| 释义 |
scenography|siːˈnɒgrəfɪ|
Also 7 -graphie, senography, 8 scheno-, 9 skenography.
[a. F. scénographie (16th c. schenographie in Littré) or ad. L. scēnographia, a. Gr. σκηνογραϕία, f. σκηνή: see scene and -graphy.]
†1. The representation of a building or other object in perspective; a perspective elevation.
Distinguished from ichnography and orthography.
1645Enchir. Fortif. Table (at end), Scenographie, is the modell or draught of any work presented with its shadowes,..with its dimensions according to the Rules of Prospective. 1659J. Leak Waterwks. 33 The Senography or Perspective. 1705Greenhill Embalming 203 We shall..here only represent to you the Ichnography and Schenography of the antient Burial-Places of the Egyptians. 1843Civil Eng. & Arch. Jrnl. VI. 131/1 The idea of the scenography, or view in perspective, taken on the angle.
2. Scene-painting (in ancient Greece).
1738J. Hamilton Stereogr. I. vii. ii. 370 Scenography is the Art of Painting on several Planes or Scenes at different Distances, and in various Positions with respect to the Eye, in such Manner, that all those different Scenes..may..represent one intire View. Let QYSZ represent the Room intended for a Theatre. 1848Wornum Lect. Paint. Barry, etc. 201 note, Perspective scenery (scenography) was introduced on the Greek stage as early as the time of æschylus. 1903tr. Mantzius Hist. Theat. Art I. 131 Aristotle states..that Sophocles introduced skenography.
Add:3. The design of theatrical scenery; scenic design.
1928Art Bull. X. 248 The schools of scenography were closed because a few specialized artists were sufficient to meet the demand of the managers. 1938New Statesman 23 July 152/2 Here the element of decor or scenography has a chance to show its importance in the art of ballet. 1965World Theatre XIV. 303/2 It has the reputation of being the only Institute of its kind..where a systematic study is undertaken of scenography. 1971J. Burian Scenogr. J. Svoboda i. 9 He taught a course on scenography for directors. 1983Daily Tel. 19 Sept. 12/8, I don't like that improvisation, it doesn't go with the concept of the show, which is all tied into one knot—mise-en-scène, music, balletic moves, the ‘scenography’ of the whole. 1988Renaissance Stud. II. 235 More likely, however, was simply the greater degree of importance attached to the functional meaning and historic associations of the entrata. The erudition of the processional scenography hid from no one's view the quintessential affirmation of power. |