Ancel
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Scenography - 2006/04/23 12:21
Extract from abstract:
...35 years ago, Jacques Polieri, the creator of modern scenography, implemented part of his projected Théâtre du Mouvement Total (Theatre of total movement) for the Universal Exhibition at Osaka, in Japan in partnership with the industrial group Mitsui. The continuous nature of his Spectacles: 50 ans de Recherches (Shows: 50 years of research), derived from historical avant-garde art movements, allowed Polieri, by integrating electronic and technological developments, to present an extension of the past and a break with it, one that anticipated the future numerisation of this planet. Polieri actually created historical events of the same standing as those installed by creators such as Frederick Kiesler and Enrico Prampolini. In 1925, at the International Exhibition of Decorative Arts in Paris, Kiesler, with his Ville Spatiale, and Prampolini, with his Théâtre Magnétique, extended art forms in a spectacular way that anticipated a global art form, one that is not localised within a structure but linked to the spirit of the city and to modern life. An ode to electronic technology had also been performed within the context of a previous Universal Exhibition. The architect, Le Corbusier, together with musicians Edgard Varèse and Iannis Xenakis, had installed a magnificent Poème électronique, the precursor of a combined arts approach, in the Philipps enterprise pavilion at the 1958 Universal Exhibition in Brussels. Although Polieri’s Théatre du Mouvement Total had been exhibited in a closed structure, the visual projection and sonorous effects, combined with the freely circulating spectators within it, were an attempt at achieving something more than a straightforward expression of modernity enshrined in art. This was an open-ended vision, which is always expressed in global terms through an infinite movement towards the outer limits of the cosmos...
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