Please click on the title of the panels for more information.

WSD 2022 registration is required to reserve tickets to panels unless stated otherwise. You can find information about reserving tickets to panels on our Schedule page here.


BioCostume: Gathering for Shared Speculations # 3


This panel invites established and emerging performance makers, researchers, and theorists to gather around the ‘campfire’ to discuss the role of empathy and the relational encounter with more-than-human materialities in contemporary design practices for performance. The panel members will share insights and experiences from their professional work, and collectively we will speculate on the potential futures of material praxis in performing arts.

Panel members: Moderator Ingvill Fossheim + 5 invited guests.

This panel is part of a series of critical gatherings within the artistic research project ‘BioCostume: Experimental Costume Design with Biobased Co-Actants’ by Ingvill Fossheim, doctoral candidate at Aalto University, Finland.


  • Ingvill Fossheim
  • Other presenter information coming soon.

Ingvill Fossheim

Ingvill Fossheim (MA) designs for live performance and mediated works; in purposebuilt as well as adapted and/or reclaimed performance spaces. She seeks to orient her design praxis towards more responsible, resilient and regenerative material approaches by exploring ways to interrogate biobased materials and incorporate systems knowledge as part of contemporary performance-making processes. Fossheim is doctoral candidate at Aalto University, School of Arts, Design and Architecture. She lives and works in Tromsø, Norway and Helsinki, Finland.

Jean Teillet – WSD 2022 Living Legends


Take a tour through the stories of the Indigenous peoples of Canada, the Métis Nation. Hear how they changed the course of Canadian history when they forced Canada to negotiate how 2/3 of the country entered confederation. The presentation will be a highly visual experience accompanied by stories and music. Hear and watch this fascinating history – learn about the scandals, the wars, the wild west, the whiskey trade, the buffalo hunters and even the mosquitoes. Designers can learn about how the Métis Nation, the Indigenous nation that lives between two cultures, has modified tools, transportation and art to support a mobile lifestyle it has never abandoned.


Jean Teillet

Jean Teillet, IPC, OMN, MSC, (BFA, LLB, LLM)

Ms. Teillet is an author, women’s rights advocate and an Indigenous rights lawyer. She has appeared at the Supreme Court of Canada twelve times in Indigenous rights cases. Ms. Teillet’s popular history, The North-West is Our Mother: The Story of Louis Riel’s People, the Métis Nation was one of the Globe & Mail’s top 100 books of 2019 and won the Carol Shield’s and Manitoba Day awards. She is the author of Métis Law in Canada and has written for academic journals, the Globe & Mail and Macleans. A frequent public speaker throughout Canada and internationally, Jean has been awarded the highest honour of her people, the Order of the Métis Nation. The Indigenous Bar Association has awarded Jean it’s highest honour, Indigenous Peoples Counsel. She has three honorary doctorates (University of Guelph, Windsor University and Law Society of Ontario). In recognition of decades of work with midwives, Jean has been made an honorary lifetime member of the Association of Ontario Midwives. She is a member of the Manitoba Metis Federation and is the great grandniece of Louis Riel.

Nonbinary Scenographies


After presenting together on the Transforming Scenography panel at PQ19, Rachel Hann (UK) and M’ck McKeague (AUS) come together to discuss the expansive possibilities of nonbinary scenographies and their capacity to transform theatre making practices.

This panel discussion aims to offer some provocations on how ‘cisgenderism’ – or the legal, social and political preference of cis (non-trans) experiences – shapes performance making ideas and practices. By deepening understandings of representation beyond surface-level inclusion, Rachel and M’ck shift the focus towards an understanding of how the fabric of our work can disrupt dominant paradigms, challenge cis-centric assumptions and reshape the sociopolitical conditions we live in.


