Dramaturgy of the Quotidian by Antonio Saucedo Azpe

Antonio Saucedo Azpe

Dramaturgy of the quotidian: Theater as a Framework to Study Space

Antonio Saucedo Azpe

Dramaturgy of the quotidian: Theater as a Framework to Study Space

Universidad Iberoamericana Department of Architecture, Urbanism and Civil Engineering Architecture & Communication. Arch. Daniel Mastretta December, 2018

Antonio Saucedo Azpe

Dramaturgy of the quotidian: Theater as a Framework to Study Space

Contents 1. Introduction: Theater as a Framework to Study S pace

1.1 Space

1.1.1 Scenic and Architectural Space

1.2 Theater

13 29

1.2.1 Narrative and Dramaturgy

1.2.2 Performance

2. Space in Dramaturgy

2.1 Dramaturgy

2.2 Dramatic Text

2.2.1 Playscript

2.2.1.1 Dramatis PersonĂŚ

2.2.1.2 Setting Description

2.2.1.3 Primary and Secondary Text

2.2.2 Dramatic Structure

49 55

2.3 Architecture and Dramaturgy

2.3.1 The Conflict in Architecture

3. Architecture Onstage

3.1 Scenic Design: A Transdisciplinary A pproach

3.2 Architecture on Stage

3.2.1 Representation Space

3.2.2 Set

3.2.3 Case of Study: Man of La Mancha

3.2.3.1 Set Design: Architectural Typologies

3.2.3.2 Figurative Architecture

3.3 Limits in Space

3.3.1 Case of Study: Dogville

81 83

4. Urban Performances

4.1 Theater and the City

4.2 The Urban Space

4.3 Performances in the Urban Space

101

4.3.1 Scenic Space Transfer

101

4.3.2 Challenging the Dynamics

104

5. Final Thoughts

109

6. References

110

Dirk Becker (Set Design), Bernd Purkrabek (Lighting Design), Christof Loy (Direction). Jenufa. Deutsche Oper Berlin, 2014.

Dramaturgy of the Quotidian

1. Introduction: Theater as a Framework to Study Space

Dramaturgy of the Quotidian

Space Space is everywhere around us. We experience it every day and manipulate it according to our needs. It is precisely our intervention that transforms and detonates space giving it meaning and functionality.

a noticeably different way; but still, theater can contribute to the study of space in ways that architecture itself hardly will. In the words of William Shakespeare: “All the world’s a stage, and all the men and women merely players.”

A clear human intervention of space for practical purposes is architecture. We are born inside architecture and will probably die inside of it too. The architectonic space is everywhere around us in our everyday lives, either in the spaces we inhabit or the ones we experience through the city. So, when we think about space we probably think about the architectural space, or perhaps the urban space, which is extremely related with architecture, being the public expression of the sum of the architectonic spaces in a city. Is there anything beyond the quotidian character of space in our lives? Is there a different approach to study or analyze it?

So, rather than studying the already very studied architectonic space, this book is going to try to approach space through the scenic space. This space known as the scenic place, is the place where the dramatic discourse is translated into action in front of an audience. In words of the great theater director Peter Brook, it can be as simple as an “empty space”1. It hides a theatrical reality waiting to be discovered. As well as architecture, it precedes actions that require somebody to be performed in order to activate the space.

We change the space we live in, and cities also evolve with time. But with human intervention, spaces are susceptible of becoming not only architectural or urban but also scenic spaces. To study, manage, and design space, architecture may not be the only way to approach it. Other disciplines such as theater work just as well. A set designer or an actor work with space just as much as an architect does, in

1. Brook, Peter. The Empty Space. London: Penguin, 2008.

Space: Scenic and Architectural Space

Scenic and Architectural Space Historically speaking, both the scenic space and the architectural space share origins related to the performance character found in both. This has to do with the first rituals and cults with symbolic ch aracter performed by the first civilizations. 2 These rituals usually took place in an architectural space, which were the most important architectural spaces, since they are the ones surviving up to our days. These built spaces were usually rounded, and specifically designated for that activity and used only at specific moments, usually when the ritual took place, that is when it became also a scenic place. An example of these primitive architectural spaces is Stonehenge in England. It is a group of standing stones or menhirs distributed in concentric circles. It is thought to be a Neolithic funerary site, although it is not certain. What is certain, is that during the summer solstice, when the sun rises, it crosses exactly through the main axis of the monument. This is not a casual thing, which means that is was planned for something to happen during that specific day, probably regarding a funerary ritual. So, since the space was setting for something to happen in a specific time, therefore a scenic space was originated there during that specific moment. These rituals 2. Quiroga Zuluaga, Adriana. (2004). “Arquitectura, puesta en escena” Arquitectura y Humanidades. México: UNAM.

can be considered as pre-dramatic performances, since they happened before the first dramatic performances took place in Ancient Greece, which mean theater based on a text. Even though they do not have a dramatic text or even dialogues and actions as part of their mechanics, the importance of it relies on the dynamics of a performance as an event, specifically on how man relates to space, giving origin to the scenic space. Mutual history from the scenic and the architectonic space goes on, but one particular episode that is important to the way we conceive both architectural and scenic space with its differences and similarities, can be the beginnings of the 20th Century. Due to the Modern Movement, architecture built afterwards in the 20th Century, was conceived almost exclusively based on rational and functional considerations, leading it even to the point of dehumanization.3 Most arts, but specially architecture, suffered form an extreme abstraction and rationalization that left out subjective, poetic, and intuitive elements. Still, from all arts, theater did not lose 3. Ballina Graf, Jorge. (1996) Escenarios. Variaciones sobre un mismo tema: Una reflexión sobre arquitectura a través de la escenografía teatral. México: Universidad Iberoamericana, p. 26.

Left Sunrise at Stonehenge during the summer solstice, when the light goes through the main axis of the structure and lights the main menhir, probably preceding an action of ritual and symbolic character. Right Floor plan of the Stonehenge site including the main axis labeled Midsummer Sunrise leading to the main standing structure or menhir of the whole complex.

its subjective, poetic, symbolic, and existential dimension. Since mosto of the elements that functional architecture started to leave behind were essential to the dramatic art, both theater and architecture started to be conceived as more distant forms of art. Contrary to this constructed belief, architectonic and scenic space are actually very close. Both consist in an artificial reality expressed naturally. And precedes actions that require somebody to perform it and activate the space. Also, both take part of a totality that transcends individuality, weather it is refering to a whole mise-en-scĂ¨ne involving actors, lightning and set design, or an architectonic complex relating with internal needs of the user as well as the city itself. Nevertheless, there are also some differences. For instance, architecture always requires an adaptation to the real context it is inserted and its specific conditions, while what happens on the scenic space sometimes can be closer to unreal worlds than to the real one, depending on the fiction. However, unreal and fantastic worlds in theater are not always a rule. Elements on the scenic space such as

Dramaturgy of the Quotidian

scenography or set design can aslo be as faithfull to reality as possible. During the beginnings of the 20th Century, rather than going for a full abstraction as the rest of the arts were going, directors such as C. Stanislavsky and A. Antoine started to develop more rounded characters with more human traits and demanded more realistic scenography to make their sense as faithful to reality as possible. With realistic set designs, the audience did not anything to figure out, since everything was as clear as it was in reality. According to the set designer, Jorge Ballina: â&#x20AC;&#x153;the spectator stopped using imagination and intelligence, becoming more passive than ever.â&#x20AC;? 4 This is most likely to be the origin of the active performer-passive spectator convention we still experience today in theater and similar performances or presentations. There is a similar differentiation of users in architecture. The architectural space is aimed to the user that inhabits that specific space, but it can also be experienced from the outside together with all the architecture pieces that integrate what we know as the city or urban space. The same happens with scenography. In theater a set is designed for two main users: the active user or actor that is going 4 Ibid., p. 28

Space: Scenic and Architectural Space

to inhabit and actually use the set when the action is performed, and the passive user or spectator that experiences the action performed by the actor. The audience is essential for theater because it is through the spectator that theater actually occurs, and all its elements are integrated. The spectator experiences the performance and receives sensorial stimulus and can relate and reaction to them integrating to the vision of the world presented on stage. For this to happen, there is something called â&#x20AC;&#x153;the poetic faithâ&#x20AC;? that is needed. This consists in the suspension of misbelief from part of the spectator that allows him to accept a universe that he knows is not real, absurd, contradictory, or incomprehensible. The presence of the spectator can also be one of the main differences between a narative and a dramaturgy.

Philip Johnson (Architect). The Glass House. Connecticut, 1949.

Both, the architectural and the scenic space, consist in an artificial reality that precedes actions that require somebody to perform it and activate the space. For example, The Glass House in Connecticut, US by architect Philip Johnson from 1949 creates a confortable living space for man in the middle of nature; while this Set Design by Josef Svoboda is there for the characters of the opera Don Giovanni to perform and help them tell the story.

Josef Svoboda (Set Design). Don Giovanni. Estates Theater, Prague, 1969.

Peter Zumthor (Architect). Gugalun House, Versam, Switzerland, 2013.

Architecture requires an adaptation to the real context it is inserted and its specific conditions, while what happens on the scenic space sometimes can be closer to unreal worlds than to the real one, depending on the fiction. For example, the Gugalun House by architect Peter Zumthor in Versam, Switzerland, necessarily needs to adapt to the real context it is inserted, as well as its specific conditions, such as the steep hillsided; while the set design by Hugh Vanstone for Matilda the Musical in Broadway, does not relates as much with the reality of our world as it does with fantasy and magic.

Hugh Vanstone (Set Design). Matilda the Musical, Broadway, New York, 2013.

Jorge Ballina (Set Design). El Zoológico de Cristal, Teatro Helénico, Mexico City, 2018.

