How do they do it in ... the Scenography course?
All study programmes at the Academy of Theatre and Dance have developed new ways to continue their education online. Which creative solutions have they come up with? Here we show how this works at Scenography.
In the Scenography programme, all lessons and projects are now "on the digital rails". The course uses Zoom for contact moments and Dropbox to collect, share and view the work of the students. ‘We are in the process of regaining momentum and taking pleasure in work," says Bart Visser, artistic director of Scenography. ‘We invent new teaching methods together, so that the physical side of our profession is not completely neglected. That is hard work for teachers and students, not everything is just fun - just like in the real lessons - but we also get a lot of energy from each other.’
Costume History and Pattern Drawing Lesson
For example, online costume history is given and if the Zoom session becomes too tiring, students will make a costume with pillowcase and tape if necessary. The pattern drawing lesson investigates how you actually build a mouth mask from parts, and a costume is designed so that everyone has to keep 1.5 m away from you!
The imagination of silence
In her Uit-Zicht week, a first year student was busy with what the world would look like in silence. She was inspired by the sign language for the hearing impaired to describe her experience in silence. Another student still had clay at home and made a beautiful sculpture of how the situation can be experienced now: there is distance between everyone and everything ...
The fusion of realities and disciplines
The Scenography programme shares inspiration, photos and film fragments via Zoom. But the students and teachers are also working hard not to forget the material world! ‘Because that is what makes the theater so special,’ says Bart Visser. ‘The fusion of realities and disciplines, the merging of the thinking part of us and the experiencing part of us. Making with the hands, understanding something through the body is a unique quality of theatre making. That is still possible! Even with limitations. It is precisely is what we have to do as artists: researching in and with those limitations.’