ScenoFest 2003 LowRes PDF

EduComm SCENOFEST!
at the
SCENOFEST!
at the
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OISTAT P.O. box 15172 1001 MD Amsterdam The Netherlands www.oistat.org
OISTAT Education Commission Student section at the PQ03 Vystaviste, Prague, Czech Republic June 13 25, 2003 SCENOFEST! activities:
SCENOFEST! Team SCENOFEST! History SCENOFEST! 2003 introduction Lear for Our Times Exhibit & Critiques Trans-National Co-operation Exhibit Sound Design Lighting Design Puppet Days Lectures Design Excellence Great Partnerships Design as Performance Un Somni de Nit Sant Joan Presenters and Participants Participating Schools 10.00 About OISTAT Page 31 Page 32 Page 33 Page 37 Page 39 Page 43 Page 46 Page 48 1 Page Page Page Page 2 3 4 7
Editorial contributions
Pamela Howard Michael Ramsaur Marina Raytchinova Richard K. Thomas Henk van der Geest
Art Editor
Jerme Maeckelbergh
Page 13 Page 17 Page 21 Page 27
Editing
Jennifer Walker
Printer
Holin International Co., Ltd. 3 Floor, No.9, Section 3, Renai Road Taipei 106, Taiwan, R.O.C.
copyright 2005 OISTAT

All rights reserved in all media. No part of this catalogue may be reproduced in any form, copied or stored electronically without prior permission in writing from the publisher. Layout and Artwork: Jerme Maeckelbergh
Selling price, in the whole world:
ISBN
90-78218-01-0 SCENOFEST! Sponsors and Partners
SCENOFEST! 2003
SCENOFEST! organizer: OISTAT Education Commission (EduComm) Organization Structure

Chair EduComm - Michael Ramsaur, U.S.A. Content - Pamela Howard, U.K. Technical Director - Chris van Goethem, Belgium
EduComm SCENOFEST! Team

Puppet Days - Marina Raytchinova, Bulgaria Sound Design - Richard Thomas, U.S.A. Lighting Design - Markku Uimonen, Finland Henk van der Geest, The Netherlands
Assistance to SCENOFEST!
Assisting Michael Ramsaur Assisting Pamela Howard General Assistance Prague Local Coordination Administrative Support Moving Light Rig Designer Stage Sound Designer Sound Exhibition Sound Designer Backstage Tours Web pages Jessica Kaltman, U.S.A. Ada Gadomski, U.K. Veronika Vorel, U.S.A. Leah Gaffen, Czech Republic Aluminium, Czech Republic Kimmo Karjunen, Finland Steven Brown, U.K. Eileen Smitheimer, U.S.A. Pavel Dautovsk, Czech Republic Gustaf Kull & Mandy Khoshnevisan, U.S.A.
Additional Assistance to SCENOFEST!

Technical Assistance - Frits van den Haspel, The Netherlands Ticket work & Information Booth Stafng - Polly Ellis, U.S.A. Ien Verbaenen, Belgium Sabrina Hamilton, U.S.A. Photographer - Christa DAns, Belgium Catalogue Layout and Photo Treatment - Jerme Maeckelbergh, Belgium
cover:
Lear of our Time and Country Hada Eilon, Pasit Gat-Segal, Sivan Veinstein, Tel Aviv, Israel
SCENOFEST! 2003
SCENOFEST!
A brief history
SCENOFEST! a Festival of Scenography was created in 1994 to mark the opening of the innovative new Masters Course in Scenography, known as the European Scenography Centres. The founding partners were Central Saint Martins College of Art and Design, London, U.K., and the Hogeschool voor de Kunst, Utrecht, The Netherlands. Collaborators included the Institut del Teatre, Barcelona, Spain, The Academy of Performing Arts (DAMU), Prague, Czech Republic, and the University of the Arts, Helsinki, Finland. The concept was to begin each new course in a different city with a festival of Scenography in which professionals and students would come together in an intensive week of performances, lectures, exhibitions, events, and dinners, which would celebrate the art of scenography in all its aspects. The rst SCENOFEST! was in London in September 1994, and featured as a guest artist Amy Trompetter of Barnard College, New York, U.S.A., and formerly of Bread and Puppet Theatre, U.S.A., with her innovate puppet performance of The House of Bernarda Alba (Lorca). Subsequent SCENOFESTS! were able to host Haris Pasovics Festival Theatre from Sarajevo; an exhibition of Costumes by Doina Levitza from Romania; Galin Stoevs Homonculus Theatre from Bulgaria; Yukio Ninangawa from Japan; and many many other distinguished visitors. SCENOFEST! was nancially supported by many private sponsors, the Kaleidoscope program of the European Union, and the Soros Open Doors Society. Central to the SCENOFEST! concept was always to give a public voice to the student and to provide a platform for them to show and talk about their work. In this way, knowledge and discoveries could be shared and passed on. The last of the European Scenography Centres SCENOFESTS! was in 2000, when the structure of the project changed. Looking to be more pro-active, OISTAT EduComm made the decision to adopt projects rather than simply having meetings. For the Prague Quadrennial (PQ) 99 OISTAT organized a side program of invited presentations, workshops, theatre tours, and a series of Tours of the PQ led by visiting international designers. At the 2001 EduComm meeting in Long Beach, California, Michael Ramsaur organized a highly successful lighting workshop. For the PQ 03 Pamela Howard proposed a project to enhance the student experience for those attending the PQ 03 by building on the experience of former SCENOFESTS! and creating the best ever celebration of scenography. SCENOFEST! at PQ 03 demonstrated how OISTAT EduComm can provide the platform for students and professionals to meet together and share their interests and expertise. Through SCENOFEST! contacts and friendships are made, exchanges organized, and continued long after the event. That was always the main purpose, both of SCENOFEST! and OISTAT the perfect partnership.
Michael Ramsaur, Chair EduComm
SCENOFEST! 2003
The EduComm SCENOFEST! 2003

The Education Commission of OISTAT, EduComm, organized, in collaboration with the PQ, special exhibits, lectures, presentations, workshops, and theatre tours during Prague Quadrennial. The SCENOFEST! was a Festival of Scenography running concurrently with the PQ. It was sited in the Schools section of the Exhibition Hall. The aim was to enhance the student experience at the PQ with an exciting daily program. The program was equally appropriate for theatre professionals attending the PQ. Evaluation of SCENOFEST! 2003 at EduComm meeting in Istanbul, Turkey in December 2004. Daily at 2:30 pm, a prestigious program of guest speakers gave the SCENOFEST! lectures - Great Partnerships or Design Excellence. These sessions were to inspire and inuence the many young theatre makers who migrate to Prague in June every four years. A specially curated exhibition, A Lear For Our Times, looking particularly at sitespecic venues, challenged theatre design students from 32 countries to present new concepts for this universal play. The Lear exhibit formed the basis of daily debates and critiques led by the many visiting scenographers whose work was exhibited in the adjacent national exhibitions. A small exhibition recognized the important new work done under the title of Trans-National Cooperation. Each day on the SCENOFEST! stage, and sometimes just off the stage, were demonstrations from schools who teach Design as Performance, a fast-growing aspect of scenography where the designers are also the performers and the directors. The SCENOFEST! stage also served as a sound laboratory and light laboratory for the many presentations and workshops focused on lighting and sound design. These workshops complemented the special lighting and sound exhibitions. A series of model theatre workshops were offered where students from different countries worked together on group design assignments using a scale model theatre.
OISTAT EduComm organized and presented a thematic exhibit: A Lear for Our Times
A thematic exhibit in which the Shakespearean paradigm, King Lear, was interpreted by different schools and/or students; the same subject was seen with new approaches by young people from different countries. The exhibit gave the opportunity for students to work on common projects ahead of the PQ. This unifying exhibit gave the students an opportunity to participate in an informed critical debate with world-renowned artists visiting the
SCENOFEST! 2003
PQ. The critiques of individual Lear designs occurred in a chaired open forum in which each student presented their design work to the visiting artists and assembled crowd
of observers (students, teachers and designers). The critiques gave the students a chance to hear opinions of their work beyond that of their teachers from a broad
range of international professionals. This was also an effective way of providing a model for teachers on the critiquing of student design work.
Lighting and Sound Design

The Lighting Design exhibits organized by OISTAT Lighting Design Working Group included demonstrations and examples of lighting design, new equipment and creative use of advanced technology in lighting design. The Sound exhibits organized by OISTAT Sound Design Working Group included demonstrations and examples of creative use of aesthetics and technology in sound design. The exhibits, workshops and lectures provided examples of Lighting and Sound Design work accomplished by designers and students from around the world. The events served as an example for those unable to conceive of designing lights or sound. Common assignments brought students together having addressed common problems and with the ability to discuss the technical details in accomplishing such work. The workshops provided a forum to use current top-level technology under the direction of experts from the eld.
Design as Performance
These presentations consisted of short, designer led performance pieces that demonstrated the integration of scenic, costume, light and sound design and performers. These events allowed student groups to experience bringing a performance to Prague and to create broader interest in the PQ. The performances highlighted the concept of designers being more integral to the creation of the full performance. They enabled student performers and designers from one country to work with student crews from another in creating the performances and presenting work.
Trans-National Cooperation
The Trans-National Cooperation Exhibit presented examples of entirely new projects where artistic, technical, nancial and administrative resources were brought together from different countries and cultures to create innovative, truly trans-national work.
SCENOFEST! 2003
OISTAT EduComm presented a rich program of lectures, presentations, workshops, and discussions during PQ03, including:
Great Partnerships Theatre visits
Theatre Directors and Designers who have signicant- SCENOFEST! also arranged a series of tours to the ly collaborated, spoke about their artistic partnerships. major theatres in Prague. These tours gave students the opportunity to see the cultural and educational offerings in Prague and to see aspects of theatre technology specic to the theatres. SCENOFEST! also Design Excellence arranged a series of meetings of OISTAT Commissions Presentations from Europes premiere Scenographers to provide forums for visitors to meet and discuss pertinent issues with the OISTAT Commissions. - set, costume, lighting and sound designers, architects and theatrical innovators.
Design Techniques
Workshops on developments in theatre design and technology, concentrating on lighting design and sound design.
Un Somni de Nit Sant Joan
Organized by the Institut del Teatre, Barcelona. On 24 June, Midsummers Day, Joan Guillen of Els Comediants in Barcelona led an extraordinary allday workshop culminating in an open air performance event, Un Somni de Nit Sant Joan a Fiesta of Fire for St. John the Baptist Day. Participants made masks and costumes, then joined the street parade with reworks, music, and food at night outside Vystaviste.
Puppet Days
Puppet Days gave students the chance to look at the purpose and techniques of puppet design, presenting examples of a style and mode of design and performance not common in many areas of the world. These three days provided the opportunity for close contact in order to share this cultural style.
Information about SCENOFEST! at PQ03 was disseminated through OISTAT Centres, and also directly to schools of Theatre Design. There was a website organized through the SCENOFEST! team at Stanford University. SCENOFEST! registered 1187 participants, from 203 schools from 44 countries. It was free to all who preregistered, and daily tickets could be bought at the PQ. All events, including the fantastic closing re ceremony were fully attended. The three weeks of SCENOFEST! expanded the life and vitality of the PQ03 experience to both organizers and participants.
SCENOFEST! 2003
A LEAR FOR OUR TIMES