Both, the architectonic and the scenic space, take part of a totality that transcends individuality. This set design by Jorge Ballina is just part of the whole mise-en-scène involving actors, lightning and the text itself written by the american plywright Tennessee Williams (The Crystal Zoo). On the other hand, an architectonic complex such as Edificio 111 by architects Flores & Prats in Barcelona, relates not only with internal needs of the user of each appartment but also with the other other appartments surrounding it, the square that connects them, and even the city itself.

Flores & Prats (Architect). Edificio 111, Barcelona, 2013.

Luis Barragรกn (Architect). House and Studio. Mexico City, 1969.

Architecture is aimed to be inhabited mainly from the inside. Architect Luis Barragรกn is a good example of developing the interior aspect of his architecture, specially at his home. As well as it occurs in the architectural space, actors also inhabit the scenic space from the dramatic action from the inside, such as the actors of Angels in America inhabit the set design by Ian MacNeil and Edward Pierce.

Ian MacNeil and Edward Pierce (Set Design). Angels in America, Broadway, New York, 2018.

Left: Sebastiano Serlio. Design for the stage set of a tragedy, 1545 Right: Unsangdong Architects (Architect), Gallery Yeh, Seoul. 2010.

Architecture also has a side that trascends the private side. For example, the building Gallery Yeh by Unsangdong Architects can be experienced from the exterior as part of the urban landscape of Seoul, South Korea. Eventhough the set is meant to be inhabited and used by the actors during the performance, the way the audience perceives the scene is just as important. During the Reinassance several studies about perspective were developed in order to design perfect views for the spectator, such as in Sebastiano Serlioâ&#x20AC;&#x2122;s design for the stage set of a tragedy from 1545.

Dramaturgy of the Quotidian

Theater: Narrative and Dramaturgy

Theater

Narrative and Dramaturgy

Relating to the presence of spectator, the main differences between a narrative and dramaturgy can be synthesized as the dynamics, or the way they interact. Dynamics, at different extent and in different ways, take part in different forms of art, novels, films, videogames, theater and even space and architecture. It is important to refer to theater dynamics but also mechanics in order to understand it and its relationship with space. Opposite to dynamics, mechanics are one of the common aspects between narrative and dramaturgy. This has to do with the way it operates, directly related to the use of language or the discourse, for example, a videogame can operate mainly through conversations in the same way a movie or a play has dialogues as part of the development of the plot. The discourse can be understood as the language put in action,5 such as in a conversation or even in a

The Scenic Space Macbeth by William Shakespeare. Directed by Mauricio García Lozano. Set design by Adrián Martínez Frausto, 2017.

narrative in a movie. Communication generated from a discourse, starts from two universal categories of discourse: the person (speaker/receiver) and time. This incorporates an important element known as enunciation, which means that the speech is always subject to a specific context of 5 Del Toro, Fernando. (2014). Semiótica del teatro. México: Paso de gato, p. 25.

communication.6 In some of the previous examples, the discourse gets more complex than in others due to the difference in way it interacts. Theater, for instance, is more complex than a conversation because it not only has a speaker and a receiver, but an audience at the same time and space that is involved in the communication generated from the discourse. Also, theater can be more complex than a narrative in a book due to the difference between written and performed text. What a script presents to the reader are verbal signs that are only part, although fundamental, of a whole scenic event and require a translation into livings acts during the scene. So, theater is a product of a multidisciplinary collaboration that goes beyond the text itself and requires a specific space and time in front of an audience to take place.7 In the 19th Century, playwright and composer Richard Wager, coined the German term Gesamtkunstwerk, translated as a total work of art, and attributed it to theater. This means that this form of art is a simultaneous action of plastic, gestural, and musical elements; synthesis among 6 Ibid., p. 26. 7 Michel M., Aldfredo. (2017). Romeo y Julieta (Introduction). México: Elefanta Editorial, p. 12.

Narrative and Dramaturgy Although they both use the same language and deliver the same discourse, it is quite different to experience the narrative through Victor Hugoâ&#x20AC;&#x2122;s novel or through the musical on stage.

Narrative and Dramaturgy in architecture Painting of The Creation of Adam by Michelangelo at the Sistine Chap|el and the archeological complex Stonehenge in England.

Set Design Set Design is an example of the dramatic discourse expressed through a visual language. An example of set design working as a visual metaphor of the dramaturgy is Jo Mielzinerâ&#x20AC;&#x2122;s design for A Streetcar Named Desire by Tenesee Williams.

Theater: Narrative and Dramaturgy

music, poetry, mimics, architecture and painting.8

understood and appreciated.

So, as a multidisciplinary work of art, there are several elements that take part in theater. There are different points of view regarding the essential elements of theater, some people argue that it is just the actor, others that it is just the action or the dramatic text. An integral perspective could include as the essential elements of theater: the text and the scenic space. The dramatic text is translated into the action performed on stage and the scenic space, as it was defined before, necessarily involves an actor in front of an audience in a specific time and space.

The same distinction between a narrative and a dramaturgy can be translated to the architectonic space. A mural can easily deliver a narrative through the architectonic space, such as it happens in the Sistine Chapel, where Michelangelo narates visually The Creation of Adam.

As part of this multidisciplinary perspective of theater, the narrative does not limit to the discourse of the spoken language, it can also be understood through of a visual language. A clear example is set design, which can be a visual metaphor of the text. Nevertheless, set design cannot be understand just visually. In the same way a written dramaturgy does not really make sense until it is performed by an actor in front of an audience, the visual language of set design requires to be involved in the dynamics of the performance that takes place in the scenic space to be 8 Ballina, Escenarios. Variaciones sobre un mismo tema: Una reflexiĂłn sobre arquitectura a travĂŠs de la escenografĂa teatral, 26.

In the same way a story can be delivered just as a narrative or as a dramaturgy waiting to come to live on stage, narratives can claso be delivered through space, mainly in the architectural space, or can happen as a dramaturgy, becoming a scenic space. Dramaturgy can be present in the architectonic space when it actually involves the space and the user, so the space adquires a scenic character. This occurs in Stonehenge, when the sun position sets the space for an action performed by the user.

Dramaturgy of the Quotidian

Performance Performance is a key element to understand the dynamics of theater. A performance can be understood as a demonstration of actions on front of an audience. A performance necessarily implies a specific space and time to take place. This space is the scenic space, which at the same time implies the audience that is there to experience the performance, because without the spectators the performance would lack sense and performativity itself. The scenic space can be classified in conventional and non-conventional scenic spaces. On the one hand, conventional scenic spaces can be theaters and auditoriums we all know, where performances are presented by actors or performers on a stage, usually elevated, in front of a seating hall occupied by an audience. On the other hand, the scenic space can extend to non-conventional spaces such as the urban space and the architectural space. Evidently, this kind of performances do not work in the same way performances inside of a theater does. The dynamics and general conventions during a performance are modified without losing its performativity and identity as performances. This means that the ritual character of the scenic space can reach spaces that are usually associated with the quotidian and the public. When this happens, the

dynamics of the performance may be modified. A deeper analysis upon this kind of urban performances will be made further on.

Right: Conventional and unconventional scenic spaces: Teatro de los Insurgentes and Alameda Central, both in Mexico City.

Anita Francis, The Complete Works of Shakespeare, book sculpture, 2014.

2. Space in Dramaturgy

Introduction

Space in Dramaturgy

Each specific space can define what is going to take place inside of it and even the people performing that specific activity. The way space works to accomplish this is very similar to the way the dramaturgy of a play works onstage. As it has been said previously, the most evident relaionships between space and dramaturgy happen in the scenic space, nevertheless spaces consisting mainly of architecture also have a a close relationship with dramaturgy and even a dramaturgy of its own. This is accomlished through the qualities and attributes this space can have. The attributes of space are usually visual elements. However, this visual language can be translated to and from verbal language, which is the one dramaturgy works with, but constantly referring to a visual language. The previous chapter exposed the main differences and similarities between the architectural and scenic space, as well as between narrative and dramaturgy. This chapter is going to go deeper inside the dramaturgy, its main concepts and its relationship with space.

Dramaturgy of the Quotidian

Dramaturgy Generally speaking, the concept of dramaturgy can be understood as the composition or construction of drama. The text is the fundamental base of theater and action of stage. The ancient Gree ks, skilled in dialectics and in the arts of dialogue, discovered that the presence of a listener allows the speaker to formulate thoughts. This resence acts as a stimulus and encourages the speaker’s inspiration. That is why Greeks gave more importance to the spoken word to the silent reading, so they discrovered and started to develop theater, where words become actions.1

part of the process of staging a play. Nowadays, dramaturgy has expanded its scope. Playwrights can chose characters that tell the story or create a narrator, play with time, real and unreal worlds, etc. The possibilities of a dramatic text are as infinite as the possibilities of space are. 3

Dramaturgy can refer to the dramatic text itself or to a set of practices related to the staging of a play. These set of practices can go from writing the text directly to selecting, making corrections or editing, interpreting and adapting the play for a particular staging or production.2 To put it in a very simple way, it is possible to reduce these set of practices to writing and reading drama, essential 1. Ceballos, Edgar. (2013). Historia y reglas de dramaturgia. Mexico: Escenología, p. 14. 2. However, a clarification needs to be done. In English-speaking countries there is a distinction, a dramaturge is the person that adapts the text for the stage, while the playwright is the persn who writes the play. While in Spanish-speaking countries a dramaturge is the person who writes the play.

Right: Greek Theater

3. Leñero, Estela. (2011). Obras del Taller de Dramaturgia de Estela Leñero (Introduction). Mexico: Libros de Godot, p. 8.

Greek theater was the origin of theater and dramaturgy, where writen word became spoen word and spoken word became action.

