Ralph KoltaiRetrospective international tour, herwork as a director of Opera Transatlan-tica (London, Caracas) identifies her asone of the few internationally renownedScenographers who practice as primarycreators.

Kimmo Karjunenlighting designer, Finland

He is lecturer in lightingdesign at the Dept. of Ligh-ting and Sound Design at the Thea-tre Academy of Finland. His current

projects include the technical design forthe renovation of the Theatre Museumin Helsinki and a contemporary danceperformance in Helsinki City Theatre.After his graduation, MA in LightingDesign 1991, he has been designing setand lighting for contemporary danceand architectural lighting design andlighting for museums in Finland.

Herbert KappmullerProfessor andChairman of theInstitute of Stage DesignMozarteum, Austria

Has designed extensively in Europeincluding for the Wiener Staatsoper,Salzburger Landesteater, BadischesStaatsteater Karlsruhe, WuppertalerBuehnen, Bhnen Stadt Kln and theStaatsopern Berlin.

Max Kellerlighting designer,Germany

He has worked in lightingsince 1964, and is currently the Head ofthe Lighting Department and Resi-dent Lighting Designer at the MunichKammerspiel. He has also designedproductions in Berlin, Munich, Vienna,Amsterdam, Brussels, Milan, Turin,Paris, Genf, Frankfurt, Hamburg, Salz-burg, Bregenz, and Cologne, and NewYork. He is the author of two books,Bhnenbeleuchtung (Stage Lighting)and Light Fantastic: The Art and Designof Stage Lighting. He is the recipient ofthe prestigious Munich Theater Prizeand the USITT Distinguished LightingDesigner Award.

Jean-Guy LecatChevalier des Arts etdes Letters, France

Served as Technical directorand space designer for Peter Brook.For the last 25 years he was in charge

of the Thtre des Bouffes du Nord, aswell as Peter Brooks tours. Chargedparticularly with research and thetransformation or creation of about 200spaces, throughout the world. CurrentProjects include the construction ofthe Theatro Almada in Lisbon, projectfor New Transformable Theatre inStratford upon Avon for the RoyalShakespeare Company, and the futuretransformation of Adolphe Appias Fest-pielhaus in Hellerau.

ChristophMarthaler

director, Switzerland

Currently Artistic Directorof the Zurich Schauspielhaus, but hasdirected extensively in German Thea-tres and opera houses, notably StundeNull, and Murcx de European. Knownas the enfant terrible of the contem-

porary theatre his productions show en-semble playing with a totally fresh eye.

Joseph (Yossi)Marchaim

sound designer, Israel

Pryminister Prize, 1991.Israeli Oscar for Film Scores, 1979,1985. Numerous commissions, includ-ing for Musica Nova and Israeli Sym-phony Orchestra. Teaching positions:Tel Aviv University Film Department(Sound for Film, Camera Obscura(Sound In Virtual Media); Head Schoolof Jazz (History of Jazz and Pop Music).Composer of numerous environmen-tal pieces, many of them connectedwith lighting, computers, sea and windsounds. Worked on a 6-channel multi-media piece for the Israeli Pavilion inVenice for the International Biennale ofArchitecture (Fall 2002).



42/50SCENOFEST! 2003 41

Petr MatsekAssociate professor atAcademy ofPerforming Arts,Prague, Czech Republic

He has been the creator of about 120

scenographies in drama, opera andpuppet theatres in Czech Republic andabroad. He was for many years a sce-nographer, chief designer, and memberof Theatre, HRADEC KRLOV andalso taught at the Figurative TheatreAkademi OSLO. He has been theguest of many International Festivalsand Theatres in Australia, Austria, Bel-gium, Bulgaria, Canada, Denmark, Eng-land, Germany, France, Italy, Poland,Japan, U.S.A., and Yugoslavia. He hadgiven workshops and special courses

in many countries including Australia,Denmark, England, France, Iceland,Norway, Japan, Tasmania, U.S.A.,Austria, and Finland. His designs havebeen exhibited in Czech Republic at thePrague Quadrennial many times and in1999 Golden Triga award, solo exhibi-tions in Karvin, Ostrava, Novy Jicn,Jicn, Hradec Krlov, Chrudim, Pardu-bice, and Jihlava, The National Galleryof Modern Arts, as well as the CzechPuppet at Prague Castle Exhibition. He

also received the Alfred Radok awardfor best scenography in 2001.

