THE SCENOGRAPHER BOOKS
When we talk about theater books, we are mostly talking about texts, documents, topics, stories, dramas, and comedies, which publishers have always treated with passion. However, the pages often alternate without variation, because a theater book, first and foremost, should be read. But this is not always the case. Then there are illustrated theater books, rich in photographs, sketches, and renderings.
Our illustrated and narrated theater books are not only original, but also become effective tools for study and research, used not only by professionals, but also by teachers and students attending courses in set design, costume design, lighting design, and theater directing.
We are providing a link to a digital catalog. There are no restrictions; you are free to share our books with anyone.
You can also download it in PDF format.
Each page will include the text and corresponding images, just as you would see in a printed book.
We will provide all the assistance you need if you have any trouble downloading the copies.
THEY TALK ABOUT US
Masters of Broadway Design & Direction
“A journey across the Atlantic to discover some of the most representative directors and set designers of the last thirty years of Broadway theatre. A multicultural galaxy made up of a multitude of visions from which creativity and innovation spring.
The Scenographers’ “American New Wave” Series is a visually stunning and in-depth look at some of the most outstanding – and breathtaking – productions on the American stages today.
Exciting new and veteran designers and directors – along with their collaborators – take us behind the scenes to present a one-of-a-kind insider’s look on the making of some of the most exciting productions in America today. This elegant series celebrates these creatives, shares their insights and makes their productions come alive again.” (Frank Rizzo / Variety)
SET DESIGNER
An open arena created to accommodate the plurality of experiences that qualifies every theatre production. Directors and set designers and lighting artists will be the protagonists of this new collection, an essential addition to your library. Prestigious monographs, beautifully illustrated and enriched with texts by eminent playwrights, writers, critics, designers and collaborators.
THE BOOKS OF THE NEW SEASON
310 PAGES. 52 Theatrical productions. illustrated and narrated by David Thompson. With the contributions of: Hal and Daisy Prince, Stephen Sondheim, James Lapine, Susan Stroman, Jerry Zaks, Kenny Leon, Maritz Von Stuelpnagel, Micke Birbiglia, Seth Barrish, Kevin Moriarty, Christopher Ashley, John Rando, Evan Cabnet, Emily Mann.
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The print edition of this book is available only upon request.
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AUTOBIOGRAPHICAL BOOKS
“…During the worst part of the pandemic, March and April of 2020, I was sitting around in my country house with not much to do so I decided to write my life’s story. “Adrianne Lobel – Moving Scenery. A Memoir” is the result. It follows my life from childhood, through my checkered education, my working years in Hollywood, my studies at Yale, and my ensuing international career as a stage designer. I write about my collaborations with Peter Sellars, Mark Morris, James Lapine and Francesca Zambello, among others. I have included development sketches of a number of productions which will illuminate my process.
I also touch upon my sometimes heartbreaking personal life. I hope it is a fast paced, amusing, and exciting read. It was fun to write and I am thrilled that The Scenographer has published it…”
(Adrianne Lobel)
Adrianne emerged into the theater, opera, and dance world of the ‘80s with electrifying energy, intelligence, rigor, hilarity, and unlimited talent. Outrageously imaginative, ferociously smart, and fiercely devoted to exacting research, she was from the beginning driven by a perfectionist ethic of realization, refinement, and her own breathtaking clarity. Her quality of line exemplifies her commitment to truth-telling. An Adrianne Lobel line takes no prisoners. It is sharp, demanding, definitive, disturbing, and impeccable – ideal for high comedy, devastating wit, or for the slitting of wrists. Proportion in Adrianne’s work is both an advanced science and a religion – emotional weight, equilibrium, scrupulous fairness, and the presence of secret harmony within tension, pressure, and heartbreak, quietly signaling the abiding existence of hope. Adrianne is simply a master of color.
(Peter Sellars / Theatre Director)
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THEATRE DIRECTOR
All reality, according to Plato, is a shadow play: the figures that project those silhouettes are precluded, we don’t see them. So what if Macbeth were right? or Miranda? or Rosalind? Who, more than Shakespeare, has crossed the tenuous limbic threshold between dream and reality, between vision and things seen, between the desperate urge to restore order to a world out of joint (Hamlet) so to make sense of it and the defeat of Reason that has lost the heart of the matter? Pier’Alli navigates between parallel worlds, he pursues the appearance of reality as once did Menelaus and the entire Achaean army pursue in vain the phantom look-alike of Helen...