Dramaturgy of the Quotidian

Upper Left: The First Folio dates to 1623 and is one of just 234 “known surviving copies that preserved 36 of Shakespeare’s plays after his death. Lower Left: Original play manuscripts used by Shakespeare’s company, the King’s Men.

Dramatic Text: Playscript and Structure

If we take a dramatic text or play, it is possible to analyze it in two main different levels, apart from the content of each particular text. First, it is possible to understand how the play works by taking a look at the playscript itself and the different components we can see through the pages. On the second level, we could also talk about the dramatic structure behind the play that supports the plot presented in the play.

Playscript Talking about a play, it may refer to both, the written script or the performance of it onstage. The written play, is the text in which the performance is based. It is generally organized in dialogues meant to be said by actors and other instructions from the playwright.

Dramatis Personæ Taking a look at the playscript, the first thing we have is the name of the play and the author. Usually, just after the title the first thing we find next is something called dramatis personæ. The name of this section of the playscript is a phrase in latin which means “the masks

of the drama”. In the text, this section presents a list of the characters, usually arranged in order of appearance and sometimes also referring to the member of the cast playing each character. Although it may also be called “Cast and characters list”, the term dramatis personæ. may result more interesting because of its different uses and its implications related to space and even architecture. The concept behind the term dramatis personæ is related to the origins of dramatic performances in Ancient Greece, where actors used masks to portray different roles and even different emotions. From all the scenic elements, the use of masks was one of the most important and characteristic conventions in Greek theatrical performances. Since these performances took place in large open-air theaters, masks had very exggerated facial features and expressions in order to allow the audience to distinguish every character in terms of sex, age, social status and even feelings and moods, according to the situation in the play. It is believed that sometimes these masks even helped to reveal any change in a particular character’s appearance, for example, Oedipus after blinding himself at the resolution of the drama. The use of masks in theater was also distinctive of traditional Japanese Noh theater

Top: The main characters of the play Dogville, as is presented in the dramatis personĂŚ. Left: Example of dramatis personae of the 1889 opera Leo, the Royal Cadet by Oscar Ferdinand Telgmann. Upper Right: Masks representing Comedy and Tragedy used for dramatic performances in Ancient Greece, 5th - 6th Century B.C. Lower Right: Masks representing different characters used for dramatic performances in traditional Japanese Noh theater since the 14th Century.

Dramaturgy of the Quotidian

Dramatic Text: Playscript and Structure

since the 14th Century. These kind of masks are called Noh masks and their function onstage is very similar to the Greek masks. They cover the actor’s face to represent different characters, although they are not worn by all the actors, only the protagonist or Shite. In these performances, there is no scenery onstage and there is only a fixed lightning with no changes; this makes the audience focus on the actor and the masks, which are the responsible to create the atmosphere and help the audience imagine the surrounding. So, Noh masks result vey important for the peception of space. Left: Dramatis Personæ applied to sociology and anthropology, referring to situations where people play social roles, determined by the immediate scene.

Next Page: Dramatis Personæ, photography series by architectural photographer Sebastian Weiss in which public faces or buildings are portrayed.

This concept has been used not only in theater but also in other disciplines such as sociology and anthropology by authors like Clifford Geertz and even Karl Marx in his work The Capital. In this context, the term applies to situations where people assume social roles, as if they were actosrs playing roles in a play. An example of this throughout history of civilizations has been when performing a social ritual. Geertz used the concept of dramatis personæ to study Balinese rituals. The term is also used to describe the elements of human interactions, which are defined by the immediate scene or surrounding being presented. This also emphasizes the expression of one’s own individualism

and identity portrayed to the other in a very scenic way.4 Also, Dramatis Personæ is the title of photography series by architectural photographer Sebastian Weiss. In these photography series, buildings from different cities by architects such as Herzog & de Meuron, Rem Koolhas and Santiago Calatrava, are portrayed as protagonists of the urban scene, as if they were characters in a play. The photographs emphasize the unique and individual appearance of each of these buildings, acquiring strong personalities in front of the public space. This could work as an example of how the urban surrounding and space itself have a public face that is constantly exposed to the other generating action, from simple tension to self-recognition. Like explained in the used of dramatis personæ, the other and the configuration of the public surrounding is what enhasizes the individuality of each individual: character or space. This interaction of characters through public masks is the main motor of action in drama. So, what happens in the public space exposed through the lense of Sebastian Weiss is parallel to what hapens in the dramatic text. This idea can lead us to the next part of the playscript. 4. Geertz, Clifford. The interpretation of cultures. New York : Basic Books, 1973.

48 Dramatic Text: Playscript and Structure

Dramaturgy of the Quotidian

Previous Page: Tlatelolco, Mexico City whose protagonists are examples of Prehispanic, Spanish, and Modern architecture. There is a dialogue among those three cultures as if the public square was a stage Left: Example of a setting description in the second act of The Importance of Being Earnest by Oscar Wilde (1895) and the interpretation of set designer Desmond Heeley for the 2011 Broadway production.

Dramatic Text: Playscript and Structure

Setting Description After the character list, the next thing that usually appears in a dramatic text is a setting description. This is usually used by the playwright to give instructions about how he imagines the set to look. Although this is subject of the director and the set designer’s interpretation. “A theatre production develops from a dramaturgically-directorial interpretation of a script and its scenic concretization.”5 However, a setting description is fundamental and useful information because in terms of methodology, it all starts from the text. Visual attributes defined by the text are important because the visual surrounding can as important as a character itself. Space and the presence of its different attributes can have a big impact in the development of the plot and the dramatic action.

Primary and Secondarty Text After this, comes the text itself, this is the part of the dramatic text where the action is developed. It is often divided in primary and secondary text, which is the direct speech, presented as dialogues or annotations that 5. Závodský, Artur. (1966) Tschechische Dramen aufantike Motive. Prague: Academia, p.3

describe characters, spaces and actions. In the primary text is the verbal interaction between characters. This interaction is what keeps the dramatic action going and supports the plot. Even though the text presents interaction through language on stage, it can also be the spatial relationship between characters and space. Dialogue is based on the same relationship between two speakers that allowed the greeks to start developing dramaturgy and theater. This primary text is helpful to keep track about the events in the plot, but it says little about the physical acting of the characters, about their gestures, facial gestures, their arrangement within the stage etc.6 So, further information is available in the secondary text. The secondary text, which sometimes may be even longer than the primary text itself, are annotations written by the playwright that give more information about the scene that is not meant to be said by a character. However, onstage this information is still delivered to the audience through actions, visual and spatial elements. 6. Ibidem., p.3

Primary Text: This scene presents direct speech in form of dialogue between Jocasta and Oedipus. David Gaitรกn (Playwright and director), Edipo: Nadie es ateo, Teatro Juan Ruiz de Alarcรณn, 2018.

Secondary Text: Some information is not delivered in form of dialogue among charcters but through actions. For example, when Oedipus blinds himself as an important part of the conclusion of the drama.

Space attrubutes Space can have attributes that work as visual metaphors and result important for the development of the dramatic action. In Oedipus, set design by Alejandro Luna includes volumes in the form of elephants by the end of the play, that works as metaphors of the revelation of a truth that has always been there.

Dramatic Text: Playscript and Structure

Dramatic Structure On the second level of analysis of the text, we take a look beyond what’s on the paper in order to analyze the content, and more specifically the dramatic structure behind that suports it. This does not refer to what the plot of the play or the narrative is about or the description of specific succesions of events. It refers to how the plot is developed throughout the play and the relationship between characters, space and conflict. In the 4th Century B.C., Aristotle in his Poetics divided the dramatic structure in two parts: complication and unraveling. The complication is the first part of the story, where a conflict is presented and the characters have to face it. The unraveling is when the conflict is resolved (for or against the protagonist’s will) and the story comes to an end.7

Left: Aristotle’s and Freytag’s analysis of the dramatic structure in different stages, exposing the importance of the development of the conflict as base of the dramatic action.

comic, close.8 Howevr, these structure studies developed by Aristotle and Freytag do not apply to every play ever written. They appeal mainly to Greek and Shakespearean dramas, as well as to dramas that share a similar dramatic structure. As it was exposed earlier, the possibilities of dramaturgy can extent as much as space can, so it would be extremely difficult to develop a generic structure that can be applied to absoluteley everything. Nevertheless, they are basic to understand the importance of conflict in the dramatic plot. It is clear that conflict is what conducts the dramatic action in the a play. But, could that have something to do with space? How space can emanate from a piece of text or the other way around?

In the 19th Century, the german playwright and novelist Gustav Freytag developed a bit more this structure into what is known as Freytag’s pyramid. He divides the structure in Exposition, Rising action, Climax, Falling action and Resolution (often referred as Denouement, Revelation or Catastrophe) which is the final resolution when intrigues are revealed and brings he piece to a, either tragic or 7. Aristotle. Poetics. Chicago: University of Chicago, 1965.

8. Freytag, Gustav. Freytag’s Technique of the Drama, An Exposition of Dramatic Composition and Art by Dr. Gustav Freytag. Chicago: Scott, Foresman and Company, 1900.

Dramaturgy of the Quotidian

Architecture and Dramaturgy: The Conflict in Architecture

The resolution of conflicts is a common topic dealt with architecture and space. The development of a conflict may sometimes be quite similar to the creative process in design. When it comes to designing a space, dramatic structure is even more present. A space responds to a program so it is intended to be the set for something to happen, for a conflict to be solved. Space not only is the set for action to take place, but supports the storytelling through space itself. This is something refered as the “reveletions of space” by set designer David Korins, which means that space, color or light can be translated into emotions, transport people to different places and even reveal something about the person experiencing the space.9 Set design involves a visual expression of references, atmospheres and meanings. These elements help to convey the aesthetic and create an atmosphere.10 Space has also bene understood as storytelling because “it becomes a subject to a historical analysis.”11 An example of this is architect Peter Eisenman’s re-reading of Andrea 9. Korins, David. 3 ways to create a space that moves you, from a Broadway set designer. Toronto: TEDxBroadway, 2018. 10. Ballina Graf, Jorge. (1996). Escenarios. Variaciones sobre un mismo tema: Una reflexión sobre arquitectura a través de la escenografía teatral. México: Universidad Iberoamericana, p. 65. 11. Ampatzidou, Cristina. Building Stories (Conference paper), 2014.

