In my thesis I want to support the ability of architecture to be declined in different scenarios than the canonical standardization of matter. In my five years of university career with my mind I have traveled on different tracks than what the mere and Socratic architectural destination foresaw. I studied. I read and reread. I became passionate. I loved. I questioned myself. In the end, I decided to write a thesis on it. What I’m going to show you is how cinematographic scenography cannot exist without architecture and how the knowledge of light, the shadows, the colors, the architectural technique are fundamental for the success of a good scenography and therefore the creation of an excellent cinematographic film. Scenography term composed of two Greek words: σκηνή skené (scene) and γραϕία spelling (writing). It is the technique through which a scene is created and created, that is, the environment within which the vicissitudes depicted develop. One might venture to say that everything around the actors on the stage of a theatre or in every single frame of a film is scenography. The set designer is responsible for it, he is the one who, having read the story and felt the needs of the director, creates, chooses, finds, modifies, designs and designs everything that will determine the setting of the play. Theatre is the place of fantasy. Viewers know well that beyond the curtain, in reality, there is only an empty box formed by three bare walls, decorated at most with sad words “no smoking”. They are, however, aware that the characters operating on the stage are nothing more than actors and that the space in which they act is a fake place and was born thanks to the creativity of the set designer. Unlike theater, cinema returns the reality of life because the stories told appear more real and credible thanks to the use of a more precise setting. Very often it happens that the audience can no longer concretely separate the actor from the person and identifies him through the choices and actions that he plays within the film. Sometimes, the environments and the buildings are so real that you end up believing firmly in what you see; then if you investigate more deeply you find that most of the scenes were shot in the theater. When the scenes are not built from new, the choice of places is preceded by dozens of inspections, photographs, videos, preparatory drawings, meetings and more and if they are chosen from life, they are totally redecorated. Already Vitruvius, the theorist of Roman architecture, says that the architect has the task of making plans and perspective paintings; this is what works in the scenography because “the set of rules that allow to represent the third dimension”1 is perspective. Often the scenographer, just like the architect, finds himself representing in his sketches the scene that will be through the use of perspective. The 1900 marks a great change in the world of scenography, which until then was purely an artistic illusion. Although during the XVII, XVII e XIX centuries the use of painted scenography was prevalent, with the advent of electric light it became much more difficult to make viewers believe that the backdrops and paintings that served to close the scene were true. Before the advent of electricity, the dim light of candles or gas lamps helped the scene to deceive the viewer. The 1900s brought with it a crisis of identity for the scenography, just as it did when photography was born that put painting in crisis. In the theatre, the avant-garde increasingly pushed the scenography to move away from the illusionistic imitation of reality and look for ways of psychological interpretation and research. Before we venture into the analysis of scenography in the context of contemporary entertainment, it is appropriate to take a look at the past to understand what was the origin of the scenography and the evolution of space.
Nella mia tesi voglio sostenere la capacità dell’architettura di essere declinata in scenari differenti rispetto alla canonica standardizzazione della materia. Nei miei cinque anni di carriera universitaria con la mia mente ho viaggiato su binari diversi rispetto a quella che la mera e socratica destinazione architettonica prevedeva. Ho studiato. Ho letto e riletto. Mi sono appassionata. Ho amato. Mi sono interrogata. Alla fine, ho deciso di scriverci una tesi. Quello che io vi mostrerò sarà come la scenografia cinematografica non può esistere senza architettura e come la conoscenza della luce, le ombre, i colori, la tecnica architettonica siano fondamentali per la riuscita di una buona scenografia e quindi la creazione di un’ottima pellicola cinematografica. Scenografia termine composto da due parole greche: σκηνή skené (scena) e γραϕία grafia (scrittura). È la tecnica attraverso la quale si crea e realizza una scena ovvero, l’ambiente all’interno del quale si sviluppano le vicissitudini rappresentate. Si potrebbe azzardare a dire che tutto quello che si trova intorno agli attori sul palcoscenico di un teatro o in ogni singolo fotogramma di un film è scenografia. Lo scenografo ne è il responsabile, è colui che, letta la storia e sentite le esigenze del regista, crea, sceglie, trova, modifica, disegna e progetta tutto quello che andrà a stabilire l’ambientazione dell’opera teatrale. Il teatro è il luogo della fantasia. Gli spettatori sanno bene che aldilà del sipario, nella realtà, vi è solo una scatola vuota formata da tre muri spogli, decorati al massimo con tristi scritte “vietato fumare”. Loro sono, ad ogni modo, consapevoli che i personaggi che operano sul palcoscenico non sono altro che attori e che lo spazio in cui agiscono è un luogo finto ed è nato grazie alla creatività dello scenografo. A differenza del teatro, il cinema restituisce tendenzialmente la realtà della vita poiché le storie raccontate appaiono più reali e credibili grazie all’uso di una più precisa scenografia. Molto spesso accade che il pubblico non riesce più concretamente a scindere l’attore dalla persona e lo identifica attraverso le scelte e le azioni che svolge all’interno della