The Stage, the screen and the space between: Re-thinking projected imagery in live performance Catherine Boivin A Thesis In the Special Individualized Program Presented in Partial Fulfillment of the Requirements For the Degree of Magisteriate of Arts (Special Individualized Program) Concordia University Montreal, Quebec, Canada September 2010 © Catherine Boivin, 2010 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Catherine Boivin Entitled: The Stage, the screen and the space between: Re-thinking projected imagery in live performance and submitted in partial fulfillment of the requirements for the degree of Magister iate of Arts (Specia l Indiv idual ized Program) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: _ Chair Dr. David Howes ______________________________ External Examiner Dr. Robert Faguy _ Examiner Prof. Lynn Hughes _ Examiner Dr. Mark Sussman _ Supervisor Prof. Ana Cappelluto Approved by ____________________________________________________ Graduate Program Director _20_ _ Dr. Graham Carr Dean of Graduate Studies Abstract The Stage, the screen and the space between: Re-thinking projected imagery in live performance Catherine Boivin This thesis explores the use of moving image projection technologies in stage performance as it relates to dramaturgical and scenographic aspects. Projection techniques have been used in theatre since the seventeenth century, but it is not until the advent of cinema that the moving image begins to considerably influence stage practices including narrative, mise en scène, acting and spectatorial relations as well as the construction of stage space. This thesis traces the history of interconnectivity between screen media (film, video and digital imagery) and theatre in order to better understand critical issues that continue to challenge both stage practitioners and theorists today, in particular regarding the relation of actors and stage design to the screen image. This analysis also brings to light the long-lasting struggle of the stage between two-dimensional image reproduction and creation techniques and three-dimensional stage architecture and performing bodies. This thesis uses a combination of critical and historical writings with personal experience and interviews to draw insights into how the stage and screen, two mediums with distinct ontologies, may be reconciled. iii Acknowledgments I would like to thank my supervisory committee for their guidance and encouragement throughout the challenging journey to the completion of this thesis. A special thanks to Professor Mark Sussman who was remarkably generous with his time and knowledge during our independent study sessions. A particularly warm thanks to Professor Ana Cappelluto who has shown me unwavering support since I began my studies in theatre design. I need to thank The Cirque du Soleil and the whole creative team from the production of Totem, who welcomed me into their rehearsals and let me to pick their brains. I am especially grateful to the director Robert Lepage who not only graciously accorded me two interviews but also invited me to observe another production he was directing, the Ring Cycle for the Metropolitan Opera. These observation internships not only led me to realise that sometimes theory must be complemented by practice to stay relevant, but also allowed me to make exceptional connections with artists with whom I hope to collaborate with one day. Among these artists, although not connected to Robert Lepage, are Michel Lemieux and Victor Pilon from 4D Art whom I also thank for granting me an interview. Thank you also to Ex Machina and the Metropolitan Opera for supplying beautiful images to complement my text. Finally to my friends and family I wish to apologise for my many disappearing acts during the last couple years and for spending more time with my computer than with the most important people in my life. iv Table of Contents List of F igures..............................................................................................................vii Introduction...................................................................................................................1 Chapter 1 Historical review of the scenographic and dramaturgical implications of projected moving images on stage.......................17 From perspective painting to film screens, or the struggle against flatness............................................................................18 From the ‘living art’ to the ‘cinefication of the stage’: the return to flatness?..................................................................................33 From documentary realism to sensory naturalism: the American avant-garde and the deconstruction of the image........................50 Chapter 2 The performer in a mediatised stage............................................56 Early influences in the changing role of the performer...................57 Current discourse on the performer in a mediatised context: the live actor vs. the screen actor.................................................67 Chapter 3 The mediatised image on stage, the pictorial meets the architectural.................................................................................93 The Renaissance window: from the canvas to the screen and v stage...........................................................................................95 Early experiments with film on stage: breaking the frame............104 The space between: the stage in constant flux...........................113 Conclusion.................................................................................................................134 vi List of Figures Figure 1 Serlio’s scene for comedy (1545) (Simonson 472). Figure 2 Model of comedy scene (1545) (Simonson 473). Figure 3 Bayreuth Festspielhaus auditorium (1875) (Carnegy 74) Figure 4 Cosima Wagner’s Tannhäuser, 1891 (Carnegy 140). Figure 5 Rhythmic space, L’Escalier, 1909 (Theatermuseum, Munich) (Bablet, A. A.: acteur, espace, lumière plate 17). Figure 6 Chronophotograph by Étienne-Jules Marey (1885-90). Source: Scharf, Aaron. “Painting, Photography, and the Image of Movement.” The Burlington Magazine 104.710 (1962): 194. Figure 7 Frame enlargement from the Lumière film La Sortie des usines which became one of the most famous early Lumière titles (Rossel 132). Figure 8 Still frame from Méliès’ A Trip to the Moon (1902). Source: Malthete-Méliès, Madeleine and Anne-Marie Quévrain. “Goerges Méliès et les arts. Étude sur l’iconographie de ses films et sur les rapports avec les courants artistiques.” Artibus et Historiae 1.1 (1980): 136. Figure 9 Georges Mélies’ studio (Méliès 25). Figure 10 Film and projections from Dspite All! (or In Spite of Everything), dir. Piscator, Grosses Schauspielhaus, 1925 (Piscator 89). Figure 11 Stage design for Hoppla! Such Is Life, dir. Piscator, Piscator-Bühne, 1927 (Piscator 167). Figure 12 Variation V, John Cage, Merce Cunningham and Stan Van DerBeek, 1965. Source: Merce Cunningham Dance Company, “Variation V.” 1965. Photo. From Wagner to Virtual Reality. 11 June 2008. vii Figure 13 Tidal Wave, dir. Piscator, Volksbühne, 1926 (Piscator 90). Figure 14 Production photo from Prune.Flat, Robert Whitman, 1965 (Kirby 51). Figure 15 Dancer Elodie Berland and advanced avatar “performer” in Susan Broadhurst’s Blue Bloodshot Flowers (2001) (Dixon 55). Figure 16 Duet between a live performer and his virtual double in Anima by 4D Art, 2002. Photo: Victor Pilon and Michel Lemieux. Source: Courtesy of 4D Art. Figure 17 Live dancers and their digital counterparts in Merce Cunningham’s BIPED (Dixon 191). Figure 18 Robert Lepage dueling with his digital double in Elsinore, 1997. Photo: Claudel Huot. Source: Courtesy of Ex Machina Archives Figure 19 Prospero in rehearsal with an early prototype of the avatar Ariel in David Saltz’s Tempest 2000 (2000) (Dixon 261). Figure 20 Woodcut illustration from Johann II of Bavaria and Hieronymus Rodler (Siemern, 1531) (Friedberg 41). Figure 21 Drawing of a camera obscura by Anasthasius Kircher (Amsterdam, 1671) (Friedberg 60). Figure 22 Magic-lantern illusion illustrated in Sir David Brewster’s Letters on Natural Magic (1833) (Castle 40). Figure 23 Set for touring performance of Lake Lyul, dir. Meyerhold, Revolution Theatre, 1923. Source: Shestakov, Viktor. “Set design for Lake Lyul.” 1923. Photo. Global Performing Arts Database. 11 June 2008. <http://www.glopad.org/pi/en/record/digdoc/1198> Figure 24 From Gyorgy Kepes, Language of Vision (1944): Picasso’s portrait of Kahnweiler and G. F. Keck’s Detail of a House (Friedberg 120). viii Figure 25 Laterna Magika, Radok, Expo 58, Brussels (1958) (Burian, Slide Survey, slide BD29). Figure 26 Pelléas et Mélisande, Royal Opera House, London, 1969 (Burian, Slide Survey, slide BD117). Figure 27 Raduz and Mahulena, National Theatre, Prague, 1970 (Burian, Slide Survey, slide BD119). Figure 28 The Flying Dutchman, dir. August Everding, Bayreuth Festspielhaus, 1969 (Svoboda 94). Figure 29 Verdi’s Sicilian Vespers, dir. John Dexter, Metropolitan Opera, New York, 1974 (Svoboda 97). Figure 30 Rhythmic space, Les Trois Pilliers, 1909 (Musée d’art et d’histoire, Genève) (Bablet, A. A.: acteur, espace, lumière plate 12). Figure 31 Wagner’s Tannhäuser, Covent Garden, London, 1973 (Burian, Slide Survey, slide BD184). Figure 32 Robert Lepage climbing virtual stairs of the Opera Garnier in The Andersen Project, 2005. Photo: Érick Labbé. Source: Courtesy of Ex Machina Archives. Figure 33 The Image Mill, Ex Machina, 2008. Photo: Michel Loiselle. Source: Courtesy of Ex Machina Archives. Figure 34 The Image Mill, Ex Machina, 2008. Photo: Nicolas Ruel. Source: Courtesy of Ex Machina Archives. Figure 35 Workshop photo from Lepage’s upcoming Ring, 2010. Photo: Yves Renaud/Metropolitan Opera. Source: Courtesy of New York Metropolitan Opera. Figure 36 The Image Mill, Ex Machina, 2008. Photo: Nicolas Ruel. Source: Courtesy of Ex Machina Archives. ix Introduction What happens when you take a cinema screen and place it on the stage of a live theatre performance? The purpose of this thesis is to explore the fertile and complex relationship between the stage and the screen in relation to the evolution of the construction of stage space. In order to analyse the construction of stage space, this thesis will look at the effect that the insertion of moving images (film, video or digital imagery) on stage has on different aspects of live performance, including narrative, mise en scène, performance and relation to the audience. This thesis will also examine how the definition of stage space has evolved from the Renaissance to the twentieth century specifically regarding the struggle between two-dimensional means of reproducing and creating images and the three-dimensional physicality of stage architecture and the performers inhabiting this space; how this history informs our understanding of the use of screens in contemporary live performance; and how contemporary theatre artists contend with the challenges and contradictions inherent in the meeting of image technologies based on a two-dimensional mode of presentation and the plasticity of bodies, structures and movement in live theatre. As evidenced by the rising amount of books and articles written about the use of projection technologies in live performance, the presence of screens on stage is a prevalent topic in the field of performance studies today. Greg Giesekam opens his book Staging the Screen (2007) with the observation that “everybody’s doing it” (4), using video projections in the theatre, and adds that it has even become a marketing tool to attract larger audiences as if theatre needs to “[advertise] itself as bringing television or cinema into your local theatre” to compete with other entertainment offerings (4). Philip Auslander, a leading contemporary media and performance critic, wrote that “[the] general response of live 1