Federal University

The power fits to the theatrical designer harmoniously to add the available technologies to a scene. The Serroni theatrical designer 3, affirms of forceful form that with the technological advances, as the graphical computation, among others, the cenografia adds for itself a character ' ' industrial' '. It affirms that ' ' in it he exists more interferences; the look of the camera, the director of TV, the edition etc' '. Characterizing the capacity of the theatrical designer in valuing the technological question in detriment of the creativity, for a market each more demanding time of quality productions. In if treating to television, what normally it occurs in the assembly of real scenes is a laborious process, therefore ' ' scene is mounted with a number of appropriately juxtaposed prefabricated units of scene and, being decorated with objects, colors, furniture, fabrics, etc. Pra to create the scenic effect total' '. (FOUNDATION PRIEST ANCHIETA, 1975, p.21) .1.5 Cenografia in the age digitalDessa form, the first Brazilian televising scenes adaptaram it the difficulties found with the available technology at each time. Now, the possibility appears of the use of the technology of virtual application.

The necessities go suggesting ways for the evolution. In other words, what it was not possible to produce in real scenes, it starts to gain solution with the virtual scene, that starts if to launch as viability. In reason of this, these immense plants of scene start to give to place the small informatizadas rooms, the television studios reduce its space, physical and personal structure. E, to the few, sees it use of softwares perfecting spaces that previously were busy for wood, coverings and inks, propitiating to cenografia one raised sophistication. One understands that not it has one total substitution, but yes complementation and aid in the productions. E, of this form, applies it advantage of that this technology makes possible the magnifying of the creativity of the producers, beyond the reduction of the operational costs. All scene must be thought of contextualizada form, as a project in which it together has a load of information transmitted with the other elements. This demonstrates to the responsibility of the theatrical designer in the conception and execution of the scenes on an aesthetic look.

With regard to the aesthetic conception of scene, he is well-known that since its principle already the difficulties in configuring the aesthetic concept due to the delimitations were argued techniques and plastic of a production. Place is verified these debilidades in the affirmations of first COGNIAT.Em, those that say respect to the paper that must play the cenografia in reaction to the spectator, its psychological power of suggestion, therefore, problems … the ones that result of the aesthetic one of the scene and of the arts that they collaborate, then, plastic problems … the ones that say respect to the material fact, the represented workmanship, the transistion of the thought in visual reality, therefore, problems technician. (in REDONDO, 1964, p.93) Therefore, if it makes necessary the aesthetic understanding of the cenogrfica composition. This is what he will be boarded in the next chapter. 1 Ratto was a theatrical designer born in 2 Brazilian Italy and nationalized Walnut, professor of the Federal University of Rio De Janeiro – UFERJ 3 Serroni, appraised theatrical designer, already Culture worked in the TV, elaborated projects for the Net Globe of Television and the closed canal of MTV, in interview to the TCA (Theater Carlos Alves) of the Virtual Astroroof.



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