Artistic Director and Curator second author Priscila Almeida Cunha Arantes has been Artistic Director and Curator of Paço das Artes since 2007. A Post-doctorate from Pennsylvania State University (USA) and UNICAMP, she has a Doctorate in Communication and Semiotics from PUC- SP and a degree in Philosophy from USP / SP. As CNPQ Research productivity researcher, she is leader of the CNPQ Studies group, Design, Art and Memory: Contemporary Perspectives. She is an art critic, curator and professor at the Department of Arts at PUC-SP (Pontifical Catholic University of São Paulo) and professor at PPG Design at Anhembi Morumbi University.
Abstract title: THE SCENOGRAPHY IN THE EXHIBITION ENVIRONMENT: REVIEWING RESEARCH APPROACHES
This article derives from a Master’s research about the relationship between scenography and the exhibition environment. In the last few years, there has been a tendency to create exhibitions that combine a popular theme and an engaging scenography project that will help attract audiences. Thus, researches arise to emerge looking for the importance that this scenography acquires in the dynamics of an exhibition and what is its relation with the expography. The presence of scenography in the research field can be reviewed based on the effect it has on the public’s experience during the course of the visit, as in Gadsby (2015). Thomassen (2017) studies the impact of scenography on the exhibition’s narrative. Other aspects that are presented are those that relate scenography to the architecture of the exhibition environment, as does Castilho (2008) or Ennes (2008), analyzing it as a space built with a proper communicational purpose. In view of the multiplicity of layers within scenography, the museal field presents an effervescence, with conceptual gaps to be filled. Based on a narrative bibliographic review of recent research, this text intends to present some theoretical positions of the scenographic approach used in museums. The text is divided into three parts, the first of which deals with an historical rescue of scenography from the theater and its infiltration into the field of museums in different forms. The second part relates scenography to expography through a brief textual review by authors who approach the theme. Finally, a third section lists different aspects of research including one adopted in the dissertation, which originated this article, with the support of two exhibitions that took place at Museu da Imagem e do Som (Museu of the Image and of the Sound) in São Paulo City, Brazil. The two events covered are the exhibitions about Tim Burton and Stanley Kubrick that travelled the world as itinerant projects, but that received a unique scenographic treatment in their different editions.