EXHIBIT The Lear for Our Times Challenge
by Pamela Howard
A Challenge was issued to theatre design schools to work on a theoretical design project to create a scenographic proposal for A Lear for Our Times using a unique approach, perhaps central to a found space, with all the problems and advantages that come with such an approach.
The purpose was to enhance the student experience at PQ by providing a special exhibition where students and young Scenographers, who have worked on a common project, could meet and discuss through common design challenges, critiques, talks, and encounters.
continues on page 9
SCENOFEST! 2003
A Lear for Our Times
Exhibit and Critiques

Organized by Pamela Howard Assisted by Ada Gadomski
Exhibit LE1
Saint-Luc, Brussels, Belgium contact - Xavier De Coster xdc@swing.be Lear in the subterranean ruins of the Brussels Palace presented by Isabelle Cantillana, 3rd year student Lear in the abandoned sanatorium at Tombeek presented by Laurence Drevard, 3rd year student Fac. of Fine Arts, Stage & Costume Design Dept. Mimar Sinan University, Turkey contact- Prof. Bengi Bugay ozturksi@hotmail.com A Lear of our Times presented by Hande Tomris Kuzu, student Contradictions in Lear presented by Tuba Buyuk Ustun, student
Exhibit LE2
Exhibit LE3
Department of Scenography, Latvian Academy of Arts, Latvia contact - Kristine Pasternaka cika_cikinja@one.lv Supermarket presented by Kristians Brekte 1st year student Stadium presented by Ieva Kaulina 5th year student
California State University, Long Beach, U.S.A. contact - Danila Korogodsky dkorogod@csulb.edu A Kingdom on an Oil Rig presented by Jeffrey Eisemann MFA student Exhibit LE4 A Theatre Lear Southern Methodist University, U.S.A. presented by Andrew Deppen MFA student contact - Scott Osborne ourendeavors@yahoo.com Exhibit LE8 Prof Russell Parkman rparkman@mail.smu.edu The University of South Carolina, Columbia, U.S.A. Lear - the conundrum of existence contact - Nic Ularu Nicularu@aol.com presented by Scott Osborne, student Lear: The Human Condition: An exploration in limited spaces Exhibit LE5 presented by Kimi Maeda and Andrew Hungerford, The Stage Design Program of the Theatre Dept. Tel-Aviv University Theatre Dept., Israel students contact - Roni Toren toren777@bezeqint.net Lear of our Time and Country Exhibit LE9 University of North Carolina, Greensboro, U.S.A. presented by Hada Eilon, Pasit Gat-Segal, Sivan contact - Krystyna Loboda KrystynaLoboda@aol.com Veinstein Regans Story MA set, costumes and lighting students presented by Krystyna Loboda Iwaniec York University Theatre Dept., Toronto, Canada contact - Teresa Przybylski teresap@yorku.ca A Lear for our Times Group project 4th year stage and lighting design students presented by Siobhan Sleath and Leslie Wright 4th year students
Exhibit LE7
Exhibit LE6
Tamagawa University, Japan contact - Rie Ono rieono@earthlink.net Nothingness presented by Sahoko Oshima and Yoshitugo Kobayashi Lear in Tokyo presented by Tomona Konita
Exhibit LE10
SCENOFEST! 2003
Why do another production of King Lear when so many have already been done? and What more can anyone do? The challenge was to try and think about the primary issue of what makes this play so compelling to so many people, and to then nd a way of staging it that makes this old play seem like a new play that is being experienced for the very rst time.
The use of different spaces, is one aspect of our contemporary theatre that is radically changing scenography and bringing the architectural and scenic worlds closer together, and at the same time making new demands on performers and directors. Very often, a visual artist can see the potential of a space and how a production can happen.
These are just some of the themes addressed by 38 scenography schools world-wide. A selection of the results was shown in the special SCENOFEST! exhibition and formed the basis of discussions and critiques on the work. No language barriers exist when the work is shared! The excitement and anticipation of seeing all the work together was enormous, and the process of critical feedback from the many visiting scenographers to PQ was extraordinary.
SCENOFEST! 2003
AGRFT, Academy for Theatre, Radio, Film & TV, Ljubljana, Slovenia contact - arkuka@netscape.net matjaz.klopcic@guest.arnes.si Under the sad mountain presented by Ana Rahela Klopcic, student
Exhibit LE16
Exhibit LE17
Unicamp - Universidade Estadual de Campinas, Brazil contact - Marcio Tadeu helocardoso@ig.com.br Candomble Terreiros Group Project presented by Luciana Mizutani & Ricardo Harada, students University of Regina, Theatre Dept., Canada contact - Kathleen Irwin Kathleen.Irwin@uregina.ca The Dionysian Lear Group project presented by Blayne George and Leen Vorno, students
Exhibit LE18
Exhibit LE11
Estonian Academy of Art Dept. of Scenography, Estonia contact - Lilja Blumenfeld scenography@artun.ee King Lear in the Muuga Harbor presented by Mari-Liis Bassovskaya, MA student Desert in the Food Factory presented by Marge Martin and Riina Degtjarenko, MA students Espaco Cenograco de Sau Paulo, Brazil contact - Jose Serroni jcserroni@uol.com.br King Lear in Found Spaces presented by Ana Paulo Aquino and Silvia Piratininga Jatoba, Students
Exhibit LE19
University of California, Los Angeles, U.S.A. contact - Kristina Lenss kalenss@hotmail.com Lear for our Times presented by Kristina A. Lenss, MFA Costume Design student Academy of Fine Arts, Warsaw, Poland contact - Pawel Dobrzycki paweldobr@poczta.onet.pl Fate Group Project presented by the students
Exhibit LE12
Exhibit LE20
Exhibit LE21
Exhibit LE13
ENSAV : La Cambre, Brussels, Belgium contact - Catherine Cosme expeditions@surnateum. org King Lear on Location presented by Catherine Cosme, 3rd year student Fac. of Applied Arts, Scenography & Costume Dept., University of Arts, Belgrade, Serbia contact - Nina Vicentic bekica@eunet.yu Lear at the Kalemegdan Fortress presented by Tijana Bjelajac, Sonja Jovanovic 5th (nal) year students
Exhibit LE14
Graduate School Scenographic Dept., Dramatic Academy of Russia contact - Maxim Obrezkov goroshkov@yandex.ru Each country has its own Lear - Each country has its own people presented by Max Orbi The black and white world of Lear presented by Olga Zolotukhina University of Connecticut, U.S.A. contact - Olivera Gajic oliveragajic@yahoo.com King Lear in Corporate America presented by Olivera Gajic, MFA 3th year
Exhibit LE22
Exhibit LE15
Exhibit LE23
M. Litovchin Humanities Institute of TV and Radio Broadcasting, Russia contact- reginka@inbox.ru Conception presented by Regina Shemayeva, student (in French) Lear presented by Dina Romaneyeva, student
Academy of Fine Arts, Florence, Italy contact - Tasos Protopsaltis tasosprot@hotmail.com King Lear in 360 presented by Tasos Protopsaltis
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SCENOFEST! 2003
University of Haifa Theatre Design Program, Haifa University, Israel contact - Tali Tal Itzhaki itali@research.haifa.ac.il Walking the Green Line: King Lear and Jerusalem 2003 presented by students
Exhibit LE24
Nothingham Trent University, U.K. contact - Samantha Deane samson_2000@hotmail. com Lear for a Modern Society presented by Samantha Deane, BA Hons Theatre Design student
Exhibit LE32
Exhibit LE25
Royal Welsh College of Music and Drama, U.K. contact Sean Crowley CrowleyS@rwcmd.ac.uk The Gas Cooling Tower presented by Duncan Cormack and Sara Bean, students
VSMU. Dept. of Puppetry. Academy of Music and Dramatic Arts, Bratislava, Slovakia Contact - kukanova@vsmu.sk Lear presented by Petra Strelingerova, student Exhibit LE26 Lear Purdue University, West Lafayette, Indiana, U.S.A. presented by Zuzana Malcova, student contact - Richard K Thomas zounds@purdue.edu Exhibit LE34 King Lear at Ground Zero presented by David Swenson and Jesse Dreikosen Superior dArte Dramatic, Especialitat dEscenograa Institut del Teatre, Barcelona, Catalonia Exhibit LE27 contact - Ramon B Ivars ivarsar@diba.es Escuela Nacional de Arte Teatral, Mexico A Lear For Our Times contact - Gabriel Negrete gabneg@rocketmail.com Collective project presented by 2nd year students Lear in Four Games Costume, Set and Modeling Nomad Lear presented by Amanda Gutierrez The High Priest Lear Collective project presented by 2nd year students presented by Benjamin Barrios Costume, Set and Modeling The Dramatic Art and Design Academy, New Delhi, India contact - Nissar Allana nallana@rocketmail.com King Lear - Maharaja Yashwant Rao presented by Amal Allana
Exhibit LE33
Exhibit LE28 Exhibit LE35
Exhibit LE29
BA Hons Theatre Design Croydon College, Surrey, U.K. A Lear for our Times presented by Giuliana Vincenzi, student BA Faculty of Theatre, Dept. of Open Forms and Puppet Theatre Academy of the Performing Arts, Prague contact - Pavel Kalfus kalfusp@d.amu.cz Lear A Celtic Legend presented by 2nd year students
Hochschule fr Bildende Kunste, Dresden, Germany Hochschule fr Schauspielkunst Ernst Busch, Berlin, Germany contact Prof. Peter Kleinert, Berlin Prof. Henning Schaller, Dresden schaller@serv1.hfbkdresden.de A Lear For Our Times presented by students from both schools
Exhibit LE30
Exhibit LE31
National Academy of Arts, Soa, Bulgaria contact - Marina Raytchinova marinaray@yahoo.com King Lear in Varna presented by Manoela Andonova, student 3th year My Lear presented by Svetla Staneva, student 3th year
SCENOFEST! 2003
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Wimbledon School of Art, U.K. contact - hbaxter@wimbledon.ac.uk The Costumes of Lear presented by Ellan Parry, student
Exhibit LE36
Exhibit LE37
National Taipei University Dept. of Architecture, Taiwan Taipei University of the Arts: Dept. of Theatre Design, Taiwan contact - Samuel Hwang shwang@design.tnua.edu.tw The Cycle of Life presented by Chi-Chieh Huang The Nature of Love presented by Tien-Yu Tseng
Exhibit LE38
School of Techn. Arts, Design Methodology V (BFA3) Hong Kong Academy of Performing Arts contact - Donato Moreno dlm@hkapa.edu Lear in Hospital presented by Elsa LEUNG Chui Bik Lear in Gangland presented by Barry CHEUNG Lear in Outer Space presented by Violet WU Suet Yin
Daily King Lear Critiques