Maya Petrovapuppet designer and professor,Bulgaria

Studied at the Puppet Design depart-ment of AMU, Prague, with Prof. Krofta,and graduated in 1975. Specializedwith Site des ARTS - Paris, and withInstitut UNIMA in Charleville - Meziresin France. Professor Maya Petrova isfounder and Head of the Puppet DesignProgram at the National Academyfor Theatre and Film Arts, Sofia. Herartwork has been exhibited at PQ99,95, 91, 87, 85, as well as at more than30 scenographic forums in Bulgaria andabroad. She has worked and taughtin France, Spain, Morocco, Canada,Afghanistan, Japan, Belgium, Luxem-burg, Croatia, Zimbabwe, and Tunis.

She served as curator of the BulgarianNational exhibits at PQ91 and 95, andchair of the Bulgarian centre of OISTATfor the period 1985 - 1995. Since 1975until present she has designed more

than 100 shows for puppet theatres inBulgaria and abroad, as well as for theBulgarian and the Czech State Televi-sions. She is a member of the govern-ing board of the Bulgarian Center ofOISTAT, UNIMA, AJAP, ITI.

Michael Ramsaurlighting designer andprofessor, U.S.A.

Lighting Designer for manytheater companies in the San FranciscoBay Area of California. Examples of hisdesigns have been displayed at twoUnited States Institute of Theater Tech-nology Design Expositions, a theaterdesign exhibit at the Trinton MuseumSan Jose, and at theatrical design

exhibitions in Prague and Shanghai. Hehas been awarded Outstanding LightingDesign awards from the San FranciscoBay Area Critics Association, DeanGoodman Award, Drama Logue Award,and an Artistic Fellowship by SantaClara County. His articles on light-ing techniques have been publishedin three countries and he has createda computerized software program toaid lighting designers. He is a Profes-sor of Lighting design at Stanford he

also teaches regularly at the Bavar-ian Theater Academy Munich, and atthe University of Arts Belgrade in theInterdisciplinary MA Program in Theater.He serves as Chairman of the Educa-tion Commission of the InternationalOrganization of OISTAT.

MarinaRaytchinova

scenographer, Bulgaria

She is Professor atDepartment Scenographyin the National Academy of Art, Sophia,and resident designer at the TBA Thea-tre Sofia, set and costume designerwith theater credits in Bulgaria, Mac-edonia, Russia, Switzerland, France,and U.S.A.. Her costume and scenicdesign has been featured in exhibitionsin Austria, Germany and at PQ in 1987,1995, 1999.

Dr. Anna Riera,Catalonia, Spain

Was born in Barcelona in 1944. Bach-elor of Arts for the University of Barce-lona she received her doctorate degreefrom this University in 1996 with a study

on Antoni Clav as scenographer. Thebook Antoni Clav i el teatre and thevideo that goes with it, will be pre-sented at SCENOFEST! at PQ03 andis the product of this intense research.Since1983 Anna Riera is lecturer at theInstitut del Teatre in Barcelona. Duringten years she has also worked at theresearch department of the Institut delTeatre, finishing an interesting study onthe work of Sigfrid Burmann.