Palladio’s work from the Italian Reinassance. On the contray, Holger Kleine emphasizes the importance of themporality as part of the human experience of space, not in terms of history. He states that “architecture can only be truly grasped through the temporal experience of moving through it in time.” He also speaks about the dramatic qualities of space that can have effects such as arousousing our curiosity, keeping or even reaching a satisfying conclusion defined as a “Spatial dramaturgy”.12 The visualization of space is important for conveying the satial attributes that contribute to the drama. Visualization of space can be displayed very differently, from drawings to visual attributes of the constructed elements of space. All this visual metaphors in space respond to the concept behind a dramaturgy, in the same importance actions performed by characters do. Action, space and time, share importance. The three of them form part of the dramatic unity developed by Aristotle. Nothing makes sense neither in architecture nor in theater unless somebody is there to experience it at the same time and space. 12. Kleine, Holger. (2017). The Drama of Space: Spatial Sequences and Compositions in Architecture. Switzerland: Birkhäuser, p. 9.

Upper Right: Sketches by RCR Architects that show part of their creative process, where they determine space and its program, something similar to the development of conflict in drama. Lower Right: Drawing by David Korins of the Set Design for the musical Hamilton. This space is a metaphor of the country that is under construction. It may even be considered as a character itself as much as the rest of the American founding fathers.

Space in Dramaturgy

Jorge Ballina (Set Design), Cock, Teatro de los Insurgentes, Mexico City. 2011.

3. Architecture Onstage

Introduction

Scenic Design:

A Transdisciplinary Approach Apart from the dramatic text, space is the other fundamental component that allows the dramatic act to occur. As it has been exposed, this fundamental nature is given to the scenic space because it necessarily involves the reunion of the two essential actors in theater: the spectator and the performer. The presence of space in theater can even trascend the performance. There is also an important presence of the consciousness of space in the dramatic text itself, either in its formal components of the playscript or in the dramatic structure of the play. Additionally space is important because through it, the relationship between theater and architecture can be stablished. Architecture and theater may share characteristics and conditions because their nature is linked to the fact they are both inhabited by the human being, becoming an essential element in both of them.

Left: Scenic design model for RENT by Brian Ruggaber.

However, the simultaneous study of architecture and theater may face some difficulties. When disciplinary limits get blurry certain considerations and convetions become unclear. There are elements that fall in the middle of two different worlds and there is a need of a transdisciplinary study, analysis and definition. Individual disciplinary studies made separately fall flat to define characteristics

that usually belong to other fields of study. Multidisciplinary approaches also fail to define grey zones that neither discipline considers proper of their particular field of study. Instead, a transdisciplinary approach not only combines mutual concepts, tools and methods from different disciplines, but uses them for a particular purpose that is mutual, sometimes becoming an independent discipline on its own. This is the case of Scenic or Set Design, that is on the one hand the presence of architectural elements during a dramatic performance designed specifcically for that purpuse, and on the other hand a discipline of its own that uses tools and concepts from both theater and architecture in order to solve a specific problem but goes beyond the sum of both disciplines.

Dramaturgy of the Quotidian

Multidisciplinary Reduced to the sum individual disciplinary studies made separately without establishing relationships with the orther field of study.

Interdisciplinary Boundaries start overlaping,

Transdisciplinary Combination of mutual concepts, tools and methods for a specific purpose, becoming an independent discipline.

Architecture on Stage

Architecture on Stage Following the disciplinary discussion around the nature of the relationship between theater and architecture, it is necessary to start with the first and most elemental approaches between them. As well as the abstract concept of space, it is possible to say that physical architecture is also present in theater. During a theatrical performance, architecture can be experienced in two ways: as part of the representation space or the set.

Representation Space First, the representation space is the built architectural space where the play is presented to an audience. This representation space may vary and has varied thorough history of theater. It can be a theater, and auditorium, a black box or even a public space. Theatrical architecture has been subjet of extensive studies around its history, its technical needs and even around the philosohpy in the built space behind the ritual of performance.

Set Then, the set is the built ephemeral space where the action takes place onstage. It is different from the representation space since it transports the audience to where the story takes place, not necessarily in the real world. So, set design can either reference architecture or take us to imaginary worlds. The discipline behind set design is what becomes an independent discipline on its own, as explained in the introduction. This particular relationship between architecture and theater is going to be analyzed and exemplified further throuought this chapter.

Representation space The Fourth Wall is the name of photographer Klaus Frahmâ&#x20AC;&#x2122;s series of shots of differnet theatres without audience, just the architecture that is built to contain the performance.

Set Set design by Christine Jones for the play Harry Potter and the Cursed Child by Jack Thorne, J.K. Rowling, and John Tiffany, presented at the Lyric Theater in New York, 2018. This is an imaginary space inhabited by the characters of the play.

Case of Study: Man of La Mancha

Case of Study: Man of La Mancha The set design by architect and scenic designer Jorge Ballina for the musical Man of La Mancha is a good example of a set design where not only the architectural image of the setting of the play prevails, but also references the representation space of that specific historical period.

Man of La Mancha Dale Wasserman (Playwright), Mauricio García Lozano (Director). El hombre de La Mancha, Teatro de los Insurgentes, Mexico City. 2017.

This production was presented at Teatro de los Insurgentes during 2017 as well at Teatro San Rafeal in 2018, both in Mexico City. Part of the cast included Benny Ibarra, Carlos Corona, Enrique Chi, Gabriel Navarro and Alberto Lomnitz. The director of the musical was Mauricio García Lozano, well known for his versions of Shakespearean dramas and classical operas. An insight to the director’s background can explain why this musical was not conducted in the way Broadway musicals usualy are conducted. There is an interest in reclaiming the barroque theater tradition present in this musical. There is a feeling that this production is closer to the Spanish tradition than to Broadway, where it is actually from. The play is based upon the 1605 novel Don Quijote by Miguel de Cervantes. It tells the story of the time Cervantes himself was imprisoned and inside the prison he and his servant improvise a theatrical representation of the story

he had been writing about Alonso Quijano (a.k.a. Don Quijote). By doing so, what happens in the play can be defined as metatheater, which is when characters make theatrical representations inside the play that is already a theatrical representation, in other words: theater inside theater. That is why the play is usually described by the director Mauricio García Lozano as a tribute to theater itself. So, the setting of the story is a realistic prison that reflects the time of the Spanish Inquisition when the story was conceived and creates an actual underworld atmosphere. To achieve this, the designer took inspiration from the Royal Prison of Seville, where Cervantes was secluded for debt at the end of the 16th Century.

Setting The setting is a realistic prison inspired in the the Royal Prison of Seville. It reflects the time of the Spanish Inquisition and creates an u nderworld atmosphere.

Set D esign: Architectural Typologies While researching about this specific architectural typology from the 15th Century in Seville, Spain; the designer found a close relationship between this and another typology from that historical period, which was the Spanish corral de comedias from the 16th Century. These were the places where plays by Cervantes, Lope de Vega, CalderĂłn de la Barca, among others, were usually presented during the Spanish Golden Age. There is a very similar typology developed in a parallel manner in the United Kingdom during the Elizabethan era; which, as well as the Spanish Golden Age, occurred in the 16th Century and was also a very prolific period in terms of dramatic performances and dramaturgy. The corral de comedias was a model of public theater installed permanently in open and interior courtyards in Spanish cities. A stage was disposed at the back of the courtyard. At the lateral sides of the courtyard galleries and grandstands were installed. The audience was usually hierarchized since some places such as existing balconies and windows from the adjacent buildings were reserved for important members of the audience such as monarchy and nobility.1 1. Harillo, Sergio. (2014). El Corral de la MonterĂa de Sevilla renace en el Con-

Dramaturgy of the Quotidian

Case of Study: Man of La Mancha

Top: Royal Prison of Seville

Bottom: Corral de comedias

Top: Royal Prison of Seville

Bottom: Corral de comedias

Interior view of the Royal Prison of Seville. The main courtyard can be seen in the left.

Interior view of a typical corral de comedias seen from the galleries around the main courtyad.

Floor plan of the Royal Prison of Seville.

Floor plan of the Corral de la MonterĂa in Seville (1691).

Set Jorge Ballina (Set Design). El hombre de La Mancha, Teatro de los Insurgentes, Mexico City. 2017.

These typologies not only share historical period, geographical localization, materials and building techniques, they also share spatial and compositional characteristics. The special structure of both the prison and the corral de comedias are very similar because the spaces in both buildings have different levels that are organized around a main courtyard, either 15th Century dungeons to lock prisoners or grandstands reserved for members of nobility to enjoy a theatrical performance. 2 So, the set design in Man of La Mancha is organized around a main space in the center of the stage, as if it was the main courtyard of a building. It is surrounded by two built levels, the upper level includes balconies. Generally speaking, the set represents an architecture with white masonry walls, wooden beams and windows with bars. The materials represented and the spatial organization could easily be the same employed in any place in Seville during the 16th Century. But as was already exposed, this set is not based in any building, but in two particular architectural typologies from that historical period. Therefore, this space is at the same time a prison and it a corral de comedias. greso sobre Lope de Vega. Cultura de Sevilla. 2. Falcรณn Mรกrquez, Teodoro.(1996). La Cรกrcel Real de Sevilla. Spain: Universidad de Sevilla, p. 161.

