The Scenographer presents

PACO AZORIN

Poetics of the visible and the invisible. Paco Azorín, theatre director and scenographer.

Theatre is an external ally of the spiritual way, and it exists to offer glimpses, inevitably of short duration,
of an invisible world that interpenetrates the daily world and is normally ignored by our senses.
(Peter Brook from: “There Are No Secrets”)

Make visible the invisible. To give form to a magnificent new world. Generate. Build in order to shatter preconceptions, that which is already done, already seen and heard. Strip bare. Get right down to the marrow, the core that underpins and permeates an opera or play and from there give birth to a new organism whose nervous system consists of the visible lines of a body that materialises in the scenic space. Play in order to create. Create in order to play. Design, direct, give rise to a form of life. Communicate in the deepest sense of the term. And work, labour, work. Never stifle curiosity.
These are the poetics, and the ethics, of Paco Azorín (1974), scenographer and director, but also lighting designer, administrator, producer, professor as well as costume designer and actor at the dawn of hs career. The expression ‘man of the theatre’ does not entirely include his biography or his  completed projects, neither does it include opera, which is substantial for this hyperactive, or rather, hyperproductive creator, as his demeanor is that of a calm and composed man.
(text by Nieves Perez-Abad)

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You don’t want just poetry, you don’t want just short stories, you don’t want just essays and reviews, you don’t want just book recommendations. You want all these things and you want them with passion. That is The Scenographer for you, newly designed, ready to take off.’

(Henning Brockhaus Theatre Designer. Artistic Director of The Scenographer Magazine)

NEXT ISSUE

SPECIAL COSTUME DESIGN

Angela Buscemi

The Art Of Drawing The Costume
The Scenographer  launches a new series celebrating the art of sketching for costume design. We showcase an exceptional collection of character-specific drawings for theatre performance, of studies in line drawings and painted figures for the creation of theatrical costumes. These designs are the foundation of any staged performance, skillful figure drawings sketched by great costume designers for feature film and opera productions.

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TRIBUTE TO KEN ADAM

TRIBUTE TO  KEN ADAM

(Sir Kenneth Hugo Adam)
Klaus Hugo Adam 5/ 02/ 1921 – 10/ 03/ 2016)

 THE SCENOGRAPHER magazine was launched in 2002, the fruit of an idea by a group of Italian and British journalists and academics who had previously collaborated on the publication of a magazine on architecture and film. The decision to publish a periodical celebrating the art of production design was reached following an exclusive interview in London for a feature on the Academy Award-winning film production designer Ken Adam, to whom the pilot issue (number 0) was dedicated. This first issue was officially presented in Rome at Cinecittà film studios with the participation of the Italian Association of Scenographers (ASC).

At a year from the demise of this great production designer,  The Scenographer pays tribute to him by featuring the exclusive interview recorded at his home London in 2002.

A SELECTION FROM BACK ISSUES

STEFANO PODA

In his search for aesthetic and conceptual unity, the artistic work of Stefano Poda always encompasses direction, set design, costume design, lightning and choreography in a personal seal founded on a visionary, multi-level imprint balanced between ancient images and contemporary art.

STEFANO PODA

THE TRUTH IN ART
Text by Jaume Radigales (doctor en Història de l’Art per la Universitat de Barcelona. És crític musical de la revista Ritmo i de La Vanguardia.)
Art, more than creation, can be defined as the assimilation of concepts and the material transformation of ideas that metamorphose based upon a gradual process that is aesthetic but also ethical in nature. In this sense we can say that Stefano Poda’s body of work is the fruit of an evident “tekné” resulting from a mental process that transforms a concept into a complex scenic reality, based on the combining of distinct artistic disciplines.