Opening of the Biennial and International Exhibition at the Tbilisi History Museum “Karvasla” (8 Sioni streets, Tbilisi, Georgia)

INTERNATIONAL EXPERIENCE WITH CURATORSHIP, DESIGN AND ARTISTIC DIRECTION IN THEATRE      |      Description: Based on her experience as a performance designer and curator on international projects and festivals – such as the Prague Quadrennial and the Edinburgh Arts Festival; also from her most recent works as artistic director in creating performances through artistic residencies – working with local artists and communities on relevant sites specific, Aby will talk about the essence and role of artists’ practices in Theatre and Performance Design, exploring the possibilities of experimentation and subjectivity of reality through the combination of creative practices, technical, productive and educational skills.

DIGITAL INTERACTIVE SCENOGRAPHY     |      Description: In this lecture some digital technologies commonly used on stage and in exposition spaces nowadays will be covered. The most important is to see the impact of those technologies on the spectator’s experience, what they really add to the story.  Or probably they just kill all the message, making narrative flat and cheap? The speaker will share some cases of successful and inappropriate use of those techno-tricks, based on a wide experience of theatre, music concert and gallery installation projects. It would be fun to speculate on how technological methods can enhance the field of meanings of the performance act.

ARTIST’S THEATRE AS A NEW DRAMATIC CONCEPT     |        Description: How far does the scenographer’s power reach? What happens, when an artist becomes the author? What are the techniques to communicate a theatre message with no text, script or decorations? Polina Bakhtina will reflect on trends of visual expression in context of both theatre and performance art. Based on her experience as a stage designer, illustrator and curator of Scenography course at BHSAD, Polina will talk about creative methods to combine multiple media and explain how to work on projects under constraints, such as remote contact with audience, and intimate theatrical formats. Complex narratives, fusion of genres and non-standard theatre technologies will be covered.

“SPACES OF DISQUIET – on sound and space in the lockdown era”     |        Description: Have you noticed how the world around us has audibly changed? How city soundscapes have often become eerily quiet? Was it the noise that kept the wild animals out of our neighborhoods?  What sounds do you miss the most from a life before „the new normal“? Through analyzing and comparing atmospheres of our daily lives and various contemporary artistic projects, Romana and Dobrivoje will search for the meaning in the sounds of spaces of the lockdown era. In this two-part masterclass we will cover the following subjects: 1. Space and creative anxiety in architecture and scene design; 2. Sound and personal space, and Boehme’s aesthetics of atmospheres in lockdown; 3. Alice & Bob’s sound installations as means of communicating political isolation and social anxiety; 4. Sound and space in “The Apology of Socrates” by Tomi Janežič 5. Sound design for theatre performance “Fragments of Disquiet” by Ana Konstantinović

“SPACES OF DISQUIET – on sound and space in the lockdown era”     |      Description: Have you noticed how the world around us has audibly changed? How city soundscapes have often become eerily quiet? Was it the noise that kept the wild animals out of our neighborhoods?  What sounds do you miss the most from a life before „the new normal“? Through analyzing and comparing atmospheres of our daily lives and various contemporary artistic projects, Romana and Dobrivoje will search for the meaning in the sounds of spaces of the lockdown era. In this two-part masterclass we will cover the following subjects: 1. Space and creative anxiety in architecture and scene design; 2. Sound and personal space, and Boehme’s aesthetics of atmospheres in lockdown; 3. Alice & Bob’s sound installations as means of communicating political isolation and social anxiety; 4. Sound and space in “The Apology of Socrates” by Tomi Janežič 5. Sound design for theatre performance “Fragments of Disquiet” by Ana Konstantinović

“SPACES OF DISQUIET – on sound and space in the lockdown era”     |        Description: Have you noticed how the world around us has audibly changed? How city soundscapes have often become eerily quiet? Was it the noise that kept the wild animals out of our neighborhoods?  What sounds do you miss the most from a life before „the new normal“? Through analyzing and comparing atmospheres of our daily lives and various contemporary artistic projects, Romana and Dobrivoje will search for the meaning in the sounds of spaces of the lockdown era. In this two-part masterclass we will cover the following subjects: 1. Space and creative anxiety in architecture and scene design; 2. Sound and personal space, and Boehme’s aesthetics of atmospheres in lockdown; 3. Alice & Bob’s sound installations as means of communicating political isolation and social anxiety; 4. Sound and space in “The Apology of Socrates” by Tomi Janežič 5. Sound design for theatre performance “Fragments of Disquiet” by Ana Konstantinović