Dramaturgy of the Quotidian

Figurative Architecture Differently from common built architecture, the practice of figurative architecture, which is the one used in the scenic space as part of set design, has more freedom of exploration and less materialization restrictions. This figurative architectural involves a visual expression of references, atmospheres and meanings. First, these elements are used to tell the story that is required to be told, as part of the narrative of the play. This is the part where elements are full of meaning and act as signs. So, the architectural language employed rather to be based on empty formalisms or correspond to a specific trend or style as it happens in built architecture, works as a symbol or reference.3 In Man of La Mancha, it is clear that the architecture is a reference to a specific historical context, but also sets the stage for what is going to happen during the play, which in this case, is at the same time a theatrical performance. Just like the real built architectural typology, the corral de comedias in the set has its own stage where all the spaces where Don Quijote takes place are built upon very simple 3. Ballina Graf, Jorge. (1996). Escenarios. Variaciones sobre un mismo tema: Una reflexión sobre arquitectura a través de la escenografía teatral. México: Universidad Iberoamericana, p. 65.

theatrical elements in front of the audience. It is a play that focuses on creating theatrical magic from something real, and beauty from something as ugly as a prison.4 In order to create these organic theatrical solutions that contrast with the figurative architecture, part of the design methodology followed by the creative team during this production was in form of a workshop or laboratory that involved the actors, the choreographers, the designers and the director. In this model of work, apart from the first storyboard developed by the set designer and ideas from the director and choreographer, most of the results are practical, theatrical and even playful solutions to elements in the narrative such as the donkey, the moors, and even the windmill. At the end of the day, it is unclear which ideas came from the designer, from the choreographer or from the actors. The result of this kind of collaboration is a perfectly integrated and united product. It transcends every collaborator as an artist and as person, and they become part of something bigger than each of them. 4. Vértiz de la Fuente, Columba. (2016). Vuelve el musical “El hombre de La Mancha”. Mexico: Proceso.

Right and Top Details of the figurative architecture found in Jorge Ballina’s set design for Man of La Mancha Bottom Interior view from one of the main architectural references for this set: the Corral de comedias of Almagro, Almargo, Spain. 17th Century.

Case of Study: Man of La Mancha

Every collaborator’s work has got to be incomplete. It must be completed with the text, the action performed by the actors and the rest of the components of the play. The opposite thing is very usual to happen when plastic artists try theater and scenography and since they are used to work on their own. Their set designs, for example, shows individuality and lack of integration up to the point of obstructing to the actor’s performance.5

Top: The stage within the corral de comedias in the set for Man of La Macha, not only referencing the architectural typology, but being functional for the requirements of the dramatic action. Bottom: Theatrical solution for the windmill performed by the actors, contrasting with the figurative architecture but being part of the metatheater of the play.

The work is also incomplete because apart from being completed by the collaboration of a creative team, every experience onstage must be completed by the spectator. In these organic theatrical solutions in Man of La Mancha there is an important imagination exercise between the actors and the audience where wooden sticks can make a windmill, a hostel and a church, or two actors, pieces of fabric and sacks can make a donkey and a horse. The experience demands to be deciphered while stimulates the emotion of the one who experiences it.6 That is why the culmination of the collaboration of all the elements of a theatrical production takes place in the spectator’s mind. Space is ephemeral not because of the nature of the 5. Ballina, Jorge. Interview by Salomón Mondragón and Antonio Saucedo. Audio recording (Unpublished). Mexico City, April 8, 2017. 6. Ballina (1996), p. 65.

materials usually employed for the construction of the set like wood or fabric, but because of the temporality of the mental construction of it in the spectator.

Scenic Design: Limits

Limits in Space

Limits: In Jorge Ballna’s set for the play Copenhague, the action occurs in a space defined by marks on the floor.

According to Man of La Mancha scenic designer, Jorge Ballina: more importantly than giving references of time space, period or even atmospheres, a fundamental element in scenic design is the concept of limits. He states that “when limits are created by a set designer they move through the scenes and through space transforming it to contain the characters in the drama”7. Drama means action, and as it has been explained, that is the fundamental basis of the dramatic structure and therefore of the performance and the set. So, for Ballina, what happens in the play is what matters most not only for the dramaturgy but for the scenic design and the conception of space on a stage. The starting point is the premise that action requires of a different space that has to be functional for what happens in the play. A contrasting point of view is the one from traditional set design, which was based upon static decorations in the back that don’t change or interact with other elements onstage, not even thinking about time as another dimension. For Jorge Ballina scenography is time and it flows in the same way music does because it is constantly transforming in form of images and spaces, moving along with the action as the fundamental element. 7. Ballina, Jorge. Interview by Salomón Mondragón and Antonio Saucedo, 2017.

Since space is not matter, it does not work in the same way a sculptor carves the stone or models clay, the architect and the set designer create their work by stablishing limits This limits that divide the space can be, as usually are, architectural elements such as walls or floors. Nevertheless, a limit can be as simple as a line marked on the floor. As simple as it is, this can be very important because it delimits the space and can even end up as part of a very strong and powerful message with the same importance as the text and the performance. This delimitation of space has to do with the definition of where the universe of the play ends and where the real architectural world we are living begins. It is also important for the composition and visual aesthetics of the scenic space since it orders the elements on the stage such as objects and actors on a stage. This also works for focusing the spectator’s attention and telling the story as clearly as possible. If there are several actors and several pieces of furniture in a very big space, attention is dispersed, but if there is a carpet underneath, a platform, a line of tape on the floor or even a light beam, the audience concentrates and focuses on that space and what happens onstage becomes stronger and clearer.

Case of Study: Dogville

Case of Study: Dogville Although it was not specifically designed by Jorge Ballina, a very good example of the concept of limits in space applied to a set is Dogville. Dogville is a film realesed in 2003. It was written and directed by Lars Von Trier and starred by Nicole Kidman. There is also theatrical production is based upon Lars Von Trier’s film.

Top: Dogville, the movie, where lines on the floor stand for the walls of the houses in the town. This causes that all actions performed by the characters can be seen by the spectator at all times. Bottom: Theater aaptation of the film. The concept of the set in the film is translated and the principle is the same. The lines on the floor reference the same as in the film.

This production is currently being presented at Teatro Helénico in Mexico City. This theatrical run will be held until December, 2018. Even though the number of characters in the film was reduced while adapting it to theater, the play still has a very extended number of actors in the company which includes Ximena Romo, Sergio Bonilla, Gerardo González, Luis Miguel Lombana, Pablo Perroni, and Claudia Ramírez, among others. The director of this prodiction is Fernando Canek, who is also known for being a playwright; however, the adaptatrion of the film (that can also be understood as the dramaturg’s work) was not made by him but by Miguel Cane, who is a cinematographic historian. The set design for this theatrical production was made by lightning and scenic designer Félix Arroyo. In the play, there is a deep understanding of Lars Von Trier’s film from part of the director and dramaturg, and therefore there is a clear transpose of the concept. The film

is translated into a theatrical format. Even though there is a divergence in the languages, the essence is kept faithfully and as close to the film as possible. 8 The story is set in a small town called Dogville where nothing interesting really happens, untill a woman called Grace arrives to Dogville searching for refugee after being chased by gangsters. The arrival of this woman to Dogville changes the dynamics of the town and its reduced population. The story in the film and in the play is about the perversion of social agreements and conventions of the habitants of this town. It is curious that conventions and agreements between the audience and the actors play such an important role. Lars Von Trier says about the film “We are establishing an agreement with the audience under which these circumstances are accepted. If that agreement is clear enough then I don’t think there are any boundaries to what you can do.”9 This convention is as important in the film as in the play, because they are both based upon the same concept. 8. Canek, Fernando (2018).“Entrevista Con Fernando Canek,” interview by Sergio Villegas. Compañero De Butaca (Podcast). 9. Tidey, Jimmy. (2017). If the Internet was a block of flats, would you want to move in? Hackernoon.

The scenery in both the film and the play is deliberately incomplete. It based upon an architectural abstraction of the setting. The walls of the houses in Dogville are represented onstage in the same way walls are represented in an architectural floorplan, mostly only markings on the floor.10 These lines on the floor stand for something that does not actually exist or is incomplete but is understood and completed in the spectator’s mind as part of a gestaltic precept. The audience has to complete the idea from basic elements provided by the play, as if it was a puzzle. This way, the spectator becomes an accomplice to construct the imaginery together with the actors onstage.11 This lines on the floor stablish limits to the spaces where the actors perform different actions. This stablishes the main convention between the actors and the audience. Usually, what the actors perform on a stage is only what is written in the playscript that is specifically required for them to perform in order to give continuity to the story and its dramatic structure. Instead in this case what happens is that actors never leave the stage or our sight, and even 10. Portilla, Daniel. (2013). Films & Architecture: “Dogville”. ArchDaily. 11. Canek, Fernando (2018).“Entrevista Con Fernando Canek,” interview by Sergio Villegas. Compañero De Butaca (Podcast).

Dramaturgy of the Quotidian

though there is a main action in which the spectator focuses, the rest of the actions are continiously occurring in front of the audience. As a result, in the background of scenes which are ostensibly indoors we can see through the walls to the inhabitants of the town going about their business. So, what the audience experiences are not only the public interaction among the different characters, but also what happens to every one of them in private. In the right, we see the iconic floor plan of Dogville, made famous by the movie and taken by the play as part of their graphic content; however, the lines on the floor of the stage that make the set do not copy completely this floor plan, instead few lines stand for the whole floor plan in an abstract way resembling the aesthetics and the concept made famous by Lars Von Trier in the film. Additionally, this floor plans represent in a graphic and diagramatic way these public interactions among the characters but also the activity continiously happening privatelly in every single one of the houses in Dogville. Both of these are part of what the spectator experiences as part of the film and also as part of the play. Here, limits not only set the aesthetics and composition of the stage, but also the way the story is told.

