ABSTRACT

Emerging from a context of expanded scenography, this article examines the role of light in creating and shaping atmospheres in performance. This capacity of light is significant in relation to the emerging body of research on the nature and composition of atmospheres in and beyond performance. Within theatre and performance studies, however, light’s atmospheric potential has rarely been considered in depth, and colloquially light is often described as ‘atmospheric’ as a catch-all term that precludes the complexity at stake in its generation of atmosphere, or its provocation of mood. This paper, then, offers a critical rehabilitation of the term ‘atmospheric light’, by examining the sensual as well as visual ways in which light generates shifting atmospheres in Enda Walsh’s Ballyturk. In thinking through this particular example, this article employs scenographic thinking to address the complex multi-modal operation of atmospheric light in performance. In so doing, I aim to show the dramaturgical and ontological significance of atmospheres constructed by and through light in performance, and to point to the material and critical importance of scenographically constructed atmospheres in theatre practice.

摘要

本文从扩展场景的背景中出现，探讨了光在创造和塑造表演氛围中的作用。这种光的能力对于新兴的关于大气性质和组成的研究而言意义重大。然而，在戏剧和表演研究中，光的大气潜力很少被深入考虑，通俗地说，光通常被描述为“大气”，作为一个包罗万象的术语，它排除了它产生气氛的复杂性，或者它的挑衅性。情绪。然后，本文通过检查光在 Enda Walsh 的Ballyturk中产生变化的气氛的感官和视觉方式，对“大气光”一词进行了批判性的修复。. 在思考这个特定的例子时，本文采用场景思维来解决大气光在表演中复杂的多模态操作。在此过程中，我的目标是在表演中展示由光构建的氛围的戏剧和本体论意义，并指出舞台实践中场景构建的氛围的物质和至关重要的重要性。