Sculpture for the theatre set, from fiction to reality

From a mimesis space to an emotional space.

Definition  (CNRTL)

Illusion [As a principle of mistake in the sensitive field]

  • False perception insofar as it doesn’t match reality considered as objective, and which can be normal or not, natural or artificial.
  • In the theater, one plays on the proper qualities of human perception to translate and interpret, reconstruct what is seen through different filters.
  • The distance from the eye of the spectator, the games with light, the set space are the tools which allow the bulding of a new reality.

Role of the décor: to articulate the bodies in a credible and coherent space at the service of a dramaturgy, of an emotion.

This new dramaturgical space communicates with the imagination of the spectator rather than with its reason.

“La scénographie fait le choix de la forme et du lieu de représentation d’un récit, créant un espace de vie où tout est fictif, simulacre et éphémère (…). L’épure de l’abstraction a le pouvoir de faire naître des visions et leurs émotions au-delà de l’identification du réel, offrant le plaisir de voir autrement, car s’il n’y a rien à regarder, tout est à voir” Claude Lemaire
“Chercher ce qui, instictivement, est l’expression d’un sens” Yannis Kokkos

Hybrid spaces, the real is not represented litteraly anymore and one will try to compone pieces in between the illusion and the real. Some discrepancies to the real are permanently created, it coexists with abstraction.

Elements of the décor to create an illusion for the imagination.

Passing to emotion means that copies of the real are less and less present on stage and instead will be used imaginary elements. This is this imaginary universe the theatrical illusion has to make believable.
“Il s’agit de concevoir des espaces qui inquiètent l’imagination du spectateur pour la mettre en mouvement, la mettre au travail: c’est dans le regard du spectateur que s’achève mon travail” Marc Lainé
The have cut oneself out of the real doesn’t exempt the theater to make credible its own setting spaces: this this exactely the art of «scénographie», set designing.
Yannis Kokkos talks about “abstraction sensible et crédibilité poétique”: to make credible one thing that doesn’t exist, one has to provide it with consistency.

Read more about Illusion and décor