Vasil Rokomanovpuppet designer,Bulgaria

Graduated with MFA andPhD from the Department Scenographyat the National Academy of Arts, Sofia.Since 1980 has designed more than70 productions for various drama andpuppet theatre companies in Bulgaria,Croatia, Slovenia, Czech Republic,

Mexico and Belgium. His design workhas been exhibited in internationalexhibits in Europe and Japan as well asin PQ on many occasions. His designcredits include more than 35 posters fordrama and puppet shows, illustrationsfor books and magazines, arrangementsof exhibitions in Bulgaria and abroad.Vasil Rokomanov teaches course Pup-pet Design and Technology at Depart-ment Scenography at the NationalAcademy of Art. Currently he serves asa resident designer at the State PuppetTheatre in Burgos. Member of OISTATand UNIMA. He has written Deus exmachina. Introduction to the problem -- Homo Ludens review, issue 2/2001,Sofia, Bulgaria, and - Euripides as ascenographer - Problems of the Artreview, issue 2/2001, Sofia, Bulgaria.

Noriyuki (Nori) Sawaperformer and puppet master, Japan

Performed and taught in more than 20countries: Czech Republic, Slovakia,Germany, France, The Netherlands,Finland, Italy, Greece, Hungary, Rus-



43/5042 SCENOFEST! 2003

sia, Japan, New Zealand and U.S.A..1999, Prize Franz Kafka Medal for theperformance Forest and his globalartistic activities. 2000-2001, producedand co-directed the internationalproject A Plague O Both Your Houses! Romeo and Juliet with Theatre Drakand The Japan Foundation, the pro-

duction prized the Grand-Prix in TheInternational Puppetry Festival in Pecs,Hungary and invited into The Interna-tional Shakespeare Festival in Bath,U.K. 2002, directed The JapaneseFairytales for the childrens theatreof Prague 7, TY-JA-TR and receivedGrand-Prix in Prague competition.

Miodrag Tabackiscenographer,

Serbia & Montenegro

He is an artist and stagedesigner, and also teaches set and cos-tume design at the Faculty of DramaticArts in Belgrade. He has had fifteenone-man exhibitions of his designs andparticipated in over fifty group exhibi-tions. Since 1973 he has produced overtwo hundred set designs and over onehundred costume designs for thea-tre, ballet, opera and puppet theatre

productions, for repertory theatres,independent companies and festivals.

Miroslav Trejtnarpuppet master, Czech Republic

Graduated with high honors fromthe puppet design department of thePrague Academy of Performing Arts.He has trained with Institut UNIMA inCharleville - Mezires in France and theBread and Puppet Theatre Companyin U.S.A.. In 1989 he started the KIDCompany, designing and producingwooden puppets, toys and sculpture.Recently, Miroslavs puppets and sculp-tures were exhibited at the UNIMA 2000World Festival of Puppet Theatre inMagdeburg, Germany. His artwork hasbeen exhibited in the Czech Republic,Slovakia, Germany, Belgium, Denmark,the U.S.A., Japan, Hong Kong andMacao. He has designed puppets for

numerous productions in the CzechRepublic and internationally, includingThe Baroque Opera by the For-man Brothers. He has also producedpuppets for the Jiri Trnka animated

film studio in Prague. In 1996, he wasawarded the prestigious Bayerischendesign award at the Munich Internation-al Crafts Fair. Miroslav has taught pup-pet-making and scene design for thePrague Academy of Performing Arts, St.Martins College of Design in London,New York University in Prague, Chapito

Circus Academy in Lisbon, Portugal,and in Macao and Hong Kong.

Markku Unimonenlighting designer, Finland

His design work is broadincluding Shadow of Lighta Spatial installation, Retretti Art Center;Human Voices at the Savonlinna Opera;Marat/Sade at the ITI Baltic Theatre

Festival in Estonia; The Love Letters atthe Actors Rep Theatre Hong Kong;Aleksis Kivi for Opera du Rhin, Franceand Opera di Cosenza, Italy; Light-ing design for the Swedish Theatre ofHelsinki; Light Wave, an installationat Finlandia House; Architectural andenvironmental lighting designs for theHelsinki Festivals; and EXPO2000 Ex-hibition lighting design for the Pavilionof Finland at the Hanover World Fair.

