Filipa Malva
Filipa Malva is a scenographer and architect. She has a doctorate degree in Art Studies/Theatre from the University of Coimbra and a masters in Performance Space from the University of Kent, UK. She is a freelance set and costume designer working with several theatre and music groups, such as O Teatrão, Casa da Esquina, around the Coimbra district. She also teaches regularly at the Art Studies course at the Faculty of Humanities, University of Coimbra. She is a founding member of the APCEN - Portuguese Association of Scenography and currently a recipient of a Postdoctoral Fellowship from the Foundation for Science and Technology.
https://filipamalva.wordpress.com
Supervisors: Chris Baugh, Kate Burnett, and Daniel Tércio
Address: https://filipamalva.wordpress.com
https://filipamalva.wordpress.com
Supervisors: Chris Baugh, Kate Burnett, and Daniel Tércio
Address: https://filipamalva.wordpress.com
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Gesture and movement are central to a costume designer’s creative process. In the case of Anticorpos we were working also with actress Isabel Craveiro’s personal memories of body change. It was crucial that the design incorporated the performer’s verbal and sensual account of the multiple surgeries she had been subjected to over the course of 4 years. As she made these visible through action, I used them to inform the costume design which in turn allowed her to choose what to show and when. Fabric would at times constrain her body into a new shape, at other times expand her gestures.
and that of the narrative. It can go back and forward between these universes, allowing performers
to play with the boundaries between presentational and fictional spaces, as defined by Gay
McAuley in Space in Performance — re-positioning the narrative, either mentally or spatially.
In this paper I argue the way performers can achieve this change is by manipulating the
perception of an object’s function, scale, sound and aesthetics. The performer uses the object’s
original characteristics, such as colour, texture, form and design purpose, as potential clues,
reframing them to establish new links with the main narrative. This process of transformation
makes for a fluid scenography/dramaturgy relationship where performers, scenographer and of
course, spectators share the experience of theatrical emergence.
A realidade virtual e as ferramentas de modelação digital têm vindo a ser desenvolvidas do ponto de vista do criativo. Este ensaio começa por seguir a evolução destas tecnologias no contexto acadé- mico, a partir das produções dramáticas de Mark Reaney, da Univer- sidade do Kansas, numa tentativa de perceber como elas se podem tornar essenciais na criação de espaço cenográfico.
Numa segunda parte, o ensaio centra-se na descrição e análise do processo criativo de uma cenografia produzida exclusivamente atra- vés de ferramentas digitais de modelação em três dimensões. Com base no texto de The Tempest de William Shakespeare, o seu pro- pósito foi investigar de que forma este processo de interpretação do texto dramático é transformado pelo ambiente virtual. Este projecto
foi desenvolvido na Universidade de Kent, no âmbito do Master of Arts em Performance Space.
Em conclusão tenta-se pensar como é que estes projectos apon- tam para uma possibilidade de incorporação do digital no campo da cenografia para teatr
Gesture and movement are central to a costume designer’s creative process. In the case of Anticorpos we were working also with actress Isabel Craveiro’s personal memories of body change. It was crucial that the design incorporated the performer’s verbal and sensual account of the multiple surgeries she had been subjected to over the course of 4 years. As she made these visible through action, I used them to inform the costume design which in turn allowed her to choose what to show and when. Fabric would at times constrain her body into a new shape, at other times expand her gestures.
and that of the narrative. It can go back and forward between these universes, allowing performers
to play with the boundaries between presentational and fictional spaces, as defined by Gay
McAuley in Space in Performance — re-positioning the narrative, either mentally or spatially.
In this paper I argue the way performers can achieve this change is by manipulating the
perception of an object’s function, scale, sound and aesthetics. The performer uses the object’s
original characteristics, such as colour, texture, form and design purpose, as potential clues,
reframing them to establish new links with the main narrative. This process of transformation
makes for a fluid scenography/dramaturgy relationship where performers, scenographer and of
course, spectators share the experience of theatrical emergence.
