TRANSCENOGRAPHY: the emergence of the term as a response to the dynamics of scenographic practices across multiple artistic and expressive platforms
Transcenography; scenography; theater; cinema; exhibitions.
This thesis aims to propose a new term, a concept, called transcenography, resulting from the combination of the prefix trans + scenography. We inherit the prefix primarily from its application in a set of consolidated concepts, discussed in specific chapters, relating to the subject at hand. This grouping of terms consists of transmedia, transculturation, and transcreation, contributes to shaping a theoretical framework to ultimately weave an alternative for the field of undefined boundaries in which we identify scenography to be situated. We intend, therefore, to overcome epistemological obstacles of the terms used in light of the possibility of a more comprehensive proposal consistent with the practices in the field. The proposed term, transcenography, evokes a scenography of displacement and has conformed itself into a new composition, having undergone various processes of translation, transcreation, or transculturality, for example, and is permeated by transmediation. It is a movement, it is the between, it is the through. It belongs to everywhere but also to nowhere. It does not impose hierarchies, it loses, donates, absorbs, transforms, and forms something new. Transcenography is the result of contact, friction, and displacement. As practical examples for focused discussions, we have chosen two mainstream and artistically robust works: Beetlejuice and Moulin Rouge, as well as other examples to which we have dedicated less space but of equal importance for verifying theory and practice. Aiming, thus, for the convergence of theory with practice.