ANAMRPHIC ARCHITCTR · Peter Zumthor asserts that atmospheres ... anamorphic atmosphere be used in...
1
Fred Leeman. Hidden Images: Games of Perception, Anamorphic Art, Illusion: From the Renaissance to the Present. (New York: Harry N. Abrams, 1976), 9. 2 Iain Mackintosh. Architecture, Actor, and Audience. (New York; Routledge, 1993), 1-3. 3 Peter Zumthor. Atmospheres: Architectural Environments, Surrounding Objects. (Basel: Birkhäuser, 2006), 17. Theater design and architectural representation have been associated with perspective and anamorphism since the Renaissance. Whereas the coherent image of central perspective requires the viewer’s engagement by taking advantage of an easily obtainable viewing point, the distorted image of anamorphism requires extreme effort with its viewing point situated obliquely to the picture plane. This engagement rationalizes a relationship between objects within a picture and establishes a relationship between the viewer and the represented image. 1 Likewise, an interactive relationship exists between theater spectators and performers as well as between the architecture of theater and theatrical experience. 2 The primary concern and aim of this thesis is to investigate and reconcile tensions that exist between “lived space” and the “fictional/perspectival space” of theater. What will be of most interest is how the stage itself can be extended as a metaphysical and metatheatrical interaction between the performers and the audience. How does the performance of the stage reach out into the audience beyond? And how does the edge of the stage and the performance become blurred? Additionally, atmosphere both influences and is influenced by these relationships. Peter Zumthor asserts that atmospheres exercise their effects “in a flash”, are ever-present and recede into the background as soon as use begins. 3 But what if atmospheres took on a more prominent role? Can atmosphere be both active and recessive? And how might a device like anamorphic atmosphere be used in bringing audiences and performers closer together? This thesis will be located around the Burton Cummings Theatre in Winnipeg, Manitoba, and will explore new relationships between architecture and performance, performance and spectators, and spectators and perspective. ANAMORPHIC ARCHITECTURE - RECONCILING TENSIONS BETWEEN LIVED AND FICTIONAL SPACE DARYL RANDA ADVISOR: LISA LANDRUM
Transcript of ANAMRPHIC ARCHITCTR · Peter Zumthor asserts that atmospheres ... anamorphic atmosphere be used in...
Fred Leeman. Hidden Images: Games of Perception, Anamorphic Art, Illusion: From the Renaissance to the Present. (New York: Harry N. Abrams, 1976), 9.2 Iain Mackintosh. Architecture, Actor, and Audience. (New York; Routledge, 1993), 1-3.3 Peter Zumthor. Atmospheres: Architectural Environments, Surrounding Objects. (Basel: Birkhäuser, 2006), 17.
Theater design and architectural representation have been associated with perspective and anamorphism since the Renaissance. Whereas the coherent image of central perspective requires the viewer’s engagement by taking advantage of an easily obtainable viewing point, the distorted image of anamorphism requires extreme effort with its viewing point situated obliquely to the picture plane. This engagement rationalizes a relationship between objects within a picture and establishes a relationship between the viewer and the represented image.1 Likewise, an interactive relationship exists between theater spectators and performers as well as between the architecture of theater and theatrical experience.2 The primary concern and aim of this thesis is to investigate and reconcile tensions that exist between “lived space” and the “fictional/perspectival space” of theater. What will be of most interest is how the stage itself can be extended as a metaphysical and metatheatrical interaction between the performers and the audience. How does the performance of the stage reach out into the audience beyond? And how does the edge of the stage and the performance become blurred? Additionally, atmosphere both influences and is influenced by these relationships. Peter Zumthor asserts that atmospheres exercise their effects “in a flash”, are ever-present and recede into the background as soon as use begins.3 But what if atmospheres took on a more prominent role? Can atmosphere be both active and recessive? And how might a device like anamorphic atmosphere be used in bringing audiences and performers closer together? This thesis will be located around the Burton Cummings Theatre in Winnipeg, Manitoba, and will explore new relationships between architecture and performance, performance and spectators, and spectators and perspective.
ANAMORPHIC ARCHITECTURE - RECONCILING TENSIONS BETWEEN LIVED AND FICTIONAL SPACE
DARYL RANDAADVISOR: LISA LANDRUM