Niko van der Klugtlighting designer, The Netherlands

A lighting designer/director and techni-cal co-ordinator, born and raised in Am-sterdam, The Netherlands. Since 1986he started to specialise in light-design.He did the lighting designs for compa-nies and choreographers like RAZ/HansTuerlings, Lisa Marcus, Brenda Daniels,Krisztina de Chatel, Itzik Galili, Ballet DeGenve (s) Ballet Gulbankian (p) Buda-pest Dance Company (h) Bruno Listo-pad, Atterballetto (I) and many others.He specializes in dance but has also litplays, musicals, cabaret, one-womanshows, exhibitions and warehouses.Worked on many different (location)projects as a set/lighting designer ortechnical co-ordinator. In November1999 he joined Lighting Designers inthe Light Factory, Design & ProductionBuro, Haarlem. He is the Technical di-

rector for Springdance/Festival, Utrechtand is teaching light and design at theRotterdam Dance Academy.

Keesvan de Lagemaatlighting designer,The Netherlands

Has been working in the theater since1972 and in 1981 he realized his first

professional lighting design, and is nowa partner in the independent lightingdesigner firm called Eyelight Studiosin Haarlem. He has designed for Idevan Heijningenk, Onafhankelijk Toneel,Toneelschuur. Discordia, Toneelschuur-Productions, Art en Pro, Baal, F-act andToneelgroep Centrum. He lit the operaThe Man in the Raincoat by Bob Wil-son, performed at the Music Theater inAmsterdam. It was recorded for TV andbroadcasted by the NOS. In Kourou,French Guinea, he made for Estec the

lighting plot for the interior of MusedEspace. The Mondriaan Foundationasked him to make the lighting designfor the Association of Deventer Hospi-tals, and it was in the Willem de ZwijgerChurch in Amsterdam where he hasFrozen a moment of Light for the ArtFund Amsterdam. In the Nova Collegein Haarlem he created Window on theFuture, a large spiritual lighting object.In 1993 he received de Prijs van deKritiek for Othello by Toneelgroep Am-

sterdam and for All for Love by BlauweMaandag Company. In 1995 EyelightStudios received an Oscar in Parisfor the presentation design for ForboKromenie. In 1996 he was honoredwith the European Prize for the bestmuseum presentation.

Anna Viebrokscenographer, Germany

The long time collabora-tor of Christoph Marthaler,who has created all his productionswith him. Many books have been writ-ten about her work, showing how shehas developed the use of the ambigu-ous space. As accomplished photog-rapher she is famous for the detailedresearch she does for each project.



44/50SCENOFEST! 2003 43

Australia

Monash University Sydney University, Department

of Performance Studies University of New South Wales Victorian College of the Arts Western Australian Academy

of Performing Arts

Austria

University of Vienna

Belgium Ecole de Scnographie

Saint-Luc Bruxelles La Cambre RITS Belgium

Brazil

Ateli de Criao Teatral Espao Cenografico/UNIRIO I Centro Universitario

FEA-FUMEC UNICAMP - Universidade

Estadual de Campinas

Bulgaria

Academy of Music and

Dance, Plovdiv National Academy for

Theatre and Film Arts National Academy of Art

Canada

Collge Lionel-Groulx Concordia University Douglas College Langara College, Vancouver

National Theater School ofCanada Red Deer College Senica College St. Therese Option Theatre University of Alberta University of British Columbia University of Regina University of Victoria York University

Chile

Universidad de Chile

Croatia

Academy of Dramatic Arts

Czech Republic

Charles University, Prague DAMU Janaceks Akademy of Music Arts The City of Prague of

language school

Denmark Danish National Theatre School

Egypt

The American University in Cairo

Estonia

Estonian Academy of Arts University of Tartu

Finland

Institute of Art and DesignEVTEK-Muotoiluinstituutti

Kainuu Vocational Institute The Theatre Academy of Finland University of Industrial Arts