moderated by
Pamela Howard
and guest designers Nissar Allana (India) Chris Barreca (U.S.A.) Lilja Blumenfeld (Estonia) Xavier de Coster (Belgium) Pawel Dobryzci (Poland) Declan Donnellan (U.K.) Heiner Goebbels (Germany) Kazue Haetano (Japan) Dorita Hannah (New Zealand) Kathleen Irwin (Canada) Ramon Ivars (Barcelona) Danila Korogodsky (U.S.A./Russia) Jean-Guy Lecat (France) Nick Ormerod (U.K.) Marina Raytchinova (Bulgaria) Joaquim Roy (Spain) Jose Serroni (Brazil) Miodrag Tabacki (Serbia) Nic Ularu (Romania/U.S.A.)
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SCENOFEST! 2003
Trans-National Exhibit
The small but very special trans-national cooperation exhibition reects the many innovative projects started by young scenographers to break down national barriers and make new work together a hugely important action in these dark and difcult times. Drama knows no boundaries, and theatre travels without passports. We know there has been a great deal more wonderful work than is possible to show, and much of it has not been documented, but where young people have worked together, either through Erasmus, Tempus, Socrates, or similar schemes, or by encouraging NGOs to use art and drama as part of their cultural programs, there is no doubt that there is a new and visible group of scenographic pioneers. SCENOFEST! is proud to be able to show some of their work. SCENOFEST! 2003 Trans-National Exhibit 13
Exhibit TN 1 Bulgaria/Serbia/Japan
Title: Place and dates : Principal funders: Contact:
Via Sfera 2002 2003 Via Pontica
Via Pontica is the name of one of the main migration paths of birds, and also the name of an international symposium for plastic and performing arts which takes place in Yasna Poljana, one of the rst resting places after the birds long ight over the sea. Every September for the last six years artists from all over the world have met in Yasna Poljana to work with natural materials in open spaces. In 2002 seven young artists from Bulgaria, Japan and Serbia met there and formed an art group also named Via Pontica. They combine land art, photography, video, sculpture, painting, music, dance and theatre in happenings and performances in the open air, in the city and rural spaces, searching for a dialogue between the human and the invisible and for new ways of communicating with spectators. Via Obuvki (Via Shoes) is an experiment in walking, transforming the normal ways of moving by using unusually shaped and constructed shoes: high shoes with heavy stones inside, shoes with bells, shoes leaking sand, pipe shoes, wooden cross shoes, rolling shoes and mechanized clapping shoes. In 2002, these shoes walked along the streets of Belgrade, Soa and Copenhagen. Via Labyrinth includes labyrinths made in Yasna Poljana on the bottom of a dry lake (2001) and in elds in Trigrad (2002), and a horizontal sculpture of 600 trees in Deliblatska Pescara, Serbia for an open-air museum. Via lights (Trigrads canyon, 2002) is an installation which creates an impossible road by sewing up the ends of canyon and lighting stitches in the dark. The most recent work, Via Sfera, is a poetical act in which seven people walk inside transparent spheres from morning until dark, opening a space for contemplation in the minds of spectators and performers.
labarshur@yahoo.com
Exhibit TN 2
Title: Trans-National partners:
Canada/Estonia/U.K. Scenolink
Theatre Department, University of Regina, Saskatchewan, Canada Estonian Academy of Arts, Tallinn, Estonia Central School of Speech and Drama, London, U.K. Regina, Tallin, London, September 2002 - May 2003
Scenography, or the ordering of space to represent or convey the dramatic eld of performance, is a meta-lingual system of visual signs. The scenographer develops a subjective interpretation of the spatial and temporal co-ordinates of a play text within the real time and space of a specic venue of presentation. In this way, the performance is framed by the scenographers unique response to the dramatic content, by the local context of the performance and by the global context that inevitably impinges. The understanding and representation of space are embedded in culture, specically in local culture. In order to problematise and interrogate the local/global binary within a performance aesthetic, students from radically different locations developed scenographic treatments for each of three locally representational scripts: Brad Frasers Snake in Fridge (Canada), Jaan Tattes The Highway Crossing (Estonia) and Sarah Kanes Blasted (U.K.). Each group researched local concerns that resonate within their text as well as the local contexts that shape the other texts. Conventional research methods were supplemented with on-going Internet discussion among the three groups. Co-coordinators from each institute supervised the interaction of the groups, and the development of each project.
Place and dates:
Principal funders:
University of Regina Central School of Speech and Drama Estonian Academy of Fine Arts Kathleen.Irwin@uregina.ca
Contact:
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SCENOFEST! 2003
Exhibit TN 4
Title:
U.S.A./Wales
Woyzeck: Brain Matters and Mind Stuff European Live Art Network (ELAN) and Butler University, Indiana
Trans-National partners:
Place and dates:
Indianapolis, Indiana, May 13 25 2002
Principal funders:
Firenza Guidi: When I started my correspondence with Butler, we discussed the possibility of nding a performance site that would have a historical and cultural resoContact: Johntess@aol.com nance for the city. At the same time I started to research the brain and the mind, maps and urban planning, and the correspondences between them. I searched for a text that would provide a concrete starting point. Buchners Woyzeck presented itself as the perfect option: a structure-less text, unshaped, fragmentary and hallucinatory, like a deranged mind. Twenty-ve students and artists worked with ELAN for twelve days, culminating in three public performances. The model of work was repeated by ELAN in subsequent projects in Wales, Italy and India from July to November 2003. The collaboration between Butler University and ELAN continues, with a new project planned for spring 2004.
Butler University Central Indiana Community Foundation Wales Arts International
The Butler International Theatre Project is a summer workshop run by the Department of Theatre at Butler University, Indianapolis, devoted to exploring trans-national collaborations between students, professional artists and arts educators living in Indianapolis, and master artists and theatre companies from around the world. In May 2002, Butler invited the European Live Art Network (ELAN) to Indianapolis to create a site-specic work in the Catacombs beneath the City Market in the heart of the downtown area. ELAN is a performance training, research and production company created in 1989 by Firenza Guidi and David Murray. Based in Wales, its mission is to create performances that promote collaborations between artists from Wales, Europe and beyond, in the belief that the language of performance unies without abolishing cultural differences or erasing identity.
Exhibit TN 6a U.K./ Sudan/ Tanzania/ Zambia/ Kenya

