ABSTRACT

In his article “The Future of Scenography,” Arnold Aronson observes a shift in the theoretical and practical boundaries of the scenographic so momentous that it “call(s) into question the very notion of theatre and performance as it has been understood for over 2,500 years.” The theatre faces (as usual) a crisis, “albeit an exciting one – brought about by digital technology” (Hannah and Harsløf 2008: 23–4).