This text was published as part of the 474: The Mise-en-Scene exhibition publication, which was published by IADT and the IMMA National Programme in March 2013
The Theatre of the Mind
Perception /pərˈsepSHən/ 1: Awareness of the elements of an environment through physical sensation. 2: sensation interpreted in the light of experience.
What constitutes a ‘correct’ perception in art? More than in any other area of human activity, the nature of artwork perception is difficult to define. The perception of artworks is influenced by the individual context of the artwork and the viewer, producing an external and internal mise-en-scene or ‘staging’. The most immediately noticeable influence on perception is the external mise-en-scene of the artwork. Just as the perception of a theatre audience is influenced by the sets and theatrical properties of a stage, the perception of an artwork is altered by similar aspects, which can take a number of forms. They can take the form of other physical objects that occupy the same space as that which is being focused on as ‘art’. The position of an artwork in a gallery space and in relation to the other artworks can dramatically transform how it is perceived, with different dialogues developing depending on its location. External ‘props’ are not necessarily physical objects, however. They can also take the form of ideas and theories acquired from external sources. These can have a dramatic impact on individual perceptions as they provide the viewer with different ways of looking.
Perception can also be influenced by what we might call the internal mise-en-scene of the viewer. Theoretical physicist David Bohm stated that the perception of visual information takes place in a space known as the ‘theatre of the mind’.[1] This hypothetical theatre is specific to each individual. It is the culmination of previous knowledge, life experience, and personality. Such aspects form an internal stage set and props which influence the individual’s visual perception. According to Bohm, it is through this unique structure that a true insight into the perceived object can be obtained.[2]
Thus, it could be said that the perception of an artwork is created through a complex combination of the mise-en-scene in both the external and internal ‘theatres’. If ‘All the World’s a Stage’, then the artist in some ways plays the part of stage manager. They arrange and manipulate the props to be considered by the viewer. Likewise, it could be said that the viewer plays the part of the theatrical audience, bringing with them many preformulated ideas, opinions, and ways of responding. If the staging of the artwork is altered or the perception of the viewer shifted, the impact of the artwork may not be the same. Therefore, where does the autonomy of the artwork truly exist? Is it in the object or external ‘theatre’ created by the artist? Or is it in the internal ‘theatre’ of the viewer’s mind? It is possibly somewhere in-between. Perhaps this liminal space is where the mise-en-scene of the artwork takes form.
Cormac O’Donnell
[1] David Bohm, interview by Bill Angelos, Beyond Limits: A Conversation with David Bohm, 1990. http://bohmkrishnamurti.com/beyond-limits/
[2] Ibid.
Cormac O'Donnell 