Rachel Hann and M’ck McKeague


M’ck McKeague and Rachel Hann

M’ck McKeague

M’ck McKeague is a set and costume designer, performance maker and installation artist currently living on unceded Wurundjeri land. M’ck graduated from Queensland University of Technology’s BFA (Drama) in 2013 and completed the Master of Design for Performance at University of Melbourne in 2018. Dissatisfied with master narratives and the systems and spaces that uphold them, M’ck seeks out collaborative scenographic practices that embrace difference and disrupt privilege in process, form and content.

Rachel Hann

Dr. Rachel Hann is a Senior Lecturer in Performance and Design at Northumbria University, Newcastle. As a cultural geographer working in performance, Rachel’s teaching and research focuses on the material cultures of scenography, climate crisis, and architecture. ‘Beyond Scenography’ is Rachel’s first monograph (Routledge, 2019) and provides the first theory of scenographics in response to staged material cutlures: from garderning to visual merchandising, installation art to theatre.

Sustainable Costume Production in Mexico


Through interviews, anecdotes and testimonials, it will be told how, for more than 20 years, the stage costumes have been made in a common, constant and sustainable way; more with the purpose of taking advantage of economic resources and as an already established process, than out of awareness with the environment.


Vestuario a escena


  • Sara Salomon
  • Estela Fagoaga
  • Carolina Jimenez

Sara Salomon

She has designed costumes for more than 200 dance, theater and opera projects, mainly, she has collaborated with the National Dance Company in 12 projects. For Paula Zelaya’s El Hilador, she won the award for best design at the Cartelera de Teatro awards in Mexico and was nominated for best costume at the ACPT. In 2020, she was selected to appear as a costume designer in the Shalvi/Hyman Encyclopedia of Jewish Women.

Estela Fagoaga

She completed a Master’s Degree in Fashion and Marketing at Anahuac University. She studied Scenography at ENAT and she is a Fashion Designer, she graduated from “Jannette Klein” Fashion Design School, she also has a specialty in textile design from the INBA School of Design. She was part of the National Theater Company as costume coordinator and was a fellow of the National System of Art Creators. In 2015 she founded the company TRAMA & DRAMA

Carolina Jimenez

Designer and faculty member. Graduated BFA from National School of Theatrical Art and MFA in Centro. She has been working for over 20 years. Her work has been exhibited at the WSD, she has been a recipient of the FONCA fellowship Young Creators and in 2018 she was selected to be part of the National System of Art Creators, she is President of Vestuario a Escena and director of Choreographer Design company.


Biobased Materials for Costume Design


A panel on biomateriality within costume design practice led by Professor Sofia Pantouvaki (Greece/Finland) with contributions by five guest speakers: scenographer Ingvill Fossheim (Norway/Finland), textile artist Urs Dierker (Germany/Canada), costume designer Jerildy Bosch (Mexico), Axel Waehling from NIG GmbH natural colourant producer (Germany), and material scientist Prof. Orlando Rojas (Canada/Finland). The presenters will focus on applications of cellulose-based materials and bio-dyes (biobased colourants) to textiles; structural colours; and biofabrication of new matter as costume. The panel will address practical issues regarding implementation, durability, maintenance, costs, and will generate a dialogue on new possibilities for artistic expression and transdisciplinary collaboration that these materials enable.


Sofia Pantouvaki (Aalto University)


  • Sofia Pantouvaki, Aalto University (Greece/Finland)
  • Ingvill Fossheim (Norway/Finland)
  • Urs Dierker (Germany/Canada)
  • Jerildy Bosch (Mexico)
  • Axel Waehling (Germany)
  • Orlando Rojas (Canada/Finland)

Sofia Pantouvaki

Sofia Pantouvaki is a scenographer, researcher, and Professor of Costume Design at Aalto University, Finland. She is an awarded practising designer for theatre, opera and dance productions in European venues and curator of many international projects. Chair of Critical Costume, Vice-Head for Research OISTAT Costume Sub-commission, an editor of the journal Studies in Costume and Performance, and lead editor of the book ‘Performance Costume: New Perspectives and Methods’ (2021).