Helsinki University of Art and Design

Helsinki

Georgia

Georgia State University ofTheatre and Film

Germany

Bayerische Theaterakademie Hochschule fr SchauspielkunstErnst Busch, Berlin

Hochschule fr Bildende Knste,Dresden

Kunsthochschule BerlinWeissensee

Ghana

Computer AssistedJournalism Training School

Hong Kong

The Hong Kong Academyfor Performing Arts

Participating Schools


45/5044 SCENOFEST! 2003

Hungary

University of Veszprem

India The Dramatic Art &

Design Academy

Israel

Bezalel Academy of Art &Design, Jerusalem

Ironi Alef Tel-Aviv theatre dep.

+wizo Haifa architecture dep. University of Haifa Tel Aviv University

Italy

Academia dello Spettacolo /1 Liceo Artistico

Academy of Fine Arts of

Florence Politecnico di Milano Universit di Roma

La Sapienza

Japan National Childrens Castle of

Japan Nihon University College of Art Tamagawa University

Korea

Hong Ik University Seoul Art Institute Dankook University Ehwa Womans University

Kaywon School of Art & Design Korean National University of Arts Little School of Anyangnam Sangmyung University The Academy of Korean

Scenography The culture & arts training centre Seoul Art Institute Young In University

Latvia Latvian Academy of Arts

Macedonia

Faculty of Drama Arts - Skopje

Mexico

National School of Theater

New Zealand

Toi Whakaari New Zealand National

Drama School

Peru

Universidad Catolica - Universidad Ricardo Palma

Poland

Academy of Fine Arts

Philippines

University of the Philippines

Russia GITIS Humanities Institute of TV and

Radio Moscow Art Theatre School Dramatic Academy of Russia Russian Academy of Theatre Art Russian State University of

Humanitas VGIK

Serbia and Montenegro

Academy of Fine Arts Faculty of Drama Arts University of Arts Faculty of Philosophy Belgrade University of Belgrade

Slovakia

Academy of Music andDramatic Arts

Slovenia

AGRFT

South Africa

Cape Technikon University of Cape Town University of Stellenbosch

Spain

Institut del Teatre de Barcelona



46/50SCENOFEST! 2003 45

Sweden

Dramatiska Institutet Hllefors Folkhgskola

Switzerland

International School of Geneva

Taiwan

Taipei University of Arts Taipei National University of

the Arts

National Taipei University Kung-Shan University of

Technology

The Netherlands

Academie Beeldende KunstenMaastricht

Academie Minerva

Faculteit der Kunsten Hogeschool voor de KunstenUtrecht

Hogeschool Zuyd Minerva Groningen

PVA Department Rietveld Academie Theater School Amsterdam Theater School Hogeschool

v/d Kunsten Utrecht Theater Design Academy

Turkey

Mimar Sinan University National Academy of Fine Arts

U.K.

Alton College Arts Institute at Bournemouth Bretton Hall University of Leeds Central Saint Martins College

of Art and Design Central School of Speech andDrama

Croydon College Edinburgh College of Art Exeter University Middlesex University Nottingham Trent University Queen Mary, University of London Royal Academy of Dramatic Art Royal Welsh College of

Music and Drama

The London College of Fashion The Slade School of Fine Art

University College London Trinity College of Music University of Central England

in Birmingham University of East London University of Leeds University of Limerick Vocaline Company Hamburg Wimbledon School of Art

U.S.A.

Alcorn State Appalachian State University Baylor University Bucknell University Butler University California Institute of the Arts California State University

Fullerton California State University

Long Beach Carnegie Mellon University Columbia University Jefferson College Loyola Marymount University Macalester College Miami University Muhlenberg College New York University

North Carolina School of the Arts Ohio University Pace Academy Purdue University Rice University

U.S.A. continued

S.M.U. Meadows School ofthe Arts

San Antonio College Stanford University

SUNY Tandem Friends School Texas Tech University Towson University Tufts University UCLA University of California Irvine University of Connecticut University of Evansville University of Georgia University of Hartford University of Kansas

