I immediately accepted the proposal to assume the position of artistic director of this new monographic edition published by SCSA. I accepted not because it appeared to be merely a new type of publication or otherwise, on Theatre in general, but per trasmettere a fresh space dedicated to all those practitioners, the artists, the technicians, the researchers and the aficionados of Theatre who now wish to signally make a point, but by way of a “meeting point” on the general state of our Performing Arts.
To talk of Scenography in the contemporary sense is to talk of Direction. The theatre professional is often isolated; the distribution network is at times flawed while reaching a vast audience is a rather complex operation; the transmission of theatrical experience which is part of our contemporaneity is often limited to a sole review.
This does not facilitate the contrast between authors and performers, nor does it succeed in quashing the defect of mediocracy to which the market has had to succumb, resulting in ever more commercially accepted productions geared towards box office receipts, at a time when a universal cry is to be heard for a revivification of the strength of our culture and for the vitality of our Theatre.
THE SCENOGRAPHER has an opportunity to become the “journal of theatre professionals”.
At this point I’d like to define my personal goals as artistic direrctor: I invite dialogue, to produce contributions and to present projects from innovative directors and authors who in my opinion are moving in new and stimulating directions in contemporary theatre, both in Italy and abroad, in order to create a landscape of ideas, and to provide readers with the opportunity to become familiar with poetic and dramatic thought of that which they have seen and can yet see at the theatre.
There will also be editorial space dedicated to young directors, scenographers and other authors.And to sum up, all this emerges as a fundamental tool destined for students and whoever desires to embrace the art of theatre: the construction of a critical repertoire of contemporary theatre production in order to engage with more authority and passion the Scenic Arts.
ARTISTIC DIRECTOR THE SCENOGRAPHER
Carmen Castañón (The Scenographer Editor Managing SPAIN).
Domenico Previte (Technology and research).
Ivana D’Agostino (Historiography).
Santi Centineo (Architecture and Scenography).
Luca Ruzza (Architecture and Scenography).
Antonin Di Santantonio (Television)
PIER LUIGI PIZZI
Honorary Member of Study Centre Scenic Arts (SCSA)
Lucio Altarelli (Prof. Arch., Faculty of Architecture “Ludovico Quaroni”, Rome).
Ezio Antonelli (Stage and Visual Designer).
Maurizio Balò (Stage Designer).
Jane Barnwell (Senior Lecturer in Film & Broadcast Prod., London Metropolitan University).
Luca Bruzzese (Architect, Teatro 3 – Milan).
Tino Schaedler (architect, digital set designer)
Pietro Carlomagno (3-D digital stereographer & stereoscopic IT media consultant).
Orazio Carpenzano (Prof Arch. Faculty of Architecture “Ludovico Quaroni”)
Ivana D’Agostino (Prof. Academy of Fine Arts, Venice; Theatre and Art Critic).
Luca Dalcò (Virtual Image Consultant, Lecturer in 3D computer graphics and Vector Animation).
Roberto Paci Dalò (Theatre Director, Compositor),
Luigi De Marchi (Head of Marchi & Partners Architects, founder of: beniculturalionline.it).
Antonin Di Santantonio (Arch, Production Designer TV; TV Production Design Dept., RAI, Rome).
Giuseppe Dittadi (Industrial Engineer).
Clara Fiorillo (Prof. Arch., Faculty of Architecture, Naples).
Paolo Giardiello (Prof. Arch., Faculty of Architecture, Naples).
Marco Incagnoli (Lighting Designer, Cinematographer)
Maria Harman (Journalist, Publisher and Managing Editor, London The Scenographer magazine)
Lorenzo Letizia (Theatre Director, Film and Theatre critic).
Pierluigi Salvadeo (Prof Arch. of Architecture and Society – Politecnico Milan)
Paolo Miccichè (Director, Stage and Visual Designer, musicologist).
Giorgio Molinari (Industrial Engineer).
Daniele Paolin (Stage Designer, Multimedia Artist; Prof. Academy of Fine Arts Brera, Milan).
Luca Basso Peressut (Prof Arch. of Architecture and Society – Politecnico Milan).
Adam Pollock (Founder of the Batignano Opera Festival, Tuscany; scenic/interior designer).
Max Farsetta Spina (Production and Stage Designer).
Corrado Terzi (Lighting Designer; Faculty of Arch. “Ludovico Quaroni”, Rome).
Daniela Turco (Film and Theatre critic).
Isabella Vesco (Prof. Arch. Faculty of Architecture, Palermo).