Ingvill Fossheim

Ingvill Fossheim is a costume designer, scenographer, and doctoral candidate at Aalto University. By exploring and embedding biobased materials and systems knowledge into the complex process of costume design, her work seeks to orient performance-making praxis towards responsible, resilient and regenerative material approaches.

Urs Dierker

Urs Dierker is a costume researcher and textile artist working in the costume department of film and television productions and the founder of the Circular Costume Design project. Dierker has worked in North America and Europe on productions including Star Trek: Discovery (2021-20), The Hunger Games (2014), Handmaid’s Tale (2017), Suicide Squad (2016), The Boys (2018) and Anonymous (2012).

Jerildy Bosch

Jerildy Bosch has worked for 25 years as a costume designer. She collaborates regularly with the National Theatre Company, National Opera House, National Dance Company and with some independent theatre companies in México. She is passionate about textile experimentation and won the Performance Design award for Costume at PQ19.

Axel Waehling

Axel Waehling is an industry representative from NIG Nahrungs-Ingenieurtechnik GmbH, a leading natural colourant producer from Germany. The company was established in 1991 as engineering and research enterprise for the processing of fruit and vegetables as well as of other vegetable raw materials.

Orlando Rojas

Prof. Orlando Rojas is a Canada Excellence Research Chair, Director of the Bioproducts Institute, and leader of the Bio-based Colloids and Materials (BiCMat) research group that spans activities in Canada (University of British Columbia, Departments of Chemical and Biological Engineering, Chemistry and Wood Science) and Finland (Aalto University, Department of Bioproducts and Biosystems).

Canadian Student & Emerging Artists at PQ23


The presentation discussion is an opportunity to see what Canadian students are currently working towards presenting at the Prague Quadrennial in 2023. Conversations about Canada with students and emerging artists lead us to the theme of the exhibit; our relationship with water and how it informs and makes an impact on the world around us. The foundation of the Canadian PQ exhibit will display the out of sight work in the creative process with an emphasis on sustainable practices.


  • Carla Orosz
  • Alex Gilbert
  • Raymond Marius-Boucher
  • Tarique Lewis
  • Kaite Mooney
  • Nicole Bell
  • Yulissa Campos

Carla Orosz

Carla is an Associate Professor of Theatre Design at the University of Saskatchewan She has been designing sets, costumes and lighting for theatre full- time since 2006 when she completed a MFA in Theatre Design at the University of Victoria. Her work can be found throughout Saskatoon at Persephone Theatre, Shakespeare on the Saskatchewan and Live Five. She is a member of ADC, IASTE Local 300 and CITT. She is a proud mother of 2.

Alex Gilbert

Alex Gilbert is the Wardrobe Supervisor for University X/Ryerson University at the Creative School’s Performance Program. She has worked in various capacities within wardrobe departments across Ontario and Toronto. She holds a BFA in Theatre Production and an MA in Interdisciplinary Studies, researching the transition from natural to synthetic dyes in late-nineteenth century Ontario.

Raymond Marius-Boucher

Boucher has taught at Concordia University since 2002 and became the coordinator of the Design program, soon to be renamed Specialization in Scenography. Since then he has led his students to participate in the Prague Quadrennial. He designed the exhibit presenting the Canadian designers and schools for PQ 2003 and received a Special Honorary Mention for its clarity of vision and national spirit. He is delighted to collaborate on the upcoming edition of PQ 2023 as mentor.

Tarique Lewis

Tarique is a Canadian actor born in Toronto. Tarique is a recent graduate from X University, from which he achieved a degree in Performance Acting. Through his training, Tarique took on notable roles such as Demetrius from Midsummer Night’s Dream and Lussurioso from The Revenger’s Tragedy.