University of Massachusetts-Amherst

University of Minnesota University Of Missouri in

Kansas City University of North Carolina at

Chapel Hill University of North Carolina at

Greensboro University of Oregon University of South Carolina

University of Southern California University of Tennessee University of Texas at Austin University of the Incarnate Word University of Toledo University or Michigan University of South Carolina Washington & Lee University Western Carolina University

Uzbekistan Academy of Art, Uzbekistan



47/5046 SCENOFEST! 2003

The Mission of OISTAT

To stimulate the exchange of ideas and innovations, and

to promote international collaboration in professionswhich support live performance;

To promote the formation of OISTAT centres in eachcountry in order to achieve these aims;

To encourage life-long learning among live performancepractitioners;

To respect the integrity of all cultures and celebrate the

diversity as well as the similarities of those who work insupport of live performance.

To this end OISTAT has Centres in 32 countries aroundthe world with combined membership of over 12,000members and six active Commissions.

OISTAT Leadership

Maija Pekkanen, President

(Finland) Louis Janssen, Vice-President(The Netherlands)

SungChul Kim, Vice-President(Republic of Korea)

Leon I. Brauner, Secretary(United States of America)

Martin Godfrey, Treasurer(United Kingdom)

Peter McKinnon, Executive Committee(Canada)

Simona Rybkov, Executive Committee(Czech Republic)

Karin Winkelsesser, Executive Committee(Germany)

Jan Kramer, Chair of the Architecture Commission(The Netherlands)

Michael Ramsaur, Chair of the Education Commission(U.S.A.)

Bob Logger, Chair of the History and Theory Commission(The Netherlands)

Jerme Maeckelbergh, Interim Chair of the Publication and Communication Commission(Belgium)

In-Suk SUH, Chair of the Scenography Commission(Korea)

John B. Mayberry, Chair of the Technology Commission(Canada)

for information see www.oistat.org


48/50SCENOFEST! 2003 47

SCENOFEST! is a project of the OISTAT Education Commission

Michael Ramsaur, Chairman (U.S.A.)

Frits van den Haspel, Vice Chair (The Netherlands) Pamela Howard, Vice Chair (United Kingdom)Bruno Grosel (Austria)

Chris van Goethem (Belgium)Jerme Maeckelbergh (Belgium)

Marina Raytchinova (Bulgaria) Kathleen Irwin (Canada)

Tomas Zizka (Czech Republic)Peter Matasek (Czech Republic)

Lilja Blumenfeld (Estonia) Teija Huikka (Finland)

Eeva Ijas (Finland)Markku Uimonen (Finland)

Martemaria Scheunemann (Germany)Rosie Lam (Hong Kong)

Arpad Kekesi Kun (Hungary) InJun Kim (Korea) Dorita Hannah (New Zealand) Sjef Tilly (The Netherlands)

Emilio Martin Infante (Philippines)Rasha Dinulovich (Serbia)

Irena Sentevska (Serbia)Gustaf Kull (Sweden)

Maths Nystrom (Sweden) Marco Haefliger (Switzerland)

Michael Chien (Taiwan)Mark B. Jung (Taiwan)

Marianne Custer (U.S.A.)Sabrina Hamilton (U.S.A.)

Sean Crowley (United Kingdom)

The SCENOFEST! Working Groupbrainstorming forSCENOFEST! 2007 at a meeting inIstanbul, November 2004

EduComm at a SCENOFEST! 2003 evaluation meeting in theInstitut del Teatre, Barcelona, December 2003


49/5048 SCENOFEST! 2003

SCENOFEST! thanks our sponsors:SCENOFEST! Partners:

Benefactors:

Sponsors:

Educational Partners:

Cultural Partners:

Equipment Sponsors:

PQ Czech RepublicOISTAT

ARRI, Germany

Linfair Engeneering and Trading Ltd.

Taiwan

Gerriets, GermanyETC,

Documents

ScenoFest 2003 LowRes.pdf