Title:
Theatre and visual art are our common language. These projects aimed to open up the imagination of participants and audiences experiencing theatre for the rst time, a Trans-National partners: 1. Sudan: War Child Netherlands and theatre which takes place in the hidden corners of the GOAL Sudan ofce world an IDP camp in Sudan, a squatter town in Tanzania, 2. East Africa: British Council and an amphitheatre in Zambia. It draws on everyday life, telling Theatrum Botanicum stories from the market, with characters emerging from fables and stories and landscape. Scenography doesnt need a building: a circle of dust is the stage, with the lanPlace and dates: 1. Khartoum, Sudan and Dar Es Salaam guage of the market, eeting images, open co-operation, camp, Omdurman, and dreamlike themes, real, tragic and understood with Sudan, April - June 2002 laughter. 2. Tanzania, Zambia and Kenya, Septem- In Sudan, we worked for War Child, which runs psychober - November 1999 social creative arts programs for children in post-conict zones. Using palm leaves, foam and cloth, we created a pair of puppets to draw people to performances where chilPrincipal funders: 1: War Child Netherlands, GOAL Sudan; dren told stories and performed improvisations about their 2: the British Council hopes and dreams and lives. Women from local literacy groups used the puppets to spread health messages and to promote girls education. Contact: Miriam.Nabarro@ukonline.co.uk The Three Sisters of Africa was a participatory Theatre for Development Project on gender issues: a young girl learns the wisdom of the elephant and the value of education, her sister learns that small things can make a difference from the fable of the dung beetle, another sister learns from the buttery and dares to stand up against corruption. The crowd is close to fever as a mock election takes place and ballot boxes are piled in the dust of the stage.
Salaam Gaberone and The Three Sisters of Africa
Look, look over there! Whats that? Theres something big moving through the market Look, look it is moving its arms and calling us to follow Maybe he can take us home
SCENOFEST! 2003
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Exhibit TN 6b
Title:
Great Britain/ Scotland/ Iran
Songlines: theatre co-operations in Iran
United Creations Students from Teheran University, Iran Students from the National School of Arts and Film, Teheran, Iran Scenographers from the National School of Arts and Film Tatra Shah National Theatre, Teheran, Iran Fadjr Festival 2001, January 2001
In a light studio in Teheran in January 2001, a group of 30 students are gathered, chattering and laughing and drawing. They are working with international artists and in mixed-gender groups in the rst project of its kind since the Islamic Revolution. The energy is unstoppable. Groups are running about with pigment and charcoal, handfuls of coloured plastic, huge red ags. Tomorrow they will have the run of the Tatra Shah National Theatre, and the audience will be led onto the stage to sit on cushions and to enter into a new world where an Iranian Macbeth, a fragment of a Caspian Song line, the fable of Hossien Golli, the rich man who realizes the folly of his ways, will weave a tapestry of scenography and sound for the new generation.
Place and dates:
This project was a co-operation with Scottish artists from United Creations, directed by Roxana Pope. Challenging the text-based, director-led theatre which dominates in Contact: Miriam.Nabarro@ukonline.co.uk Iran, we worked in three studios: performance was led by Skye Reynolds, composition was led by electro-acoustic composer Pippa Murphy and composer Professor Nigel Osbourne, and scenography was led by Miriam Nabarro. These groups were then brought together to devise a spectacle with image and sound as its starting point. Despite ongoing reforms, the society is still codied, and text is only one language of expression. The smallest gesture becomes a political act and can provoke censorship. Some of these drawings are created by the talented scenographer Saeed Aghai.
Exhibit TN 7
Title:
The Netherlands/Sweden Magnetron Pirates
sa Kierkegaarrd (Sweden) and Joffrey van der Vliet (The Netherlands) ongoing
Place and dates: Principal funders: Contact:
sa Kierkegaard (b. Sweden 1976) and Joffrey van der Vliet (b. the Netherlands 1974) are students of theatre and lm design at the Gerrit Rietveld Academy in Amsterdam. Together they form a creative lm making unit. Both have a strong visual drive and are perfectionists: they decided to demand a certain level of quality to calm their restless minds. Always looking for people to help them get things done better they found a small group of people from around the world willing to help them. Asa and Joffrey create story boards, story lines, costumes, dolls, maquettes and lm-sets. They also direct, edit and work on light and sound.
funded by participants in the project jofbrain@hotmail.com

The people who have helped us a lot: Simon Eriksen, the sweet Danish Viking, is our sound engineer Remco Swart from the Netherlands draws story boards and is a swift cameraman Paloma Gonzalez from Chile is an occasional production manager and camerawoman Jessie the Diva from England sings soundtracks and is also a great performer Remy from Amsterdam the accordion player Ab from BEO who lends us his scale theatre as a lm set for the puppet scenes. Friends and fellow students from different countries are our actors. Stills, props, costumes and gures from the lms Othello (2003) and Threepenny Opera (2003).
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SCENOFEST! 2003
First International Exhibition of
Sound Design and Composition

19 Exhibits from 11 countries
The Prague Quadrennial and OISTAT EduComm presented the First International Exhibition of Sound Design and Composition at the 2003 SCENOFEST!. The exhibit contained a continuously running display of exciting sound scores and compositions from around the world, presented on DVD with digital audio accompanied by production photographs. The exhibition was organized and designed by Richard K. Thomas (U.S.A.); Kindari OConnor (U.S.A.) designed the DVD; Eileen Smitheimer designed the media system (U.S.A.); the sound system was provided through the generous support of d&b Audiotechnik (Germany) with special thanks to Simon Johnston, John Taylor and Werner 4 Bayer; the DVD design and production was donated by Elliot Hall of Music Productions, Purdue University in West Lafayette IN, with special thanks to Steve Hall, Bill Callison and David Swenson; Veronika Vorel assisted in the staging of the event.
Richard K. Thomas
SCENOFEST! 2003
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Eldad Lidor, Habima National Theatre, Israel

Stones In His Pocket, The Chairs, The Kiss of the Spider Woman, The View From the Bridge
William Liotta, Tulane University, United States of America

The Trojan Women
Roberto Domeniconi, Ohio Theatre, Switzerland

Campo di Anime
Christoph Baumann, ASEA-BROWNBOVERI Baden, Switzerland

Limmat Magic
Rick Malone, The Sheldon Vexler Theatre, United States of America Jethro Joachim, Dulaang U.P. Theatre, Philippines
The Diary of Anne Frank El Publico
Rikard Borggrd, Teater Giljotin, Sweden

San Clemente
Peter Schaerli, Suisse Image/Calypso Films, Switzerland

Grenzgaenge
Rupert Lally, United Kingdom

A Buried Life
Lau Wing Tao, Actors Family, Hong Kong

Under Construction
Yossi Mar-chaim, Teatron Rechnov, Israel

Avaz
Assen Avramov, Theatre Sfumato, Bulgaria

Quartet Somnium Ulixus
Ross Brown, Central School of Speech and Drama, United Kingdom

Mundane Moments
Hans Feigenwinter, Swiss Radio DRS2, Switzerland
Eric Zoran, Grad Theatre City Budva, Serbia

Karoline Neupert
Cosmos Hotel
Richard K Thomas, Purdue University Theatre, United States of America Dick Bagwell, Pasadena Shakespeare Co., United States of America
Henry V The Tempest
The Theatre Academy of Finland Presents:

Pendulum Sebastian and Florian Henckel-Donnersmarck, Wiedemann & Berg, Germany/Austria A sonic exhibition of a moving microphone listening to many speakers in a sinusoidal cyclical manner. Nikolaus Schap, Arlecchino, Der Templer, Gallery A sonic hallway where different sonic experiences present themselves at every step.
Gregg R Fisher, Central School of Speech and Drama, United Kingdom

Cosmonauts Last Message
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SCENOFEST! 2003
Sound Lectures & Presentations

Theater in the Dark
Presented by Gregg Fisher and Students of the London Central School of Speech and Drama, U.K.
Students from the London Central School of Speech and Drama presented an exploration of the power of sound to communicate when no visual stimulus is present.
Composer Vladmir Franz

Czech Republic
Leading Czech composer and painter Vladmir Franz presented a lecture on his art, philosophy and compositions.
The Self Contained Scenographic Actor

Yossi Marchaim, Israel.
Yossi Marchaim presented examples of his research including a 6-channel multi-media piece for the Israeli Pavilion in Venice, and the relationship between lighting, MIDI, and the self contained scenographic actor, a concept in which performers carry their own light and sound sources.
Surround Sound Design Workshop

Steven Brown, U.K.
Steven Brown presented a demonstration of his work and led a discussion about designing sound for theatre in the round. Steven also designed the sound system for the SCENOFEST! Mainstage.
King Lear in France

Jon Gotlieb, U.S.A.
Jon Gottlieb described the creation of the sound design for the Brewery production of King Lear in Los Angeles in 2002 and the challenges involved in moving the production to France for the 2003 Frictions Festival (Le Thtre National de Dijon, Bourgogne).
SCENOFEST! 2003
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Site Specic Sound Design

Jyrki Sandell, Theatre Academy, Finland.
Jyrki Sandell discussed the making of two special sound exhibits for SCENOFEST!: Penduli, a microphone mounted to a pendulum that undulated over 24 loudspeakers and Gallery, a dreamlike virtual space in a long corridor where sound emanted from many doors and openings.
Lear at Ground Zero

David Swenson and Jesse Dreikosen, U.S.A.
Purdue University graduate students presented their designs for a site-specic production of King Lear that re-examined American culture, values, and beliefs in the shadow of the World Trade Center disaster. Visit the King Lear at Ground Zero Website at: http://web.ics.purdue.edu/~zounds/KLAGZ/index.html
Theatre Academy of Finland Student Sound Presentations
Presented by: Juhani Liimatainen, and students from the Theatre Academy of Finland.
Sound and lighting students from the Theatre Academy of Finland presented their nal project work that culminated the second year of their graduate studies.
Design Technique talks in the Architecture Stage

19th Century Male Tailoring
Graham Cottenden, U.K.
Development of Scenic Spectacle

Frank Mohler, U.S.A.
Wrapping up Moliere in Paper

Edith del Campo, Chile.
Design for the Performer
Donatella Barbieri & Biddy Strowbridge, U.K.
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SCENOFEST! 2003
Lighting Design Presentations
13 Presentations from 6 countries Lectures Moving Light Workshops Student Moving Light Design Demonstrations
Lighting at the PQ03
As lighting is a key component of scenography, it was important that it should take an active and responsible part at the activities in SCENOFEST! and at the PQ as a whole. The activities included workshops, exhibitions, demonstrations and presentations. Markku Uimonen of the Finnish Theatre Academy, faculty of Light and Sound cooperated very closely and on a massive scale; they equipped a full theatre with a moving light rig that was used throughout the full PQ. The Netherlands supported enormously by providing a mobile 1 to 4 scale model theatre where workshops with students could be held, under the supervision of four Dutch lighting designers. Thanks to the initiatives of Michael Ramsaur, lighting played an important role in SCENOFEST! 2003.
Henk van der Geest
SCENOFEST! 2003
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Designing with Moving Lights - Movement,
Kimmo Karjunen,
Theater Academy Finland
Designing with Moving Lights - Color,
Henk van der Geest,

The Netherlands
Lighting & Sound Design for Water Spectaculars,
Sigwulf Turek,
Germany
Theatrical Architectural Lighting Design,
Cindy Limauro,
Carnegie Mellon University, U.S.A.
Designing Theme Parks and Themed Environments,
Norm Schwab,
Light Switch, U.S.A.
Lighting Design,
Wolfgang Goebbel,
Germany
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SCENOFEST! 2003
Michael Ramsaur, U.S.A. and students
Kees van de Lagemaat The Netherlands
Sigwulf Turek, Germany
Moving Lights
SCENOFEST! 2003
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Henk van der Geest
JanChris Duijvendak Niko van der Klugt
Kees van de Lagemaat
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SCENOFEST! 2003
1:4 Model Stage Lighting Design Workshops