“SPACES OF DISQUIET – on sound and space in the lockdown era”     |      Description: Have you noticed how the world around us has audibly changed? How city soundscapes have often become eerily quiet? Was it the noise that kept the wild animals out of our neighborhoods?  What sounds do you miss the most from a life before „the new normal“? Through analyzing and comparing atmospheres of our daily lives and various contemporary artistic projects, Romana and Dobrivoje will search for the meaning in the sounds of spaces of the lockdown era. In this two-part masterclass we will cover the following subjects: 1. Space and creative anxiety in architecture and scene design; 2. Sound and personal space, and Boehme’s aesthetics of atmospheres in lockdown; 3. Alice & Bob’s sound installations as means of communicating political isolation and social anxiety; 4. Sound and space in “The Apology of Socrates” by Tomi Janežič 5. Sound design for theatre performance “Fragments of Disquiet” by Ana Konstantinović

SCENOGRAPHY IN THEATRE AND FILM     |      Description: Go to the theatre. But what is theatre? Why go to the theatre? The theatre is the Aristotelian place where you can have purification, where you can share with the other spectators the meaning of life, be it comic or dramatic. A message that serves to make people think, love, dream and – because it is not – to be used in a civic sense as an instrument of education and civil rights collection. The theatre is a ritual, where people go to share a party, a drama, together. To attend an event to reflect on, to have fun. A playwright writes his work and the musician composes his music around the words and builds a story; the actors and/or singers play it with diligence; the set designer and the costume designer with all the staff of artists, painters, carpenters, tailors build the image, the setting, the scenography. The set designer with the costume designer are co-authors with the director and the musician of the theatrical and musical staging. The set designer builds the space and the environment without which words would remain in the void, without identity, without a connotation involving the spectator. What are the modes of representation of the scenography. Are there any canons on which to work to set a scenography? How much must the set design be naturalistic? And in stagecraft, in addition to traditional expressive means such as pencil, sheet of paper and line, how useful are computerised means? And which ones? Autocad? Sketch Up and Photoshop? In short, I would like to ask these questions and follow a path with the young people who will take part in the workshop to ask ourselves questions and give individual answers on how to interpret a musical or cinematographic theatrical set design. Talking, transmitting, exposing my professional life is not an easy task. I consider my professional history to have been very intense. I have had a lot of experience. I have worked a lot in the field of art and entertainment, ranging with extreme ease from spectacular events to Theatre of Prose, from Operas to Television broadcasts, from Fashion Shows to Commercials Spot. I was the set designer, the painter, but also the manager, the head of the order. I have designed sets, direct scenographic, installations for great artists, for important companies and bodies, organizing the Operations Department and putting together human, financial, business and procurement resources. Planed the work both artistically and technically – Prof. Umberto Di Nino will talk about his experience.

ONLINE MEETING OF OISTAT RESEARCH COMMISSION I session – moderator Kate Burnett (UK)

ONLINE INTERNATIONAL SCENOGRAPHY SYMPOSIUM I session – moderator: Tamara Janashia (Georgia)  The themes: Artistic process – The most prominent contemporary trends in scenography of different countries – How are the current scenography trends reflected at the Prague Quadrennial? – How is COVID-19 influencing and affecting theater and scenography? How does digitization change the creative process?

Green Design Parliament: Thinking, Talking, Learning, and Designing Sustainably with the Society of British Theatre Designers

A morbid Prophecy from PQ 2019 to Covid-19 All Around the World

Between Tradition and the Contemporary: Exploration of Chinese Scenic Designers

Contemporary Georgian Theatre – Is Positive Impact of Covid-19 an Option?  (Curatorial observation)

A Consideration of contemporary Ukrainian scenography and areas of scenographic research

Beyond Artistic Practice: Canadian Scenographers in Times of COVID-19.

ONLINE INTERNATIONAL SCENOGRAPHY SYMPOSIUM  II session – moderator: Nana Kipiani (Georgia) The themes: Pedagogic process – Scenography practitioners and educators on their pedagogic experience. – What is the impact of online education in scenography and performing arts? What are the ways the digital educational methodologies may develop into?

The Model Box in Virtual Focus

Theatrical Educational Process and Physical Theatre in Georgia in the Period of Covid-19

The Education in Scenography – From Virtual Reality to 3D Printing

The Ancient Greeks Meeting the Contemporary Canadian Playwrights and Artists: Creative Process of Producing The Penelopiad and The Odyssey in the Rotating Repertory Format

Student Covid-related Trauma

ONLINE INTERNATIONAL SCENOGRAPHY SYMPOSIUM III session – moderator Kate Burnett (UK) The themes: Research Process – Current areas of scenography research – Development of contemporary research methodologies on, and involving, scenography

Express Notebooks: Drawing in Contemporary Scenography

Interactive Mapping of Theatrical Spaces Project

Scenography Today – Thinking Outside the Box

The Object as a Creation: a Scenographic Methodology

The Scenography in the Exhibition Environment: Reviewing Research Approaches.

Closing of the exhibition GMT 14:00 (Tbilisi time – 18:00)