Katie Mooney

Katie Mooney is Metis from the traditional homeland of the Metis, Treaty 6 Territory. Katie’s passion is to bring untold stories to the forefront to spark conversation and change. Katie has been fortunate to work within the Indigenous arts community in Canada, as a Production Coordinator with the Indspire Awards, StageManager for Creative Native, and as Program Coordinator with Indigenous Fashion Arts. She has worked Nationally and Internationally (Australia, Greece, Morocco) in theatre and film.

Nicole Bell

Nicole Eun-Ju Bell is a Toronto based mixed-race multidisciplinary artist with a passion for performance and technology. She is fascinated with cyborgs and Loïe Fuller. Among other things, she is a projection designer, actor, writer, and stage manager. More recently, she’s branched out into production management, live-streaming, and experimenting in XR.

Yulissa Campos

Yulissa is an Ecuadorian theatre artist and founding artistic director of Ay, Caramba! Theatre, currently based in Saskatchewan. She holds a Bachelor of Fine Arts in Acting from the University of Saskatchewan. Yulissa works with the Newcomer and Indigenous community when she is not writing, acting, or producing. Yulissa celebrates her Latin American heritage in her plays and her work has been presented internationally such as at the M1 Singapore Fringe Festival and across Canada.

Cena#3 INTERSECTIONS: THREE SISTERS / Collaborative Artistic Panel Presentation


INTERSECTIONS is a collaborative creative process open to artists from different fields of Visual Arts, Theatre Design and Performance. Inviting experimentation in creating, performing and exhibiting non-textual narratives, through integrated and interdisciplinary creative process.

As a PANEL, INTERSECTIONS will present and share the collaborative process and its outcomes with a broad audience; the panel will include in person participants of this edition, and the online participation of the artists of the previous editions.

The INTERSECTIONS workshop culminates in this 90 minute Panel Presentation and is open to WSD attendees.


Building on the experience of its previous editions – in Brazil, Wales, Scotland and the Czech Republic – at WSD2022 in Calgary, the WORKSHOP aims to share the collaborative creation process with participants and invite them to experiment with it.


  • Aby Cohen
  • Erika Schwarz

Aby Cohen

Brazilian scenographer, artistic director, exhibition designer and curator. Internationally recognized for her work in Theatre, Exhibition, Film and Live Events, with projects realized in United Kingdom, Germany, Portugal, the Netherlands, Czech Republic, Suriname, Taiwan, Japan, Brazil and Argentina. PhD in Theatre Theory and Practice, with research on the intersection between Scenography – Art Installation – Expography and Performance. Currently living and working in the UK as the Head of Postgraduate Department at Backstage Academy/ Production Park. Aby is an active collaborator member of OISTAT since 2003, participating in various projects: OISTAT/PQ Scenofest Team in 2007 (Birds` Critique) and 2011 (Digital Dramaturgies). WSD2013 Exhibition Jury, Design as Performance Curator and Programme Coordinator (Cardiff/UK). E-Scapes 2014 – OISTAT International Conference Creator and Curator (Brazil). WSD2017 Executive Member (Taipei/TW). SENA2020 Online Forum/Festival Coordinator.  Former OISTAT Vice -President 2013-2017. OISTAT President 2021-2025. PQ2011 Golden Triga awarded as designer and curator of Brazil`s National Exhibition. PQ2015 International curator of SharedSpace / Politics. PQ2019 Brazil`s National Curator. Co-founder of CenografiaBrasil in 2001. Founder of PQBrasil Platform, in 2017.

Erika Schwarz

Brazilian set and costume designer, working for theater, dance and audiovisual for more than 10 years. Master in Performing Arts by UNIRIO, graduated by the Foundation Program of the School of Visual Arts of Parque Lage, and PhD in Visual Arts from UFRJ, Rio de Janeiro, Brazil. Since 2020 works as Lecturer in set and costume design at the Institute of Arts of UNICAMP, Sao Paulo, Brazil, where also coordinates cultural activities for the student support service. Erika has been developing her own artistic research on performative, wearable, objects and masking actions at the intersection of performing and visual arts. Participated in the Prague Quadrennial (2019; 2015; 2011; 2007), Critical Costume (2015; 2013), World Stage Design (2011), among other events.