Three 3 Day Workshops
Group 1: Henk van der Geest Group 2: JanChris Duijvendak, Niko van der Klugt Group 3: Kees van de Lagemaat
A unique chance to experiment with shape, space, color and light with the 1:4 Scale Theatre. As we see computers becoming popular, there is still value in working with the Scale Theatre, because it offers the possibility to see real light rather than a picture of the light. The palpability and reality of shapes and colors are aspects that have real value. The SCENOFEST! was a wonderful mixture of students from different countries and different cultures. In order to take advantage of this mixture and these differences in people, three groups were formed of students from different nationalities- as well as from different areas of the theatre discipline. Dramaturges, directors, set designers, costume designers, lighting designers, and sound designers, but also actors, dancers, singers, and technicians all contributed to the creative process. Three different workshops were offered, each with its own theme and supervised by a different Dutch lighting designer. The workshops were a three-day process, with the students working with the workshop coach at certain specic times, and aside from those hours the students worked within their group to realise the collective product. The process in each workshop was split into the following stages:
1. Establish the concept and spatial design (Day 1, followed by discussion) 2. Building the maquette and lighting plot (Day 2, followed by discussion) 3. Rehearsals and presentation (Day 3, presentation in the afternoon)
The 1:4 Scale Theatre Stage was 3m x 5.5m in size (12m x 22m in reality) and equipped with sufcient materials and equipment. There was enough lighting equipment for up to 48 xtures in the grid and another 40 xtures on the oor around the stage. There was also gauze, a white backdrop and possibilities for black box settings. Saturday-Monday, June 14-16
Henk van der Geest Theme: Autonomous light as concept

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

Monday-Wednesday, June 23-25
Kees van de Lagemaat and Niki van der Kluge Theme: The invisible of light, the 4th and 5th dimension
SCENOFEST! 2003
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Student Designs: Moving Light

Moving Light Design for King Lear
Andrew Ried & Storm Staley,
Stanford University, U.S.A.
Bryan Miller,
Carnegie Mellon University, U.S.A.
Andre Fischer, Martin Heyer, Raffael Pollak, Olsen Rhl, David Oresic
Bavarian Theater Academy, Germany
Allen Fung,
Hong Kong Performing Arts Academy, Hong Kong
William Iles, Matti Jukula, Sami Rautaneva

Theatre Academy of Finland, Finland Tufts University, U.S.A.
Aaron Held, Jessica Shaw, Paul Toben Lighting Design Booth
Carnegie Mellon University, Pennsylvania, U.S.A.
Exhibit of lighting designs and use of LED

(Light Emitting Diode) Lighting Fixtures
Contributing designers
Jennifer Alexander, Bryan Miller, C. Todd Brown, Brant Murray

Supervised by Cindy Limauro
Model Box - 1:20 Model Stage Lighting

by Charles Kirby, lighting designer
Charles Kirby invited any student with a stage model at the PQ, to bring the model to the Model Box. Mr. Kirby worked with the student to create a lighting design with the Model Box lighting system which included 40 ber optic lighting xtures that could be coloured and focused, and the designer could set lighting looks on the model with the use of the self contained control board.
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SCENOFEST! 2003
Puppet Days
Organized by Marina Raytchinova
10 presentations and performances from 5 countries

The Puppet days at SCENOFEST! offered a rich program of presentations, workshops, puppet theatre performances and visits to marionette artists studios. In many countries there are no professional educational programs in puppet theatre design, therefore the aim was to present to young designers and students the variety of artistic approaches and techniques employed by puppet theatre artists worldwide.
The program acquainted young people with Japanese Bunraku theatre, European marionettes, and papiermch puppets and masks, exploring both mastery in traditional puppet theatre techniques, as well as artistic freedom and imagination in the use of these techniques in contemporary puppet theatre.
SCENOFEST! 2003
Puppet Days
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Japanese King Lear
Noriyuki Sawa
Aoyama Theater, Japan
One-man show, that explores traditional Asian puppet theatre techniques and their modern interpretation. The perfomances were followed by discussions.
Bunraku Puppetry
Heideki Nakajima
Japan
Lecture about traditional techniques, costumes and make up
Wide Awake and Dreaming Royal Welsh College of Music & Drama, U.K.
Student performances, followed by post show discussions.
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Puppet Days
SCENOFEST! 2003
Workshop Paper Masks & Puppets
Vasil Rokomanov and students
National Academy of Art, Soa, Bulgaria Max and Moritz Academy of Theatre and Film Arts, Bulgaria
Maya Petrova and workshop students
SCENOFEST! 2003
Puppet Days
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Jonna Grimstoft: Puppet-maker
Gustaf Kull
Dalen Puppetry Center, Sweden
Puppet Theatre Networks and Festivals in Sweden.
The Marionette Workshop
Michaela Bartonova Mirek Trejtnar Antonin Muller
Visits to workshops of Czech puppet designers and makers, who discussed the technology of designing a traditional Czech wooden Czech Republic marionette and explain the process step by step.
Students exhibit at DAMU Academy of Performing Arts Prague, Czech Republic
Guided tour with Prof. Petr Matasek.
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Puppet Days
SCENOFEST! 2003
SCENOFEST! Lectures
Design Excellence
Jean-Guy Lecat
France The Open Circle Peter Brooks Theatre Environments
Miodrag Tabacki
Serbia & Montenegro The work of Miodrag Tabacki
Heiner Goebbels
Germany Sound and Scenography
Wolfgang Goebbel
Germany Lighting Design
Petr Matasek
DAMU, Czech Republic Puppet: Its Meaning, Form, and Sense on the Stage Central European Viewpoint
SCENOFEST! 2003
SCENOFEST! Lectures
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SCENOFEST! Lectures
Great Partnerships
Chris Barreca & Travis Preston
U.S.A.
Declan Donnellan & Nick Ormerod

United Kingdom
Herbert Kapplmller & Max Keller Switzerland & Austria
Christoph Marthaler & Anna Viebrock

Switzerland & Germany
The SCENOFEST! 2003 Keynote Presentation

Dr. Anna Riera
Institut del Teatre Barcelona
Antoni Clav: Theatre Designs 32 SCENOFEST! Lectures SCENOFEST! 2003
10 presentations and performances from 5 countries
At the beginning of the century the great theatre innovator Edward Gordon Craig advocated moving away from purely paper projects in teaching, to making scenographic works directly on stage. He thought the stage should be used as a canvas, and that performers could and should be the Scenographers themselves, so they could physically experience space and light. Now, many schools have developed this approach into design as performance and the daily program on the SCENOFEST! stage shows the diversity of approaches to scenography. This is not meant to be drama, but more an alternative to studio design work, recognizing the links between theatre, ne art and performance art that have developed over the past decades. This work, like the other exhibition reects strongly the interdisciplinary nature of theatre, and how signicantly the boundaries between different art forms seem increasingly incidental and articial. Daily performances of ingenuity, invention and innovation prove that there is still space to be original and new, especially when making work that has to speak for itself without all the security of theatrical hardware!
SCENOFEST! 2003
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Naked Circus
Central Saint Martins College of Art U.K.
A Birds Tale
Laban School U.K.
The Ulysses Project Ognen
Institute del Teatre, Barcelona, Spain
The Mahabarata Project
National Academy of Art Soa Bulgaria
Both Exist in Their Own Way
India
Lines, the Composition from Lear

Nihon University College of Art Japan
National Theatre School of Canada and Concordia University, Montreal, Canada
Glass Menagerie
Academy of Performing Arts
Prague, Czech Republic
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SCENOFEST! 2003
Comenius, Labyrinth of the World and Paradise of the Heart
Slavic & East European Studies, Baylor University/DAMU, Czech Republic and U.S.A.
Getting Out
100 Years of Solitude

Central Saint Martins College of Art and Design U.K.
The Spatial Collage

Russia
Via Sfera
National Academy of Art, Soa Via Pontica International Group Bulgaria
Siamoises Cabotines
Sangmyung University, Korea
Mayy
DAMU Czech Republic
Ecole Nationale Suprieure des Arts Visuels de la Cambre Belgium
n de vacio / hole end,

National School of Theatre Mexico
All Once
Alternative & Puppet Theatre Department, AMU Czech Republic
SCENOFEST! 2003
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Scenes from Lear
Hochschule fr Bildende Knste Dresden, and Hochschule fr Schauspielkunst Ernst Busch Berlin, Germany
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SCENOFEST! 2003

On 24 June, Midsummers Day, Joan Guillen of Els Comediants in Barcelona led an extraordinary all-day workshop culminating in an open air performance event. Un Somni de Nit Sant Joan - a Fiesta of Fire for St. John the Baptist Day. Participants made masks and costumes, then joined the street celebration with reworks, music and food outside Vystaviste.
All attending the Quadrennial were welcome to attend any of these events including the closing ceremony. In addittion to advertisements in OISTAT Publications, SCENOFEST! was promoted primarily through OISTAT Centres and directly to schools. Promotion directly to schools was most successful because of the EduComms many contacts with teachers and schools worldwide.
SCENOFEST! 2003
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SCENOFEST! 2003
BIOGRAPHIES OF SOME OF THE SCENOFEST! PRESENTERS Ross Brown

sound designer, U.K. He has worked professionally as a composer, musician, sound designer and technician for theatre and lecturers in theatre sound design and music for performance at the Central School of Speech and Drama in London. Other work includes site-specic multi-media devised performances and BBC radio dramas and numerous theatre scores. His theatre sound design work ranges from innovative large-scale productions to small-scale work on the Edinburgh fringe and at off-West End theatres. Sound and operating and technical work includes numerous large-scale musicals, West End productions and national tours. in Stratford upon Avon. He has won several awards in Paris, London, New York and Moscow including the Olivier Award for Outstanding Achievement in 1991. He has written The Actor and the Target. composing an opera Povetron to the K. Capeks novel.
Chris van Goethem