Even though scenic design is conceived as a transdiscipline and even a discipline on its own independent from theater, architecture and design; it is still part of something bigger than just itself and cannot be understood or appreciated correctly and completely without the rest of the components of theater. The main objective of a set should not be to stand out individually but as part of a whole. Therefore, the nature of the discipline is what defines is relationshi with theater and architecture as compementary though inseparable disciplines. For examle, set design tries to give references of an architectural space, in figurative architecture the designer is allowed to tweak architectural standards and conventions in order to create the world that is not only desired by the designer but also required for the dramatic action,1 which is the fundamental base for theater. The essential element for a set to work is that the space is functional for what is going to happen in it. Set and spaces in theater must be designed in such a way that what happens in the play occurs in the best possible way and is clear for the audience, so that the experience can be completed, which is also an essential part of drsma and the final step of the perfornative process. 1. Korins, David. (2018). 3 ways to create a space that moves you, from a Broadway set designer. Toronto: TEDxBroadway.

Jorge Ballina (Set Design). La Petite PiĂŠce en haut de lâ&#x20AC;&#x2122;escalier, Teatro El Granero, Mexico City. 2011.

Mapping of theaters in Mexico City. Original artwork by the author. 2018.

4. Urban Performances

Theater and the City

Theater and the City Several similarities between theater and architecture have been presented previously; however, one that is particularly interesting and that builds a whole chapter on its own is the relevance of the city in both forms of art. On the one hand, the relationship between Architecture and the city is very clear. Architecture has always been associated to the city. Cities can be understood as the organization of buildings through a space that allows to communicate and articulate them to satisfy individual needs. It has been said that the house is a small city and the city is a big house. The disciplines in charge of their study are also closely related as well. Urbanism and Urban Design cannot be understood separated from Architecture and the other way around.

Left: Gallery Yeh, by Unsangdong Architects, together with the surrounding architecture, comprises the urban space of Seoul.

On the oth er hand, the relationship between theater and the city may not be as clear as the relationship the city has with architecture. Nevertheless, the cities have a big relevance in theatrical representations. The city has a big relevance related to the theatrical phenomena since it is a form of art that requires the presence of the spectator in the same time and space, therefore, in the same city. Since a the presence of the spectator

is needed, it cannot be truly experienced from different places at the same time or once the performance is over. Certainly, there are film and audio recordings, but the live experience is never truly grasped that way. The same thing happens with architecture, we can see photographs and a lot of different references of architectural works, but none of them are able to replace the live experience of the spectator in site and in the building. This is what m akes the theatrical event a local form of art that is nontransferable due to its live character. In the same way the sum of different architectural pieces conforms the city, the different theatrical performances held in a city also contribute to the city and its particular art that can be experienced nowhere but in that specific place. Theater is so associated to cities up to the point where it is the other way around and certain cities in the world are associated to theater and even it becomes one of the main reasons people have to visit that city, such as it happens in cities like New York or London. Furthermore, when awards are given to theatrical productions, the way these ceremonies are held, and the awards are given is locally, therefore they become relevant as part of the artistic scene of the city. That is why it might result

Theater capital Broadway, New York. It is known as the heart of American theater industry.

useful and interesting to take this kind of awards to understad deeper how a dramatic performance can be relevant to the city where it is presented. First, the way the awards work can tell us how the city is important for them. Awards in theater are different to awards given to films because juries can grade and award them from anywhere they are, rather than experiencing the pieces in the same city. The city must necessarily be experienced in order to experience a dramatic performance or an architectural work. Some examples of these awards are the Tony Awards in New York, the Olivier Awards in London, the Max Awards for the Performing Arts in Madrid and more recently the Metropolitan Theater Awards in Mexico City. Precisely these awards, whose first ceremony was held in August, 2018, have as one of their main objectives to create a direct relationship with the city, stimulating its cultural and economic development as well as, in a the long term, to make Mexico City a theater capital of world category, such as New York alreay is, for example. Related to this objective, there is a big difference between the circumstanes in which the Tony Awards and the Metro-

Dramaturgy of the Quotidian

politan Theater Awards are given. For being eligible for the Tony Awards, productions have to be opened in one of the 39 theaters of the Broadway District in Manhattan, so the elegibility of plays is drastically reduced. It is important to mention that the productions that participate in the Tony Awards do not represent the entirety of dramatic productions held in New York City; however, the compariston with this specific awards is important precisely because of that discrepancy, but also because the Tony awards represent the model in which the mexican awards are mainly based upon. On the other hand, the Metropolitan Theater Awards in Mexico City do not reduce the participation of productions to a single circuit, mainly because there is no such thing here. This makes the participation of productions more inclusive and diverse and at the same time, contributes to the objectives of the ceremony. This difference can also be seen in terms of urban extension. Eventhough the number of theaters where these productions are presented is very similar in Mexico City and in New York (25 and 22, respectively), what changes is not only the number of productions that participate (51 in Mexico City and 30 in New York) but also how these are distributed in the city. When these productions are

New York City: Mapping of the 22 theaters where the 30 productions participating at the Tony Awards 2018 are presented. They tend to concentrate in the Broadway area in Manhattn.

mapped, the difference is very clear. The extension of theaters helding productions elegible for the Tony Awards in New York City is reduced to a few blocks that comprises the Theater District along Broadway, the street that gives name to the circuit of theaters. In the case of Mexico City, the mapping of theaters with productions participating at the Metropolitan Theater Awards shows that they are distributed across practically the whole city. Appart to the theater complexes in the city, there are certain zones where some theaters happen to be very close, but they are not really circuits of theaters. Nothing similar to Broadway can be found in Mexico City. But instead of being a disadvantage, this contributes to the construction of a theater community that includes a big part of the city instead of a reduced district, and also explains the diversity of the productions that conform the theatrical offer in Mexico City, that is constantly trying to give it identity and sum up to its cultural attractives. So, in general performing arts give identity and even relevance to the particular city where they take place in a very similar way architecture does.

Mexico City: Mapping of the 25 theaters where the 51 productions participating at the Metropolitan Theater Awards 2018 are presented. These are distributed undifferently through the whole city.

The Urban Space

The Urban Space Cities can be relevant to performances even when they do not actually take place in the urban space. However, the scenic space can be transported into the urban space as well. As it has been exposed, two essential elements of theater can be: scene and drama. The drama is essentially the action performed by the actors, based upon a dramatic text. The scene necessarily implies scenic space, shared consciously by the spectator and the performer. The consciousness of space (or scenic space) is necessary for the performance to occur. Both the performer and the spectator know they gather in that specific space for the dramatic performance, as it happened in its origins as part of a ritual, rather than a performance.

The Urban Space: Urban space in Ginza in Tokyo, Japan.

Another clear example related to the consciousness of space outside the scenic space can be found in the city or the urban space. Since ancient times, cities have had a special character to civilizations and its inhabitants. Migrants have always aimed for living in the big cities throughout history until our days. It was clear when one was within the city walls. And nowadays, even when cities are no longer walled for military purposes, every city still has its own spirit that defines it and makes the fact one is inside a city, unmistakable.

So, an actor in the scenic space is translated to a citizen in the urban space. The same happens within the architectonic space, where the person who inhabits it in a quotidian way. So, there is a clear relationship among events and spaces. Within this relationship there is a dynamic role played by seemingly inanimate places and things that allows them to transform the people inside of it or surrounding it into performers, citizens or habitants. Spaces are as important as performers because â&#x20AC;&#x153;within them stories are told, forces are harnessed, and roles are playedâ&#x20AC;?. 1 Space is everything around us, and with human intervention it is susceptible of becoming either architectural, urban or scenic space, as well as hybrid forms of space. Human transforms space becoming a detonating of it while giving meaning and functionality, either architectural or scenic. It can be said that space also transforms man. Different spaces can make a habitant or a performer of the person inside those spaces. This scenic space is not necessarily restricted to conventional performing spaces. Conventionally, the scenic space confronts the performer with the audience, but it may be different in the urban or the architectonic space. 1. Hannah, Dorita and HarslĂ¸f Olav. (2008) Performance Design. Copenhagen: Museum Tusculanum Press, p. 11.

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Urban Performances: Scenic Space Transfer

Performances in the Urban Space: Scenic Space Transfer

Performances in the Urban Space are not anythig new. They were common since the Middle Ages in Europe. During the medieval time, when theater occurred on car ts in the streets and public squares, the dynamics of the performances were very similar. The conventional scenic space was just transported almost intact to the outside and translated into a bigger scale and it still involved an actor in front of an audience.

Top Interior or the ephemeral architectural structure designed for Teatro en el Parque by scenic designer Adrián Martínez Frausto. Bottom View of the structure as part of the public space surrounding Chapultepec and the Tamayo Museum.

Nowadays, several performances in the urban space work very similarly, in the conventional way. For example, Shakespeare in the Park is a program of plays held every summer in Central Park in New York that started in 1954 and has become a cultural attraction and even a tradition for New Yorkers and tourists. The performances, that are evidently Shakespearean dramas, are not only at open air spaces but are also free and intended to be accessible for everyone. Mexico City has also had a couple of similar schemes of urban theater performances. The first one was called La Corrala del Mitote. It was inaugurated in 2012 by the National Theater Company and its director at the time, Luis de Tavira. It was a theatrical device that consisted in an ephemeral theater that could be taken to different public spaces in the city. This structure was inspired by the

Elizabethan theaters in England during the 16th Century such as The Globe, where Shakespeare performed, and also by the Corrales de Comedias, described extensively in the last chapter. Six years later a similar project was proposed, now promoted by the private sector instead of governmental institutions that promoted La Corrala del Mitote. It was a similar structure designed by scenic designer Adrián Martínez Frausto and placed in Chapultepec, trying to grasp a bit of the spirit of Shakespeare in the Park in Ne w York. The program of performances was called Teatro en el Parque and as well as La Corrala del Mitote, presented mainly plays written or inspired by the works of Shakespeare and Cervantes since it remembered the representation spaces from the 16th Century that experienced the birth of the works of these two playwrights in England and in Spain, respectively. 2 Eventhough these performances are presented in a conventional way, when transferref to the urban space, climate phenomena or activities that take place in the city contribute to the experience up to the point of almost becoming one more character in the play, creating unique atmospheres situatios3 that contribute to the experience. 2. Perches Galván, Salvador. (2018). Teatro en el Parque. atrapAarte. 3. Adrià, Anna. (2018). Teatro en el Parque. Arquine.