Everything comes to pass. As does drama imagery. Especially drama imagery, which focuses for an instant on the passing of a moment in time, and that instant in time, when demonstrated, is already lost in the act of representing it. Allegory of what? Of the passing of time, of transformation, of no longer being part of life in the moment in which one remembers it or – vain illusion of perpetuating it – in which one represents it. Reality is on the surface of things, writes Nietzsche. Pier’Alli takes this literally while delicately shifting the focus of the concept: reality is in the image, or rather no, not in the image but in the appearance and disappearance of the image. The projected imagery, the films that are increasingly integrated with his stage productions, possibly constitute the supreme allegory, in as much as they represent, while devoid of enigma and without illusions, the illusion itself of appearing, of passing and of vanishing.
(Text taken from the book edited by Dino Villatico (Theatrical Critic)
Pier'Alli's book is in production, it will be available at the end of June 2026.
COSTUME DESIGNER
First of all Domenico listens carefully, a less obvious activity than it might appear at fifirst sight. He listens to the idea. And then he asks, adds details and immerses himself more and more in the story and in the meaning of the work. He goes in search of this, of the core, of the heart of the idea and he tries to see with ever greater clarity the vision that I am proposing to him, looking without judgment at a stretch of water that reflflects his face and mine together. A period of silence follows; precious moments in which Domenico elaborates images, collects possibilities, and travels. Here are the sketches.
Actually, when time and conditions are favorable, he produces real works of art, fifinished, which could easily live their own lives. The creative act is accomplished. In his studio he photographed me for a long time while I danced, looking for the spaces, the volumes, the directions of that movement that he would dress, to make it uncovered and visible.
Creating clothes for dance is not that simple, it imposes particular limitations dictated by the needs of movement. It requires willingness to look for functional solutions, without giving up the idea. Dance often proves to be a rather uncomfortable place for the costume designer, sometimes frustrating. Not for Domenico, who seeks and therefore finds.
(Giulia Gussago, Choreographer)
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Pepe Corzo likes to invent universes, to escape from reality in order to create new worlds in which character naturally pass through, with stories that could certainly be more soberly narrated, in a manner rather more buttoned-down. Yet Corzo is neither moderate nor conservative, but quite the opposite and even something more. He is restless in the creative process, a constant innovator, a bold inventor of parallel universes.
Being creative and audacious is not enough to forge an international career. It necessitates work, a lot of work, and Pepe Corzo is also an indefatigable toiler. His profession defines his raison d’être, his life is dedicated to the creation of these worlds that aspire to being perfectly credible. To transform imagination into reality requires a great deal of endeavour, as he well knows. For this, for the child he once was, doodling in his notebook of blank pages, he now lives in his studio surrounded by piles of books, an immense library of art that over time he has built, by virtue of numerous travels and to which he continuously adds on his return from each trip. Because Corzo travels a great deal, traversing Peru’s diverse regions and travelling the world in search of information, references and sources of inspiration. Pepe Corzo is self-taught, and as such his affinity with learning is enlivened with each new project.
BUY A DIGITAL COPY $ 28 / € 24
We will immediately email you a link to download each copy.
The print edition of this book is available only upon request.
To find out the total cost, including printing and shipping, please contact our office.
LIGHTING DESIGNER
Marco Filibeck, ‘lighting architect’ as he likes to call himself, began his career as a ‘Luciaio’ in 1980 and, in 1985, he was hired at La Scala in Milan, later as resident Light Designer. He collaborates with internationally renowned directors and choreographers, lighting live performances and stages halfway around the world with his personal and original vision of lighting.
For Marco, light, in addition to being a form of energy and matter, has cultural value with many potential applications. It is communication, in some way language, and as such becomes a revelation of being. His light constructs and mediates the relationship between space and the psychic dimension of the user subject, makes movement perceptible, orders and defines all real phenomena with the ability to transmit the values of emotion and expression.
Lighting engineering is a complex discipline, which requires artistry and flair, but above all a solid technical background and specific skills, as well as a sustained effort to keep up to speed and to research, and this is how Marco underpins every lighting project by always seeking new languages and often with his personal interpretation, not as an art critic, but as someone who practises this profession with finesse, using the elements of light in the image and even at times, metaphorically, putting himself under the spotlight.
(MaurIzio Gianandrea)
BUY A DIGITAL COPY $ 28 / € 24.
We will immediately email you a link to download each copy.
The print edition of this book is available only upon request.
To find out the total cost, including printing and shipping, please contact our office.
THEATRICAL NOTEBOOKS
The Scenographer presents Theatrical Notebooks, a new series designed specifically for students and teachers at universities and academies that offer courses in theater design. These “Notebooks” focus on a single topic, a single play, or a single theme, presented by a director or set designer.