technician, Belgium He started in 1983 as a technician and founded the non-prot company TEAD that specialises in training, stage management, production and consulting. His elds of experience include lighting, production and special effects. In 1999 he founded the technical theatre program at the RITS School in Brussels, where he currently teaches, and he is also the Coordinator of the vocational training for technical theatre for VDAB.
JanChris Duijvendak
lighting designer, The Netherlands He toured with the Haarlem Toneel of the Netherlands, was chief techniques in Theater De Lieve Vrouw in Amersfoort and is now Lighting designer for Television and Theatre and teaches at the Amsterdam School of Arts, Theatre Techniques. As partner in the Lighting designers collective LD design he is responsible for commercial and public broadcasting companies including work on comedys and talk shows. His style in lighting design in TV is said to be theatrical. Because of his wide background and experience he is able to cooperate with many disciplines like directors, scenographers, actors, sound and camera. Often this leads to a setting that is developed by the director, scenographer and him, with of course light as an inspiring center. Productions in which that clearly show are Gala van Het Nederlandse Lied (KRO en Radio2), The KRO Kerst-Concerten, the Radio2-Concerten, Memories (KRO), and Helden (KRO), 50years TV and 75years KRO.
Stephen Brown
sound designer, U.K. He is the Head of Sound at Royal Exchange Theatre Manchester with additional extensive credits in theatre sound design for the Royal Shakespeare Company, and West End productions. He has extensive engineering and operating credits including the Royal National Theatre. He was the sound consultant for the major refurbishment of the Royal Exchange Theatre.
Wolfgang Goebbel
lighting designer, Germany His designs have been seen in international opera houses and theatres. He has lit shows at the Schaubhne in Berlin, Burgtheater Vienna, Playhouse Zrich, Gorki Theater, Royal Shakespeare Company, Thtre de la Ville Paris, Thtre du Chaillot Paris, Salzburger Festspiele, het Toneelhuis Antwerpen, Deutsche Oper in Berlin, Komische Oper Berlin, Wiener Staatsoper, English National Opera, Royal Opera Covent Garden, Scottish Opera, Welsh National Opera, Grand Thtre de Genve, Grand Teatro del Liceo Barcelona, Metropolitan Opera New York, National Theatre Tokyo, Teatro alla Scala Milano
Declan Donnellan
director, U.K. With designer Nick Ormerod, he formed Cheek By Jowl in 1981. Freelance work includes Macbeth and Philoctetes at the Finnish National Theatre in Helsinki, Romeo and Juliet for the English Shakespeare Co. and The School For Scandal for the Royal Shakespeare Company. Maly Dramatic Theatre of St Petersburg and Boris Godunov by Pushkin for the Russian Theatre Confederation which opened at the Moscow Art Theatre. Opera Credits include Falstaff at the Salzburg Festival. As Associate Director of the Royal National Theatre. He is the rst Director of the Royal Shakespeare Company Academy
Vladmir Franz
sound designer, composer, painter, Czech Republic The winner of the prestigious Alfred Radok Prize (also known as the World and Theatre Magazine Prize) he has had almost eighty exhibitions and art competitions both home and abroad. He has composed music for more than ninety theatre performances, including performances for the Pragues National Theatre, the City Theatre of Zlin, and the Master and Margaritte Festival in Prague castle. He has also composed music for Czech movies, operas, and radio plays. At the moment he is
Heiner Goebbels
sound designer, scenographer, Germany In the middle of the 80s he began composing and directing audio plays of his own. For many of these he was awarded: e.g. with the Hoerspielpreis der Kriegsblinden, the Prix Italia (85, 92, 95) and the Karl Sczuka Preis (84, 90, 92). In 1993 he was awarded the Hessischer Kulturpreis. Invitations to nearly all major theatre, new mu-
SCENOFEST! 2003 Biographies SCENOFEST! Presenters
39
sic, jazz and performing arts festivals and tours with all his ensembles, the productions for stage and the portrait concerts of the Ensemble Modern got him to more than 30 countries in the last 15 years. He is a member of the Akademie der darstellenden Kuenste in Frankfurt and the Akademie der Kuenste in Berlin, professor at the Institute for Applied Theatre Studies Justus Liebig University in Giessen. In 2001 he was awarded with the European Theater Prize - New Theatrical Realities and was awarded a Grammy Nomination. Awarded with the Herald Angel Award of the Edinburgh International Festival for Hashirigaki. His rst book is Komposition als Inszenierung.
Kimmo Karjunen
lighting designer, Finland He is lecturer in lighting design at the Dept. of Lighting and Sound Design at the Theatre Academy of Finland. His current projects include the technical design for the renovation of the Theatre Museum in Helsinki and a contemporary dance performance in Helsinki City Theatre. After his graduation, MA in Lighting Design 1991, he has been designing set and lighting for contemporary dance and architectural lighting design and lighting for museums in Finland.
Jean-Guy Lecat
Chevalier des Arts et des Letters, France Served as Technical director and space designer for Peter Brook. For the last 25 years he was in charge of the Thtre des Bouffes du Nord, as well as Peter Brooks tours. Charged particularly with research and the transformation or creation of about 200 spaces, throughout the world. Current Projects include the construction of the Theatro Almada in Lisbon, project for New Transformable Theatre in Stratford upon Avon for the Royal Shakespeare Company, and the future transformation of Adolphe Appias Festpielhaus in Hellerau.
Jonna Grimstoft
puppet-designer, puppet-builder, puppeteer and scenographer, Sweden She (with others) started the WOODSHED-THEATRE in 1969 and the RAJA-THEATRE in 1981. Puppet-designer and -builder for the Swedish State television, exhibitions in Hxmuseet at Sandsln, dalen, in Kramfors Arthall, and with artistic theatre-masks in Gteborg.
Herbert Kappmuller
Professor and Chairman of the Institute of Stage Design Mozarteum, Austria Has designed extensively in Europe including for the Wiener Staatsoper, Salzburger Landesteater, Badisches Staatsteater Karlsruhe, Wuppertaler Buehnen, Bhnen Stadt Kln and the Staatsopern Berlin.
Christoph Marthaler
director, Switzerland Currently Artistic Director of the Zurich Schauspielhaus, but has directed extensively in German Theatres and opera houses, notably Stunde Null, and Murcx de European. Known as the enfant terrible of the contemporary theatre his productions show ensemble playing with a totally fresh eye.
Max Keller
lighting designer, Germany
Pamela Howard
scenographer, U.K.
He has worked in lighting since 1964, and is currently the Head of Her 40-year career has the Lighting Department and Resident Lighting Designer at the Munich established her at the forefront of her eld. She is the founder of Kammerspiel. He has also designed the European Scenography Centres productions in Berlin, Munich, Vienna, and MA Scenography Course at Central Amsterdam, Brussels, Milan, Turin, Paris, Genf, Frankfurt, Hamburg, SalzSt Martins College. She is author of WHAT IS SCENOGRAPHY? She served burg, Bregenz, and Cologne, and New York. He is the author of two books, as curator of the recent Ralph Koltai Retrospective international tour, her Bhnenbeleuchtung (Stage Lighting) work as a director of Opera Transatlan- and Light Fantastic: The Art and Design tica (London, Caracas) identies her as of Stage Lighting. He is the recipient of one of the few internationally renowned the prestigious Munich Theater Prize Scenographers who practice as primary and the USITT Distinguished Lighting creators. Designer Award.
Joseph (Yossi) Marchaim

sound designer, Israel Pryminister Prize, 1991. Israeli Oscar for Film Scores, 1979, 1985. Numerous commissions, including for Musica Nova and Israeli Symphony Orchestra. Teaching positions: Tel Aviv University Film Department (Sound for Film, Camera Obscura (Sound In Virtual Media); Head School of Jazz (History of Jazz and Pop Music). Composer of numerous environmental pieces, many of them connected with lighting, computers, sea and wind sounds. Worked on a 6-channel multimedia piece for the Israeli Pavilion in Venice for the International Biennale of Architecture (Fall 2002).
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Biographies SCENOFEST! Presenters SCENOFEST! 2003
Petr Matsek
Associate professor at Academy of Performing Arts, Prague, Czech Republic He has been the creator of about 120 scenographies in drama, opera and puppet theatres in Czech Republic and abroad. He was for many years a scenographer, chief designer, and member of Theatre, HRADEC KRLOV and also taught at the Figurative Theatre Akademi OSLO. He has been the guest of many International Festivals and Theatres in Australia, Austria, Belgium, Bulgaria, Canada, Denmark, England, Germany, France, Italy, Poland, Japan, U.S.A., and Yugoslavia. He had given workshops and special courses in many countries including Australia, Denmark, England, France, Iceland, Norway, Japan, Tasmania, U.S.A., Austria, and Finland. His designs have been exhibited in Czech Republic at the Prague Quadrennial many times and in 1999 Golden Triga award, solo exhibitions in Karvin, Ostrava, Novy Jicn, Jicn, Hradec Krlov, Chrudim, Pardubice, and Jihlava, The National Gallery of Modern Arts, as well as the Czech Puppet at Prague Castle Exhibition. He also received the Alfred Radok award for best scenography in 2001.
Maya Petrova
puppet designer and professor, Bulgaria Studied at the Puppet Design department of AMU, Prague, with Prof. Krofta, and graduated in 1975. Specialized with Site des ARTS - Paris, and with Institut UNIMA in Charleville - Mezires in France. Professor Maya Petrova is founder and Head of the Puppet Design Program at the National Academy for Theatre and Film Arts, Soa. Her artwork has been exhibited at PQ99, 95, 91, 87, 85, as well as at more than 30 scenographic forums in Bulgaria and abroad. She has worked and taught in France, Spain, Morocco, Canada, Afghanistan, Japan, Belgium, Luxemburg, Croatia, Zimbabwe, and Tunis. She served as curator of the Bulgarian National exhibits at PQ91 and 95, and chair of the Bulgarian centre of OISTAT for the period 1985 - 1995. Since 1975 until present she has designed more
Was born in Barcelona in 1944. Bachelor of Arts for the University of Barcelona she received her doctorate degree from this University in 1996 with a study on Antoni Clav as scenographer. The book Antoni Clav i el teatre and the Michael Ramsaur video that goes with it, will be prelighting designer and sented at SCENOFEST! at PQ03 and professor, U.S.A. is the product of this intense research. Since1983 Anna Riera is lecturer at the Lighting Designer for many theater companies in the San Francisco Institut del Teatre in Barcelona. During Bay Area of California. Examples of his ten years she has also worked at the designs have been displayed at two research department of the Institut del United States Institute of Theater Tech- Teatre, nishing an interesting study on nology Design Expositions, a theater the work of Sigfrid Burmann. design exhibit at the Trinton Museum San Jose, and at theatrical design exhibitions in Prague and Shanghai. He has been awarded Outstanding Lighting Vasil Rokomanov Design awards from the San Francisco puppet designer, Bay Area Critics Association, Dean Bulgaria Goodman Award, Drama Logue Award, and an Artistic Fellowship by Santa Graduated with MFA and Clara County. His articles on lightPhD from the Department Scenography at the National Academy of Arts, Soa. ing techniques have been published Since 1980 has designed more than in three countries and he has created 70 productions for various drama and a computerized software program to puppet theatre companies in Bulgaria, aid lighting designers. He is a ProfesCroatia, Slovenia, Czech Republic, sor of Lighting design at Stanford he also teaches regularly at the BavarMexico and Belgium. His design work has been exhibited in international ian Theater Academy Munich, and at exhibits in Europe and Japan as well as the University of Arts Belgrade in the Interdisciplinary MA Program in Theater. in PQ on many occasions. His design credits include more than 35 posters for He serves as Chairman of the Education Commission of the International drama and puppet shows, illustrations Organization of OISTAT. for books and magazines, arrangements of exhibitions in Bulgaria and abroad. Vasil Rokomanov teaches course Puppet Design and Technology at DepartMarina ment Scenography at the National Academy of Art. Currently he serves as Raytchinova a resident designer at the State Puppet scenographer, Bulgaria Theatre in Burgos. Member of OISTAT She is Professor at and UNIMA. He has written Deus ex Department Scenography machina. Introduction to the problem in the National Academy of Art, Sophia, - Homo Ludens review, issue 2/2001, and resident designer at the TBA Thea- Soa, Bulgaria, and - Euripides as a scenographer - Problems of the Art tre Soa, set and costume designer review, issue 2/2001, Soa, Bulgaria. with theater credits in Bulgaria, Macedonia, Russia, Switzerland, France, and U.S.A.. Her costume and scenic design has been featured in exhibitions in Austria, Germany and at PQ in 1987, Noriyuki (Nori) Sawa 1995, 1999. performer and puppet master, Japan Performed and taught in more than 20 countries: Czech Republic, Slovakia, Germany, France, The Netherlands, Finland, Italy, Greece, Hungary, Rus-
than 100 shows for puppet theatres in Bulgaria and abroad, as well as for the Bulgarian and the Czech State Televisions. She is a member of the governing board of the Bulgarian Center of OISTAT, UNIMA, AJAP, ITI.
Dr. Anna Riera,