Shakespeare in the Park Performance of Julius Caesar by William Shakespeare presented for free in Central Park in New York City as part of Shakespeare in the Park.

La Corrala del Mitote Performance at the Zocalo in Mexico City inside the ephemeral architectural structure inspired by the Elizabethan theaters in England such as The Globe and by the Spanish Corrales de Comedias.

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Dramaturgy of the Quotidian

Challenging the Dynamics However, some of the urban performances experienced in different cities nowadays do not work in the same traditional way and instead challenge the dynamics of the scenic space completely. A contrasting example can be the grouping of contemporary art taking place in the urban space, such as urban installations, Land art, mural, graffiti, Street art, sculpture, etc. These have not lost their performativity, but the change is that since there is no actor in front of an audience, just the scenic space waiting to be detonated within the urban space, the spectator that used to be passive, now becomes the actor and active protagonist of the performance in the non-conventional scenic space. These urban interventions not only involve the spectator up to the point where the spectator becomes more active and even the performer but become a performative deliberation around the performance itself that challenges the essential elements of theatrical performances: the roles of the performer, the spectator, the scenic space and even the dramatic text itself. The also “produce new spatial concepts that create a cultural testimony of urban space that is inevitably political”4 because they challenge the reality of the cities and even create a sense of community 4. Klein, Gabriele. (2010). Performing Arts and Culture in the City: New Fields of Action for Cultural and Citizenship Education. Germany: University of Hamburg, p. 4.

or citizenship. A good example of these performances in the public space is the Radioballet by collective Ligna, described below: One day in May 2002 some people appeared in Hamburg’s main Station, listening to radios. They suddenly stopped at the same time and then began performing the same movements: the hand open, the arm outstreched, they turned the hand to be vertical, they danced as if they were clubbing. Ligna broadcast choreographic instructions on the frequency of an independent radio station called FSK (Freies Sender Kombinat), which each of the radio listeners followed individually in their places. The movements were a mimicry of actions like begging, which are prohibited according to station regulations. Thereby they referred to the privatisation of the train station as a formerly public space, which was now patrolled by some security agencies, the German border police and the Hamburg state police.5

This is an artistic performance held in the urban space with tints of protest. What is more remarkable is that the conventions of scenic and urban space as well as spectator/performer were blurred and creative and immersive experience involving everyone in the public space. In the Radioballet, the actions of the performers were planned by the artists, but not necessarily controlled since 5.Ibidem, p. 2.

Radioballet Performance by collective Ligna held in Hamburg’s main Station in May, 2000.

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they were held in the urban space where anything can happen. Different to the actions held in the conventional scenic space, actions in the urban and architectonic space can be predicted and planned but not controlled. An architect has no control over what the habitant is going to do in the future inside the architectural work or even what the habitant is going to do with the architectâ&#x20AC;&#x2122;s work in the future. A set designer, on the other hand, designs for actions previously and precisely planned and rehearsed by the actors. The designer knows exactly in what moments of the performance the actor is going to inhabit and use every part of the set, and unless an accident occurs, nor the actors neither anyone else is going to alter the original set design. Generally, there is no script behind these urban performances, so what happens in the urban space during these performances or interventions is closer to what happens in the architectural space than to the way actions are previously planned for the scenic space. Even though there is a clear consciousness of space from part of the people in the urban space, they do not necessarily rehearse for these performances and sometimes they may not even know they are part of something like this. However, a message is transmitted as part of a creative expression and vision. Although this expression does not have the form of

Dramaturgy of the Quotidian

a dramatic text, it still has the same main purpose because it generates action in a specific time and place. Urban performances that challenge the conventions of performance itself are closely related to the notion of postdramatic theater developed by German theatre researcher Hans-Thies Lehmann. He studied what was identified as theater after drama, that started to develop during the second half of the 20th Century. It can be said that as well as a postdramatic theater, there is also a predramatic and a dramatic theater. The predramatic theater can be associated to the first rituals related to the origin of theater held in Ancient Greece. These rituals started to explore the notions of performativity and scenic space but were not necessarily based on a written dramatic text. The dramatic theater is the conventional theater developed by Aeschylus, Shakespeare, MoliĂ¨re and Chejov that is based upon a dramatic text. It is the theater everyone has been used to and that has been analyzed thorough this book. Now, postdramatic theater refers to theater after drama, or after dramatic text. It includes performances where the dramatic text takes a secondary role and what is more important are the interactions between performer and spectator. Clear examples are contemporary urban performances and inter-

Urban Performances: Challenging the Dynamics

ventions, where the effect in the spectator is fundamental. Anyway, it is possible to state that a dramaturgy behind these actions is always present, even if it is not explicit, such as it happens with improv or improvisational theater. One can argue at first that there is not a text which actors can follow, they just generate actions as the scene flows. In fact, there is not a written text by a playwright; yet there is an implicit text or discourse in the instant dramaturgy actors are generating during the improv. So, the text or discourse is always present in the performance even though it is not that evident. That is why it is possible to say that there is such thing as a discourse that works as the base of the mechanics of these performances in urban spaces. The idea of an implicit dramaturgy behind performances that are not necessarily planed ahead or have a script, can be stretched to human phenomena taking place in the urban space. Since the origin of cities, this place has been the scenery to different important events such as encounters, celebrations, parades, protests etc. Most of these have to do with creating a dialogue with the rest of the people in the city and even with the authorities. That is why it is possible to say that there is such thing as a discourse in the performances of the quotidian, developed

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in an implicit way by the everyday actors of these social happenings. This dramaturgy or dramatic discourse can found in quotidian performances as well as historicaly, as stated by Dorita Hannah and HarslĂ¸f Olav: The performance event as a cultural production can be found in historic moments, daily occurrences and in environments both local and global, highlighting how the quotidian world is framed and stage-managed through sedimented social dramaturgy.6

6. Hannah, Olav. (2008), p. 15-16.

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Top Intervention of the public space by mexican artist Hector Zamora for the Lyon Biennale of Contemporary Art. Bottom A different kind of appropriation of the public space in Mexico City during a protest as part of the 1968 Student Movement.

There is a dynamism in both urban and scenic space generated by the human interaction. These spaces have a certain rhythm that is defined by the people in it, either as part of a dramatic performance of urban life through history. Space requires transformations. The set in theater changes during a play moving along with the dramatic action and cities change through history simply for architectural and urban requirements. Changes in space are translated in changes on the mental construction of space in the audience or in the habitants of a city. Certainly, rhythm may vary. Every dramatic performance has its own rhythm and rhythms of life nowadays have impacts in architectural and urban space. Changes in space are closeley related to the human experience and appropriation of space. In any way, space is not absolute or objective, it is always subject to human experience and therefore is multiple. relative, and subjective. This experience of space can have many shapes and be outside architectural and dramatic standards. The human experience of space not onle modifies the space itself and the perception or the mental construction of it by the user, it also provokes intuition and imagination of the habitant that is constantly trying to interpret that space, either as part of

a set in a dramatic performance, the buildings that contain our everyday actions or the streets of the city we inhabit.7 Actions in space, either dramatic, architectural or urban have a reconciler mission between man and his world. There is an identification of man with space. Man gives meaning to space inhabiting it and space gives meaning to man by reconciliating him with his world.8 Something as quoti tional architectural perspective. Theater can reveal the dramatic discourses behind the space we constantly transform that also transforms ourselves.

7. Ballina Graf, Jorge. (1996). Escenarios. Variaciones sobre un mismo tema: Una reflexión sobre arquitectura a través de la escenografía teatral. México: Universidad Iberoamericana, p. 99. 8. Ibidem, p. 72.