COLOURING THE LIGHT: Decolonizing Lighting and Diversifying the Stage


COLOURING THE LIGHT: Decolonizing Lighting and Diversifying the Stage – has been conceived as presentations of research, practices, observation, and experiments by the scholars, practitioners, and academicians in the domain of theatre, performance, and performing arts in general.

The teaching of Lighting Design and henceforth the design practices of lighting design has been dominated by the eurocentric approaches. The academic contents, as well as the industry, have been overly dominated by the white male. The academic publications, YouTube videos, and other public domains are dominated by the English Language. Lighting Design as a creative and technical medium has been colonized over a period of three hundred years or more. There is more than ever a need to open, instigate or even push a debate around diversity and decolonization of this medium.




  • Dinesh Yadav
  • Jesus Noyola
  • Georgios Koukoumas
  • Yi-Tai Chung
  • Clifton Taylor
  • Satyabrata Rout
  • Nadia Luciani

Dinesh Yadav

Dinesh Yadav (Ph. D.) is an interdisciplinary researcher, pedagogue, and performance artist. He directs for theatre and design for performances, theatre, installation, events, museums, and media. His research inhabits at the crossroads of arts, technology, humanities, and information. His theatre and design practices enquire into the politics of performance. His works are shown in theatres, galleries, and public spaces in festivals, exhibitions, and events around the globe.

Dinesh has directed twenty productions and designed over fifty shows across the genre in performance, theatre and media. He has exhibited in the World Stage Design 2013 (Cardiff UK), Prague Quadrennial (Czech Republic) in 2007, 2011, 2015, and 2019 respectively. He was the curator for Section of Countries and Regions for the Indian section in Prague Quadrennial 2015 and 2019 and the 21st Century Innovative Costume 2019. He was the Technical Director for Can & Abel Theatres and technically directed their shows in twenty-four countries for ten years.

Dr. Yadav has presented his research papers at conferences of IFTR, ACS Crossroads, IACLALS, ISTR, and Lux Helsinki. He is the current chair of the Lighting Design Sub- Commission of OISTAT and Chair of ASPIRE – KCACTF Region 3 and Workshop Lead for KCACTF Festival Region III. He is the founder member of the Swayambhu Foundation (I). He is the Executive Producer of foundations’ theatre festival Mélange and Artistic Director for its repertory company.

He studied at the London Academy of Music and Dramatic Arts (LAMDA) London, National School of Drama, New Delhi, and the University of Rajasthan, Jaipur. At present, he is Assistant Professor and Technical Director at Theatre & Dance, University of Wisconsin-Green Bay (USA), and teaches Lighting Design, Scenic Design, CAAD for Theatre, and Stage Management.

Jesus Noyola

Jesus Noyola is a Performing Arts, Engineering in Computer Systems and Graphic designer artist. During the last 20 years he has dedicated to scenic work, collaborating as a lighting technician, scenic and graphic designer, performer, stage director, manager and pedagogue. In his performing and teaching research, he has approached the issues of memory and identity, biopolitics, systemic violence, gender violence, femicide, and bioethics of design.
He has taught lighting design at Centro de las Artes de Querétaro and at Instituto
Sudcaliforniano de la Cultura y las Artes, Educational Technologies at the Arts Faculty of Universidad Autonoma de Querétaro. Currently he is a teacher of Scenic and Corporal Expression at “Jose Guadalupe Velázquez” Conservatory of Music, Production Design and Dramaturgy at Universidad de las Ciencias, Design and Multimedia Communication at DICORMO Design Institute, in Querétaro, México. In 2022 he generates the “Nu Gospi” community scenic design project that promotes social participation based on elements of scenic design in indigenous communities.
Jesus Noyola has also participated in the organization, design and realization of massive and large format artistic and cultural events in Querétaro, Mexico City, Guanajuato, Baja California Sur, Guadalajara, Zacatecas, Playa del Carmen, and in Latin American countries such as Chile and Colombia.