Catalonia, Spain
SCENOFEST! 2003 Biographies SCENOFEST! Presenters
41
sia, Japan, New Zealand and U.S.A.. 1999, Prize Franz Kafka Medal for the performance Forest and his global artistic activities. 2000-2001, produced and co-directed the international project A Plague O Both Your Houses ! Romeo and Juliet with Theatre Drak and The Japan Foundation, the production prized the Grand-Prix in The International Puppetry Festival in Pecs, Hungary and invited into The International Shakespeare Festival in Bath, U.K. 2002, directed The Japanese Fairytales for the childrens theatre of Prague 7, TY-JA-TR and received Grand-Prix in Prague competition.
lm studio in Prague. In 1996, he was awarded the prestigious Bayerischen design award at the Munich International Crafts Fair. Miroslav has taught puppet-making and scene design for the Prague Academy of Performing Arts, St. Martins College of Design in London, New York University in Prague, Chapito Circus Academy in Lisbon, Portugal, and in Macao and Hong Kong.
Kees van de Lagemaat

lighting designer, The Netherlands Has been working in the theater since 1972 and in 1981 he realized his rst professional lighting design, and is now a partner in the independent lighting designer rm called Eyelight Studios in Haarlem. He has designed for Ide van Heijningenk, Onafhankelijk Toneel, Toneelschuur. Discordia, ToneelschuurProductions, Art en Pro, Baal, F-act and Toneelgroep Centrum. He lit the opera The Man in the Raincoat by Bob Wilson, performed at the Music Theater in Amsterdam. It was recorded for TV and broadcasted by the NOS. In Kourou, French Guinea, he made for Estec the lighting plot for the interior of Muse dEspace. The Mondriaan Foundation asked him to make the lighting design for the Association of Deventer Hospitals, and it was in the Willem de Zwijger Church in Amsterdam where he has Frozen a moment of Light for the Art Fund Amsterdam. In the Nova College in Haarlem he created Window on the Future, a large spiritual lighting object. In 1993 he received de Prijs van de Kritiek for Othello by Toneelgroep Amsterdam and for All for Love by Blauwe Maandag Company. In 1995 Eyelight Studios received an Oscar in Paris for the presentation design for Forbo Kromenie. In 1996 he was honored with the European Prize for the best museum presentation.
Markku Unimonen
lighting designer, Finland
His design work is broad including Shadow of Light a Spatial installation, Retretti Art Center; Human Voices at the Savonlinna Opera; Miodrag Tabacki Marat/Sade at the ITI Baltic Theatre scenographer, Festival in Estonia; The Love Letters at Serbia & Montenegro the Actors Rep Theatre Hong Kong; He is an artist and stage Aleksis Kivi for Opera du Rhin, France designer, and also teaches set and cos- and Opera di Cosenza, Italy; Lighttume design at the Faculty of Dramatic ing design for the Swedish Theatre of Helsinki; Light Wave, an installation Arts in Belgrade. He has had fteen one-man exhibitions of his designs and at Finlandia House; Architectural and environmental lighting designs for the participated in over fty group exhibitions. Since 1973 he has produced over Helsinki Festivals; and EXPO2000 Extwo hundred set designs and over one hibition lighting design for the Pavilion hundred costume designs for theaof Finland at the Hanover World Fair. tre, ballet, opera and puppet theatre productions, for repertory theatres, independent companies and festivals.
Niko van der Klugt
lighting designer, The Netherlands
Miroslav Trejtnar
A lighting designer/director and technical co-ordinator, born and raised in Amsterdam, The Netherlands. Since 1986 he started to specialise in light-design. Graduated with high honors from the puppet design department of the He did the lighting designs for companies and choreographers like RAZ/Hans Prague Academy of Performing Arts. Tuerlings, Lisa Marcus, Brenda Daniels, He has trained with Institut UNIMA in Charleville - Mezires in France and the Krisztina de Chatel, Itzik Galili, Ballet De Bread and Puppet Theatre Company Genve (s) Ballet Gulbankian (p) Budain U.S.A.. In 1989 he started the KID pest Dance Company (h) Bruno Listopad, Atterballetto (I) and many others. Company, designing and producing wooden puppets, toys and sculpture. He specializes in dance but has also lit Recently, Miroslavs puppets and sculp- plays, musicals, cabaret, one-woman tures were exhibited at the UNIMA 2000 shows, exhibitions and warehouses. World Festival of Puppet Theatre in Worked on many different (location) Magdeburg, Germany. His artwork has projects as a set/lighting designer or technical co-ordinator. In November been exhibited in the Czech Republic, Slovakia, Germany, Belgium, Denmark, 1999 he joined Lighting Designers in the U.S.A., Japan, Hong Kong and the Light Factory, Design & Production Buro, Haarlem. He is the Technical diMacao. He has designed puppets for rector for Springdance/Festival, Utrecht numerous productions in the Czech Republic and internationally, including and is teaching light and design at the The Baroque Opera by the ForRotterdam Dance Academy. man Brothers. He has also produced puppets for the Jiri Trnka animated puppet master, Czech Republic
Anna Viebrok
scenographer, Germany The long time collaborator of Christoph Marthaler, who has created all his productions with him. Many books have been written about her work, showing how she has developed the use of the ambiguous space. As accomplished photographer she is famous for the detailed research she does for each project.
42
Biographies SCENOFEST! Presenters SCENOFEST! 2003
Australia
Monash University Sydney University, Department of Performance Studies University of New South Wales Victorian College of the Arts Western Australian Academy of Performing Arts
Canada
Collge Lionel-Groulx Concordia University Douglas College Langara College, Vancouver National Theater School of Canada Red Deer College Senica College St. Therese Option Theatre University of Alberta University of British Columbia University of Regina University of Victoria York University
Estonia
Estonian Academy of Arts University of Tartu
Finland
Institute of Art and Design EVTEK-Muotoiluinstituutti Kainuu Vocational Institute The Theatre Academy of Finland University of Industrial Arts Helsinki University of Art and Design Helsinki
Austria
University of Vienna
Belgium
Ecole de Scnographie Saint-Luc Bruxelles Universidad de Chile La Cambre RITS Belgium
Chile
Georgia
Georgia State University of Theatre and Film
Croatia Brazil
Academy of Dramatic Arts
Germany
Bayerische Theaterakademie Hochschule fr Schauspielkunst Ernst Busch, Berlin Hochschule fr Bildende Knste, Dresden Kunsthochschule Berlin Weissensee
Bulgaria
Ateli de Criao Teatral Espao Cenograco/UNIRIO I Centro Universitario Czech Republic FEA-FUMEC UNICAMP - Universidade Charles University, Prague Estadual de Campinas DAMU Janaceks Akademy of Music Arts The City of Prague of language school
Academy of Music and Dance, Plovdiv Denmark National Academy for Theatre and Film Arts Danish National Theatre School National Academy of Art
Ghana
Computer Assisted Journalism Training School
Egypt
The American University in Cairo
Hong Kong
The Hong Kong Academy for Performing Arts
SCENOFEST! 2003
Participating Schools
43
Hungary
University of Veszprem
Korea
Philippines
University of the Philippines
Hong Ik University Seoul Art Institute Dankook University Ehwa Womans University India Kaywon School of Art & Design Korean National University of Arts The Dramatic Art & Little School of Anyangnam Design Academy Sangmyung University The Academy of Korean Scenography The culture & arts training centre Israel Seoul Art Institute Young In University Bezalel Academy of Art & Design, Jerusalem Ironi Alef Tel-Aviv theatre dep. +wizo Haifa architecture dep. Latvia University of Haifa Tel Aviv University Latvian Academy of Arts
Russia
GITIS Humanities Institute of TV and Radio Moscow Art Theatre School Dramatic Academy of Russia Russian Academy of Theatre Art Russian State University of Humanitas VGIK
Serbia and Montenegro