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References 1. Adrià, Anna. Teatro en el Parque. Arquine, 2018. 2. Ampatzidou, Cristina and Ania Molenda. Building Stories – the architectural design process as narrative (Conference paper), 2014. 3. Aristotle. Poetics. Chicago: University of Chicago, 1965. 4. Ballina Graf, Jorge. Escenarios. Variaciones sobre un mismo tema: Una reflexión sobre arquitectura a través de la escenografía teatral. Mexico: Universidad Iberoamericana, 1996. 5. Brook, Peter. The Empty Space. London: Penguin, 2008. 6. Ceballos, Edgar. Historia y reglas de dramaturgia. Mexico: Escenología, 2013. 7. de León, Pedro. Grandeza y miseria en Andalucía. Testimonio de una encrucijada histórica (1578-1761). Granada, 1981. 8. del Toro, Fernando. Semiótica del teatro. México: Paso de gato, 2014. 9. Falcón Márquez, Teodoro. La Cárcel Real de Sevilla. Spain: Universidad de Sevilla, 1996. 10. Freytag, Gustav. Freytag’s Technique of the Drama, An Exposition of Dramatic Composition and Art by Dr. Gustav Freytag. Chicago: Scott, Foresman and Company, 1900. 11. Geertz, Clifford. The interpretation of cultures. New York : Basic Books, 1973. 12. Hannah, Dorita and Harsløf Olav. Performance Design. Copenhagen: Museum Tusculanum Press, 2008. 13. Harillo, Sergio. El Corral de la Montería de Sevilla renace en el Congreso sobre Lope de Vega. Cultura de Sevilla. 2014. 14. Klein, Gabriele. Performing Arts and Culture in the City: New Fields of Action for Cultural and Citizenship Education. Germany: University of Hamburg, 2010. 15. Kleine, Holger. The Drama of Space: Spatial Sequences and Compositions in Architecture. Switzerland: Birkhäuser, 2017. 16. Korins, David. 3 ways to create a space that moves you, from a Broadway set designer. Filmed February 2018 in Toronto, Canada. TEDxBroadway, 10:37. 17. Lehmann, Hans-Thies. Postdramatic Theater. New York: Routledge, 2006. 18. Leñero, Estela. Obras del Taller de Dramaturgia de Estela Leñero (Introduction). Mexico: Libros de Godot, 2011. 19. Michel Modenessi, Alfredo. Romeo y Julieta (Introduction). México: Elefanta Editorial, 2017. 20. Perches Galván, Salvador. Teatro en el Parque. atrapAarte, 2018. 21. Portilla, Daniel. Films & Architecture: “Dogville”. ArchDaily. 2013. 22. Quiroga Zuluaga, Adriana. “Arquitectura, puesta en escena” Arquitectura y Humanidades. México: UNAM, 2004. 23. Tidey, Jimmy. If the Internet was a block of flats, would you want to move in? Hackernoon. 2017. 24. Vértiz de la Fuente, Columba. Vuelve el musical “El hombre de La Mancha”. Mexico: Proceso, 2016. 25. Villegas, Sergio. “Entrevista Con Fernando Canek”, interview. Compañero De Butaca (Podcast). Mexico City: Academia Metropolitana De Teatro, 23 Oct. 2018. 26. Závodský, Artur. Tschechische Dramen aufantike Motive. Prague: Academia, 1966.

Images

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All the graphics not cited here are original artwork by the author.

Jorge Ballina (Set Design). RENT, Teatro Milán, México Cirty. Personal photograph by author. 2017.

Dirk Becker (Set Design), Bernd Purkrabek (Lighting Design and Photography), Christof Loy (Direction). Jenufa. Deutsche Oper Berlin, 2014.

Stonehenge: Ref.: centering of Stonehenge. ARTSTOR, 2000 B.C.

Alessi Heitman-Rice. Sunrise at Stonehenge, Wiltshire , England. Flickr, 2014.

Philip Johnson (Architect), Robert Hill (Photograph). The Glass House, Connecticut. Photoshelter, 1949.

Josef Svoboda (Set Design), Jaromír Svoboda (Photograph). Don Giovanni, NÁRODNÍ DIVADLO, 1969.

Peter Zumthor (Architect), Felipe Camus (Photography). Casa Gugalun, Versam, Switzerland. ArchDaily. 2013.

Hugh Vanstone (Set Design). Matilda the Musical, Broadway, New York. Critical Confabulations, 2013.

Jorge Ballina (Set Design). El Zoológico de Cristal, Teatro Helénico, Mexico City. La Rama de Teatro, 2018.

Flores & Prats (Architect), Alex García (Photograph). Edificio 111, Barcelona. ArchDaily, 2013.

Sebastiano Serlio. Design for the stage set of a tragedy. Research Gate, 1545

Unsangdong Architects (Architect & Photography), Gallery Yeh, Seoul. 2010.

Mauricio García Lozano (Director), Adrián Martínez Frausto (Set Design). Macbeth by William Shakespeare, Teatro Milán, Mexico City. Tercera Llamada, 2017.

Handwritten manuscript of Victor Hugo’s novel Les Misérables. Bibliothèque nationale de France, 2014.

Matt Kinley (Set Design). Les Misérables, Teatro Telcel, Mexico City. El Demócrata, 2018

Michelangelo, The Creation of Adam. A Treasury of Art Masterpieces: from the Renaissance to the Present Day, 1511.

Jo Mielziner (Set Design). Set Design for A Streetcar Named Desire by Tenesee Williams. Painting. ARTSTOR, 1947.

Alejandro Prieto (Architect). Teatro de los Insurgentes, Mexico City. Mejor Teatro, 2016

Ian MacNeil and Edward Pierce (Set Design) Brinkhoff Mögenburg (Photography). Angels in America, Broadway, New York. LiveDesign, 2018.

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Lucy Wang (Photography). Temporary Installation, Mexico City. Inhabitat, 2017

Anita Francis, The Complete Works of Shakespeare (book sculpture). Books and Jackets, 2014.

D. Hayes (Phtography). The Ride. Iron Lungs, 2011.

Tana Weingartner (Photography). First Folio. Cincinnati Museum Center, 2017

William Shakespeare. Play Manuscripts. Shakespeare Documented, 1611.

Lars Von Trier (Playwright), Fernando Canek (Director), Iván Pasillas (Photography) , Dogville, Teatro Helénico, 2018.

Oscar Ferdinand Telgmann (Playwright), Victoria Edwards (Photography). Leo, the Royal Cadet (Dramatis Personae). 1889.

Yrjö Lindegren, Toivo Jäntti (Architect), Sebastian Weiss (Photography). Dramatis Personæ, 2017.

Titus Felixmüller (Architect), Sebastian Weiss (Photography). Dramatis Personæ, 2017.

Barbosa & Guimaraes Architects (Architect), Sebastian Weiss (Photography). Dramatis Personæ, 2017.

Sebastian Weiss (Photography). Dramatis Personæ, 2017.

J. Mayer H. Architects (Architect), Sebastian Weiss (Photography). Dramatis Personæ, 2017.

Jacques Herzog & Pierre de Meuron (Architect), Sebastian Weiss (Photography). Dramatis Personæ, 2017.

dEMM Arquitectura (Architect), Sebastian Weiss (Photography). Dramatis Personæ, 2017.

HPP Architects (Architect), Sebastian Weiss (Photography). Dramatis Personæ, 2017.

Santiago Calatrava (Architect), Sebastian Weiss (Photography). Dramatis Personæ, 2017.

Oscar Wilde (Playwright), Desmond Heeley (Set Design), The Importance of Being Earnest, Broadway, 2011

RCR Arquitectos, RCR. Obra sobre papel. Arquine, 2018.

David Korins (Set Design). Hamilton. Playbill, 2014.

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Jorge Ballina (Set Design & Photography), Cock, Teatro de los Insurgentes, Mexico City. 2011.

Brian Ruggaber (Set Design). Scenic design model for RENT. University of Cincinnati College-Conservatory of Music, 2011.

Klaus Frahm (Photography). Oper Frankfurt. LensCulture, 2011.

Christine Jones (Set Design), Harry Potter and the Cursed Child, Lyric Theater, Broadway, New York. 2018.

Dale Wasserman (Playwright), Mauricio García Lozano (Director). El hombre de La Mancha, Teatro de los Insurgentes, Mexico City. 2017.

Jorge Ballina (Set Design), El hombre de La Mancha, Teatro de los Insurgentes, Mexico City. 2017.

Jorge Ballina (Set Design), Lulú Urdapilleta. (Photography). El hombre de La Mancha, Teatro de los Insurgentes, Mexico City. 2017.

Juan Navarro. La Cárcel Real de Sevilla: Sección hacia el Sur. 17th Century.

Piedad Bolaños Donoso. Corral de comedias de Écija. Actas del V Congreso de Historia. Écija: Ayuntamiento de Écija, 2000.

Juan Navarro. Planta de la Cárcel Real de Sevilla.17th Century.

Francisco de Escobar. Planta del Corral de la Montería, 1691.

Jorge Ballina (Set Design), Lulú Urdapilleta. (Photography). El hombre de La Mancha, Teatro de los Insurgentes, Mexico City. 2017.

Jorge Ballina (Set Design). El hombre de La Mancha, Teatro de los Insurgentes, Mexico City. 2017.

Guadalupe Monge (Photography). Corral de comedias de Almagro, Almargo, Spain. 17th Century.

Jorge Ballina (Set Design). El hombre de La Mancha, Teatro de los Insurgentes, Mexico City. 2017.

Mauricio García Lozano (Director), Jorge Ballina (Set Design). El hombre de La Mancha, Teatro de los Insurgentes, Mexico City. 2017.

Lulú Urdapilleta. (Photography). El hombre de La Mancha, Teatro de los Insurgentes, Mexico City. 2017.

Jorge Ballina (Set Design). Copenhague, Foro Shakespeare, Mexico City. 2011.

Lars Von Trier (Director & Writer), Dogville, [Film], 2003.

Fernando Canek (Director), Félix Arroyo (Set Design), Ricardo Castillo (Photography), Dogville, Teatro Helénico, Mexico City. 2018.

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Dogville, Teatro Helénico, Mexico City. 2018.

Broadway. iStock, 2016.

Ginza. Tokyo, Japan. Personal photograph by author. 2018.

Camila Cossio (Photography). Teatro en el Parque. Arquine, 2018.

Shakespeare in the Park. Public Theater, 2018.

Salvador Perches Galván. La Corrala del Mitote. atrapAarte, 2018.

LIGNA (Performer and Photography). Radioballet. LIGNA. Hamburg, 2002.

Héctor Zamora (Artist and Photography). Floating Words. Labor, 2017.

Manuel Gutiérrez. La marcha del 13 de agosto, Mexico City. Archivo Histórico de la Universidad Nacional Autónoma de México, 1968.

Jorge Ballina (Set Design). La Petite Piéce en haut de l’escalier, Teatro El Granero, Mexico City. 2011.

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Dramaturgy of the Quotidian

Articles inside

Scenic Design: A Transdisciplinary Approach

Theater and the City

Space in Dramaturgy: Dramatic text and structure