The typological and practical boundaries of what is, and what is not, “_ Room” remain fluid in the twenty-first century. As contemporary theatre has offered a renewed focus on spatial and material affordances, so it draws closer to rooms, inviting an explicit emphasis on the assemblages which position a staged encounter, be that in a private domestic dining room, its reassembly within a museum scenario, or a temporary fine art installation in dialogue with that particular dining room. Theatre has a long and established history of scenography and experimentation of spatial configurations to convey intangible sentiment. By deploying a scenographic lens, this article explores the emotional relationship between multiple renditions of a single, celebrated, historic dining room: James Abbot McNeill Whistler’s Aesthetic masterpiece, the Peacock Room; the Smithsonian’s restaging of this room; and American artist, Darren Waterston’s fine art installation Filthy Lucre. Filthy Lucre is an artist’s reimagining which presents an agitated and alternative vision of the illustrious Peacock Room, embodying the dramatic conflict of its creation, and the tensions which emerged between patron and designer. Together these rooms initiate a dialogue between the acts of preserving a room-space and interrogating its complex and multifaceted histories. Waterston exposes dramaturgical and material languages of the interior, deploying the performative to expose the power and tensions beneath the dazzling surfaces of Whistler’s Peacock Room. The article encourages us to consider our rooms as more than their typological designation, and instead offers the provocation of room-making as a form of scenography.

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布置餐厅：达伦·沃特斯顿的《肮脏的卢克》和惠斯勒的《孔雀房》之间的戏剧对话

什么是，什么不是，“_ 房间”的类型和实践界限在 21 世纪仍然是流动的。由于当代剧院重新关注空间和物质可供性，因此它更接近房间，明确强调定位舞台相遇的组合，无论是在私人家庭餐厅中，还是在博物馆场景中重新组装，或与该特定餐厅对话的临时美术装置。剧院在场景设计和空间配置实验方面有着悠久而成熟的历史，以传达无形的情感。通过部署一个场景镜头，本文探讨了一个单一的、著名的、历史悠久的餐厅的多次演绎之间的情感关系：詹姆斯·阿博特·麦克尼尔·惠斯勒的美学杰作《孔雀厅》；史密森尼博物馆重新布置了这个房间；美国艺术家 Darren Waterston 的艺术装置 Filthy Lucre。Filthy Lucre 是一位艺术家的重新想象，它呈现了著名的孔雀厅的激动和另类的愿景，体现了其创作的戏剧性冲突，以及赞助人和设计师之间出现的紧张关系。这些房间一起引发了保护房间空间和询问其复杂和多方面历史的行为之间的对话。沃特斯顿暴露了内部的戏剧性和物质语言，运用表演来暴露惠斯勒孔雀厅令人眼花缭乱的表面下的力量和张力。这篇文章鼓励我们将我们的房间视为不仅仅是它们的类型名称，而是将房间制作作为一种场景设计的形式提供了挑衅。