A realidade virtual e as ferramentas de modelação digital têm vindo a ser desenvolvidas do ponto de vista do criativo. Este ensaio começa por seguir a evolução destas tecnologias no contexto acadé- mico, a partir das produções dramáticas de Mark Reaney, da Univer- sidade do Kansas, numa tentativa de perceber como elas se podem tornar essenciais na criação de espaço cenográfico.
Numa segunda parte, o ensaio centra-se na descrição e análise do processo criativo de uma cenografia produzida exclusivamente atra- vés de ferramentas digitais de modelação em três dimensões. Com base no texto de The Tempest de William Shakespeare, o seu pro- pósito foi investigar de que forma este processo de interpretação do texto dramático é transformado pelo ambiente virtual. Este projecto
foi desenvolvido na Universidade de Kent, no âmbito do Master of Arts em Performance Space.
Em conclusão tenta-se pensar como é que estes projectos apon- tam para uma possibilidade de incorporação do digital no campo da cenografia para teatr
This presentation will speak of the ways drawing can be used in rehearsal to establish a dialogue between the performers’ ‘embodied knowledge’, as Robin Nelson defines it, and the scenographer’s impetus in the creation of the same space of performance. It will propose a connection between the performers’ tactile experience of space and the designer’s experience of the page, where the notions of theatrical energy and of negative space are fundamental to an effective collaboration.
I will present examples from the Practice-as-Research production Pequena História Trágico-Marítima developed in the context of my PhD dissertation at Teatro Académico de Gil Vicente. One of the precepts of this project was to register all sessions between the scenographer (myself), the director (Jorge Louraço Figueira), and the performers, using drawings and notations. All rehearsal drawings were purposely made in black-and-white, using only stylo pens. The medium allowed for speed and readiness in the drawing, providing a quick reaction to the work happening on the rehearsal floor, to the director’s queries and my own impulse to draw.
Jorge: it is not difficult for a director to understand a scenographer’s intuition, but otherwise it is truly hard to convince them to use their visual intuition to serve the development of meaning during the play, instead of the reverse. Many scenographers organize their intuition in a way that competes with and sometimes is opposed to the actions of a play, as defined by playwright, director and actors.
Performance space is the realm of the body, the text and the visual. This back and forth conversation, this professional intimacy, this struggle, is a trial to define its shape. And if there is to be any collaboration, intuitions will need to be broken open and confronted with the other practitioners’ mental images. Artists need to be able to pick up from where the others have left the small pieces that add up to the overall design of a play, remaking and remodelling the first individual intuitions into group ideas. This presentation will be a dialogue between a scenographer and a director trying to build upon each other’s ideas of a specific performance space. We will discuss the limits of each profession and how to expand them in order to extend the meaning of a theatre production. This is one anatomy of collaboration.
ethnographic records and in plans to design a city, drawing is a project and it is a document. It is on a page and it can also be performance.
Scenographers as well as other performance practitioners use drawing as an expressive and communication tool in rehearsal and in performance.
They use it as a record of a thought process and an instrument for reflection. Drawing allows discussion, trial and error, and serves as a record of the
creative process for all involved. In fact, drawing — and above all the act of drawing — carries this elementary and transversal power for collaboration.
This ebook registers and reflects upon the proceedings of the international conference Drawing and Performance: Creating Scenography which
gathered in 2020 online during the COVID-19 pandemic. The conference included contributions from various fields of research that engage drawing
and its methodologies as a research practice.
A partir das entrevistas realizadas, Filipa Malva identifica quatro tipologias essenciais no desenho enquanto sistema relacional:
(1) enquanto registo de movimento e acção;
(2) enquanto proposta de conceitos e materiais cenográficos;
(3) enquanto existência material em palco, gerando espaço e tempo;
(4) enquanto complemento do corpo (vestindo-o ou percorrendo-o).
Estas tipologias são perspicazes e adequadas às vozes dos artistas aqui reunidos.
Este livro, ao reunir um grupo de cenógrafos reconhecidos e activos nas artes performativas portuguesas, vem finalmente revelar a consistência de um ofício e das práticas que lhe estão associadas, tornando-se assim essencial também ele, livro, para o desenho de um território.
Do prefácio de Daniel Tércio