Scenography

Scenography (English scenography ) can be understood in the staging space abstract as the science or art. Set designers work across disciplines in theater, film and exhibitions.

In most cases, application-and project-specific spaces are staged, which can occur in many different ways, using different media and methods. These spaces can be both real and virtual experience. Performances and installations are essential components of scenographic works that are also found in the area of ​​fine art. The professional field scenography can be understood as a further development of the classic stage set. Due to the potential of their expressiveness Scenography is an essential part of non-verbal exchange that achieved in conjunction with other forms of communication in the museum lasting impression with the public.

Development of scenography

With the pulse of the museum start-ups developed museum organizers, architects and designers increasingly new forms of representation. With the requirement of the new method of " Museum staging " there was in Germany a model: The stage Wilfried Minks and the composer Eberhard Schoener 1980 had equipped the new BMW Museum in Munich. In a theatrical manner the history of mobility and context of the political history was designed under the title "Time Signals". Many dolls and media were used. Under this impression, the planners were in the "Center of Industrial Culture " in Nuremberg less theatrical than kontextualisierend. In the first scenographic exhibitions - " index fossils of Industrial Heritage " in 1982, "Workers' Memories" 1984 " train time - time of the trains " in 1985, a design signature was developed that produced the spatial issues regarding the cultural and socio- historical contextualization to essential key exhibits. These marked by Hermann Glaser and Jürgen Sembach exhibition experiments, the origin of scenographic design.

During this time, the redesign of the City Museum Rüsselsheim by Peter Schirmbeck and the Munich City Museum is excited by Christoph Stölzl high sensation. The VDI - anniversary exhibition at the TU Berlin, " Science in Berlin " (also with Jürge Sembach ), "On the Way into the industrial age " in Augsburg and the great historical shows, such as "The time of the Hohenstaufen ", 1977 and " Prussia. Attempt to balance ", in 1981, lived on this very audience -oriented approach to design. In Austria, at the annual national exhibitions with enormous Tourism Promotion to spectacular exhibitions such as the elaborate scenographic National Exhibition in Steyr " labor / human / machine ", 1987.

The pros and cons of "pretend " presentation of history has led to public debate, the impact took place, the planning of the two German history museums: the House of History in Bonn and the Historical Museum in Berlin. Also emerged in this period, new museums such as the LTA in Mannheim (now Technoseum ), the German Museum of Technology in Berlin and the DASA - Working World Exhibition in Dortmund.

The late 1980s and in the 1990s came many influences from theater, film and the fine arts. Artistically designed interiors as the " Merz building " by Kurt Schwitters (1933 ), which had " Abstract Cabinet " by El Lissitzky (1927 ), the walk " Hon " by Niki de Saint Phalle (1967 ) their traditional influence as well as the " lightning with light shining on Hirsch " of Joseph Beuys (1982 ) in Gropiusbau. The " Documenta 5" (1972) and " The Museum of Obsessions " (1981) by Harald Szeemann, the media theories of Alexander Kluge and the " Documentary in Film" by Werner Herzog had a high impact on the museum planners, as well as the development of director's theater, which had been largely shaped by personalities from the GDR as Ruth Berghaus, Harry Kupfer and last but not least Heiner Müller.

The challenges audience appeal scenography culminated in the EXPO 2000 in Hannover - and was widely condemned in the museum world. The fast pace of visual impressions, lack of seriousness, the non-binding nature of imaginary worlds and the befuddlement by overstimulation of the senses were criteria that could eliminate the use of these methods for the museum sector. So it was at the beginning of the century only a few museums in Germany who wanted to deal with the methods of scenography, in some museums even began dismantling the classical object-oriented collection show. In the DASA now began the annual cycle of the scenography symposia in which a qualified discourse between museum curators, scientists and designers began.

Currently in Germany there are no battle lines between science and design more, but the museum landscape is divided themselves into opponents and supporters of scenographic methods. The fact that the rooms are characterized by their Bespielung any kind of museum objects, making scenographic expertise on the basic requirement: "You can not not Create " - similar to the meta-communicative axiom by Paul Watzlawick "One can not not communicate ."

The demand for good shows in a supersaturated by digital media company increases. This demand is based on the one hand the lack of haptic mediation more understandable and authentic experience of original objects in non- virtual spaces and to be there on the other side in need.