pellicola. Talvolta, gli ambienti e le costruzioni sono talmente reali che si finisce di credere fermamente a quello che si vede; se poi si indaga più a fondo si scopre che la maggior parte delle scene sono state girate in teatro di posa. Quando le scene non vengono costruite da nuovo, la scelta dei luoghi è preceduta da decine di sopralluoghi, fotografie, video, disegni di preparazione, meeting ed altro e che comunque se sono scelti dal vero, vengono totalmente riarredati. Già Vitruvio, il teorico dell’architettura romana, dice che l’architetto ha il compito di fare piante e quadri prospettici; questo è ciò che funziona nella scenografia poiché “l’insieme di regole che permettono di rappresentare sul piano la terza dimensione” è la prospettiva. Di frequente lo scenografo, proprio come l’architetto, si ritrova a rappresentare nei suoi bozzetti la scena che sarà attraverso l’uso della prospettiva. Il 1900 segna un grande cambiamento nel mondo della scenografia, la quale fino ad allora era puramente un’illusione artistica. Anche se durante i secoli XVII, XVII e XIX l’uso della scenografia dipinta fu prevalente, con l’avvento della luce elettrica diventò molto più difficile far credere gli spettatori che i fondali e le pitture che servivano per chiudere la scena fosse vero. Prima dell’avvento dell’elettricità, la luce fioca delle candele o dei lumi a gas, aiutava la scena ad illudere lo spettatore. Il 1900 addusse con sé una crisi identitaria per la scenografia, esattamente come accadde quando nacque la fotografia che mise in crisi la pittura. In teatro le avanguardie spingevano sempre di più la scenografia ad allontanarsi dall’imitazione illusionistica della realtà e cercare strade d’interpretazione psicologica e di ricerca. Prima di avventurarci nell’analisi della scenografia nell’ambito dello spettacolo contemporaneo, è opportuno volgere uno sguardo al passato per comprendere quale sia stata l’origine della scenografia e l’evoluzione dello spazio.
Architettura e cinema : dal cinematografo al chroma key
Segalotto, Caterina
2021/2022
Abstract
In my thesis I want to support the ability of architecture to be declined in different scenarios than the canonical standardization of matter. In my five years of university career with my mind I have traveled on different tracks than what the mere and Socratic architectural destination foresaw. I studied. I read and reread. I became passionate. I loved. I questioned myself. In the end, I decided to write a thesis on it. What I’m going to show you is how cinematographic scenography cannot exist without architecture and how the knowledge of light, the shadows, the colors, the architectural technique are fundamental for the success of a good scenography and therefore the creation of an excellent cinematographic film. Scenography term composed of two Greek words: σκηνή skené (scene) and γραϕία spelling (writing). It is the technique through which a scene is created and created, that is, the environment within which the vicissitudes depicted develop. One might venture to say that everything around the actors on the stage of a theatre or in every single frame of a film is scenography. The set designer is responsible for it, he is the one who, having read the story and felt the needs of the director, creates, chooses, finds, modifies, designs and designs everything that will determine the setting of the play. Theatre is the place of fantasy. Viewers know well that beyond the curtain, in reality, there is only an empty box formed by three bare walls, decorated at most with sad words “no smoking”. They are, however, aware that the characters operating on the stage are nothing more than actors and that the space in which they act is a fake place and was born thanks to the creativity of the set designer. Unlike theater, cinema returns the reality of life because the stories told appear more real and credible thanks to the use of a more precise setting. Very often it happens that the audience can no longer concretely separate the actor from the person and identifies him through the choices and actions that he plays within the film. Sometimes, the environments and the buildings are so real that you end up believing firmly in what you see; then if you investigate more deeply you find that most of the scenes were shot in the theater. When the scenes are not built from new, the choice of places is preceded by dozens of inspections, photographs, videos, preparatory drawings, meetings and more and if they are chosen from life, they are totally redecorated. Already Vitruvius, the theorist of Roman architecture, says that the architect has the task of making plans and perspective paintings; this is what works in the scenography because “the set of rules that allow to represent the third dimension”1 is perspective. Often the scenographer, just like the architect, finds himself representing in his sketches the scene that will be through the use of perspective. The 1900 marks a great change in the world of scenography, which until then was purely an artistic illusion. Although during the XVII, XVII e XIX centuries the use of painted scenography was prevalent, with the advent of electric light it became much more difficult to make viewers believe that the backdrops and paintings that served to close the scene were true. Before the advent of electricity, the dim light of candles or gas lamps helped the scene to deceive the viewer. The 1900s brought with it a crisis of identity for the scenography, just as it did when photography was born that put painting in crisis. In the theatre, the avant-garde increasingly pushed the scenography to move away from the illusionistic imitation of reality and look for ways of psychological interpretation and research. Before we venture into the analysis of scenography in the context of contemporary entertainment, it is appropriate to take a look at the past to understand what was the origin of the scenography and the evolution of space.File | Dimensione | Formato | |
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https://hdl.handle.net/10589/195419