Academy of Fine Arts Faculty of Drama Arts University of Arts Faculty of Philosophy Belgrade University of Belgrade
Italy
Macedonia
Academia dello Spettacolo / Faculty of Drama Arts - Skopje 1 Liceo Artistico Academy of Fine Arts of Florence Politecnico di Milano Mexico Universit di Roma La Sapienza National School of Theater
Slovakia
Academy of Music and Dramatic Arts
Japan
National Childrens Castle of Slovenia Japan Toi Whakaari Nihon University College of Art New Zealand National AGRFT Tamagawa University Drama School
New Zealand
Peru
Universidad Catolica Universidad Ricardo Palma
South Africa
Cape Technikon University of Cape Town University of Stellenbosch
Poland
Academy of Fine Arts
Spain
Institut del Teatre de Barcelona
44
SCENOFEST! 2003
Sweden
Dramatiska Institutet Hllefors Folkhgskola
U.K.
U.S.A. continued
S.M.U. Meadows School of the Arts San Antonio College Stanford University SUNY Tandem Friends School Texas Tech University Towson University Tufts University UCLA University of California Irvine University of Connecticut University of Evansville University of Georgia University of Hartford University of Kansas University of MassachusettsAmherst University of Minnesota University Of Missouri in Kansas City University of North Carolina at Chapel Hill University of North Carolina at Greensboro University of Oregon University of South Carolina University of Southern California University of Tennessee University of Texas at Austin University of the Incarnate Word University of Toledo University or Michigan University of South Carolina Washington & Lee University Western Carolina University
Alton College Arts Institute at Bournemouth Bretton Hall University of Leeds Central Saint Martins College of Art and Design Switzerland Central School of Speech and Drama International School of Geneva Croydon College Edinburgh College of Art Exeter University Middlesex University Taiwan Nottingham Trent University Queen Mary, University of London Taipei University of Arts Royal Academy of Dramatic Art Taipei National University of Royal Welsh College of the Arts Music and Drama National Taipei University The London College of Fashion Kung-Shan University of The Slade School of Fine Art Technology University College London Trinity College of Music University of Central England in Birmingham The Netherlands University of East London University of Leeds Academie Beeldende Kunsten University of Limerick Maastricht Vocaline Company Hamburg Academie Minerva Wimbledon School of Art Faculteit der Kunsten Hogeschool voor de Kunsten Utrecht Hogeschool Zuyd U.S.A. Minerva Groningen PVA Department Alcorn State Rietveld Academie Appalachian State University Theater School Amsterdam Baylor University Theater School Hogeschool Bucknell University v/d Kunsten Butler University Utrecht Theater Design Academy California Institute of the Arts California State University Fullerton California State University Turkey Long Beach Carnegie Mellon University Mimar Sinan University Columbia University National Academy of Fine Arts Jefferson College Loyola Marymount University Macalester College Miami University Muhlenberg College New York University North Carolina School of the Arts Ohio University Pace Academy Purdue University Rice University
Uzbekistan
Academy of Art, Uzbekistan
SCENOFEST! 2003
45
The Mission of OISTAT

To stimulate the exchange of ideas and innovations, and to promote international collaboration in professions which support live performance; To promote the formation of OISTAT centres in each country in order to achieve these aims; To encourage life-long learning among live performance practitioners; To respect the integrity of all cultures and celebrate the diversity as well as the similarities of those who work in support of live performance. To this end OISTAT has Centres in 32 countries around the world with combined membership of over 12,000 members and six active Commissions.
OISTAT Leadership
Maija Pekkanen, President Louis Janssen, Vice-President
(The Netherlands) (Finland)
SungChul Kim, Vice-President
(Republic of Korea) (United States of America)
Leon I. Brauner, Secretary Martin Godfrey, Treasurer

(United Kingdom) (Canada)
Peter McKinnon, Executive Committee Simona Rybkov, Executive Committee Karin Winkelsesser, Executive Committee Jan Kramer, Chair of the Architecture Commission Michael Ramsaur, Chair of the Education Commission Bob Logger, Chair of the History and Theory Commission Jerme Maeckelbergh, Interim Chair of the Publication and Communication Commission In-Suk SUH, Chair of the Scenography Commission John B. Mayberry, Chair of the Technology Commission
(Canada) (Korea) (Belgium) (The Netherlands) (U.S.A.) (The Netherlands) (Germany) (Czech Republic)
for information see
www.oistat.org
SCENOFEST! 2003
46
EduComm at a SCENOFEST! 2003 evaluation meeting in the Institut del Teatre, Barcelona, December 2003
SCENOFEST! is a project of the OISTAT Education Commission

Michael Ramsaur, Chairman Frits van den Haspel, Vice Chair Pamela Howard, Vice Chair Bruno Grosel Chris van Goethem Jerme Maeckelbergh Marina Raytchinova Kathleen Irwin Tomas Zizka Peter Matasek Lilja Blumenfeld Teija Huikka Eeva Ijas Markku Uimonen Martemaria Scheunemann Rosie Lam Arpad Kekesi Kun InJun Kim Dorita Hannah Sjef Tilly Emilio Martin Infante Rasha Dinulovich Irena Sentevska Gustaf Kull Maths Nystrom Marco Haeiger Michael Chien Mark B. Jung Marianne Custer Sabrina Hamilton Sean Crowley
(U.S.A.) (The Netherlands) (United Kingdom) (Austria) (Belgium) (Belgium) (Bulgaria) (Canada) (Czech Republic) (Czech Republic) (Estonia) (Finland) (Finland) (Finland) (Germany) (Hong Kong) (Hungary) (Korea) (New Zealand) (The Netherlands) (Philippines) (Serbia) (Serbia) (Sweden) (Sweden) (Switzerland) (Taiwan) (Taiwan) (U.S.A.) (U.S.A.) (United Kingdom)
The SCENOFEST! Working Group brainstorming for SCENOFEST! 2007 at a meeting in Istanbul, November 2004
SCENOFEST! 2003
47
SCENOFEST! thanks our sponsors:

SCENOFEST! Partners:
OISTAT PQ Czech Republic
Benefactors:
Gerriets, Germany
ARRI, Germany ETC, Electronic Theatre Controls
Linfair Engeneering and Trading Ltd. Taiwan
Sponsors:
Rosco, USA
SIStage, Korea
Compulite, Israel
GAM, USA
Strand, USA
Educational Partners:
Amsterdamse Hogeschool voor de Kunsten, the Netherlands
Carnegie Mellon University, USA
Institut del Teatre, Catalonia, Spain
Purdue University, USA
Erasmushogeschool, RITS, Belgium
Stanford University, USA
Theatre Academy of Finland
Cultural Partners:
British Council, UK CoPEC, Catalonia, Spain Goethe Institute, Germany Pro Helvetia, Switzerland
Equipment Sponsors:
BEO, the Netherlands
D&B Sound, UK
Flashlight, the Netherlands
National Theatre, UK Neumann 1 Mller, Germany
Royal Exchange Theatre, UK
48
SCENOFEST! 2003
www.oistat.org

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copyright 2005 OISTAT

Selling price, in the whole world:

90-78218-01-0 SCENOFEST! Sponsors and Partners

SCENOFEST! organizer: OISTAT Education Commission (EduComm) Organization Structure

EduComm SCENOFEST! Team

Additional Assistance to SCENOFEST!

Michael Ramsaur, Chair EduComm

The EduComm SCENOFEST! 2003

Lighting and Sound Design

Un Somni de Nit Sant Joan

A LEAR FOR OUR TIMES

A Lear for Our Times

A Lear for Our Times

Exhibit and Critiques

A Lear for Our Times

A Lear for Our Times

A Lear for Our Times

Exhibit LE28 Exhibit LE35

A Lear for Our Times

Daily King Lear Critiques

A Lear for Our Times

Via Sfera 2002 2003 Via Pontica

Place and dates:

Place and dates:

Indianapolis, Indiana, May 13 25 2002

Butler University Central Indiana Community Foundation Wales Arts International

Exhibit TN 6a U.K./ Sudan/ Tanzania/ Zambia/ Kenya

Salaam Gaberone and The Three Sisters of Africa

Great Britain/ Scotland/ Iran

Songlines: theatre co-operations in Iran

Place and dates:

The Netherlands/Sweden Magnetron Pirates

Place and dates: Principal funders: Contact:

funded by participants in the project jofbrain@hotmail.com

First International Exhibition of

Sound Design and Composition

Sound Design and Composition

Eldad Lidor, Habima National Theatre, Israel

William Liotta, Tulane University, United States of America

Roberto Domeniconi, Ohio Theatre, Switzerland

Christoph Baumann, ASEA-BROWNBOVERI Baden, Switzerland

Rikard Borggrd, Teater Giljotin, Sweden

Peter Schaerli, Suisse Image/Calypso Films, Switzerland

Rupert Lally, United Kingdom

Lau Wing Tao, Actors Family, Hong Kong

Yossi Mar-chaim, Teatron Rechnov, Israel

Assen Avramov, Theatre Sfumato, Bulgaria

Ross Brown, Central School of Speech and Drama, United Kingdom

Hans Feigenwinter, Swiss Radio DRS2, Switzerland

Eric Zoran, Grad Theatre City Budva, Serbia

The Theatre Academy of Finland Presents:

Gregg R Fisher, Central School of Speech and Drama, United Kingdom

Sound Design and Composition

Sound Lectures & Presentations

Composer Vladmir Franz

The Self Contained Scenographic Actor

Surround Sound Design Workshop

King Lear in France

Sound Design and Composition

Site Specic Sound Design

Lear at Ground Zero