The desire to be a spectator to an act of wonder is so innately human that it can be mistaken for an instinct. . The arena, the stage, the proscenium have always been platforms to quench this desire over the ages. . Today, the performances have taken many forms and the recent boom in the private productions has given an air of healthy competition. . In the light of these facts, designing a performing arts center, a theater or a studio requires hands on knowledge of the technicalities. . The . Front of the . House is what the spectator witnesses, but it is hugely supported by . The . Back of the . House. . The planning and presentation section, design and graphics section, make up and wardrobe section are to name a few that work together to put up a great performance. . A design exercise has been focused for the city of . Lahore, the heart of cultural activities in . Pakistan. . This book has been composed to bring together standards and basics for the designers, performers, the support staff and anyone who is interested in the fabulous world of performing arts.
Merce . Cunningham changed the way people dance and the way people see dancing in the same way that . Picasso and the . Cubists changed the way people painted and the way people see painting. . He took dance apart and put it back together again, leaving out all but the most essential. . He stripped dance of conventional narrative and continuity; he conceived it without music and without decor. . He took it out of the proscenium (but later put it back) and exploded the stage picture into fragments. -. Nancy . Dalva. BEYOND . THE . PERFECT . STAGE captures the . Merce . Cunningham . Dance . Company performing in a series of site-specific “. Events” in the art galleries of . Dia: Beacon in 2008-2009 and in their final in . New . York . City, on . New . Years’ . Eve, 2011. From a multiplicity of perspectives, . Stephanie . Berger captures the dancers within the frame of her lens, creating a photographic choreography that combines the components of the “. Events” in a new way. . As the book unfolds, you see the . Cunningham dancers warming up, and then performing in various situations (as . Cunningham called the galleries and the especially constructed stages for each “. Event”), including . Richard . Serra’s steel sculptures, . Dan . Flavin’s neon light installation, and . Sol . Lewitt’s minimalist white boxes. Merce . Cunningham here, as throughout his career, presented his work alongside contemporary artists of stature and significance, proposing dance as a visual art. The book concludes with the company’s final performances inside the vast . Park . Avenue . Armory in . December 2011, two years after the choreographer’s death, in the grand finale of the great . Modernist dance company of the 20th - century. Stephanie . Berger captures . Cunningham’s evanescent and—as he called it—impermanent art, proposing a new experience while at the same time preserving the original, thus operating very much within the aesthetic framework . Cunningham himself proposed. . Vivid, immediate, unmediated yet curated, her photographic “. Event” is an entirely contained experience, contextualizing the dances in a personal, but entirely available form.