Georgios Koukoumas

Lighting Designer, Photographer, Film Director
He has worked at “SATIRIKO THEATER” 1990-92, 1995 and “SKALA THEATER” 1996 as Lighting Technician. Since 1997 he works as Lighting Technician in the Theatrical Organization of Cyprus. From 2005 until now he has been working as Chief Lighting Technician at Theatrical Organization of Cyprus. In 1997 he represent Cyprus in biennale of young artist in Torino Italy with the Photographic work “ Milo milo milo”

He designed for Theatrical Organization of Cyprus more than 150 lighting designs for theatre plays.

In 2007 he was awarded by the Theatrical Organization of Cyprus for his Lighting Design in the play “Diary of a Madman” by Nicolai Gogol. In 2011 his work in lighting for the play “FESTEN” was exhibited in Prague Quadrennial as part of the Cyprus Exhibition. In 2012 he was selected to present his work as an international guest in the United States Institute of Theatrical Technologies annual conference. In 2013 he led a workshop at the World Stage Design 2013 Cardiff UK. A workshop about the lighting in a low budget Site-specific theatre production “Hamlet in 48 hours “. In 2015 he represented Cyprus at the Prague Quadrennial with the scenographer Elena Katsouri as a curator and co-designer of the Cyprus exhibition and as a lighting designer for the theatre productions of Thoc Kalikantzar and Co (2011) and Birds (2014). The Cypriot Exposition has been awarded with the third prize in the Children section. He was selected and present his lighting work for the play “Constellations” by Nick Payne at the World Stage Design Exhibition WSD2017 in Taipei, Taiwan.
He was selected to present his lighting work for the play “The Persians” by Aeschylus at the World Stage Design Exhibition WSD2022 in Calgary, Canada.
He is on the board of CY.C.S.T.A.T. (Cyprus Centre of Scenographers, Theatre Architects and Technicians) since its beginning serving as Treasurer, Vice-president and President. Nowadays he is the treasurer of the board of CY.C.S.T.A.T.

Yi-Tai Chung

Yi-Tai Chung is an artist working with light. Chung’s creative and teaching practices span from lighting design to installation and photography. Chung designs lighting for classical and new plays, dance pieces, operas, musicals, and exhibitions. His lighting design for the opera Dialogues of the Carmelites was selected for the WSD 2017 Exhibition. His multi-media project, Visualizing Invisible Cities, investigated how the written word inspires and translates into different art forms. This project was selected for the PQ 2019 Exhibition, and the design process was shared concurrently at PQ Talks. He established his long-term light documentary project, Lighting Patterns, in 2021. Chung received his MFA in Design and Technology at the University of Texas at Austin in 2017. He later served as Instructional Assistant Professor of Lighting Design at the University of Mississippi for three years. Chung currently teaches classes, designs productions, and captures lighting patterns in his native Taiwan.

Clifton Taylor

For over 36 years, Clifton Taylor has created lighting, projection and scenic designs for theater, dance and opera companies around the world. He has also designed unique concert music events for major orchestras, musicians and large-scale venues. His work has been commissioned on Broadway, off-Broadway, regionally, and in twenty countries outside the US. Mr. Taylor was made a Knight of Illumination in the UK, for his design work on “Four Quartets” at the Barbican Center.
Broadway: Frozen; Jay Johnson: The Two and Only; Hot Feet. Off-Broadway credits include productions for City Center Encores as well as a number of plays and musicals as well as work for Theater Above in Shanghai, China, the Irish Repertory Theater, and MCC, Red Bull, and others in New York. Regional productions throughout the US including a substantial body of work for the Alley Theater and The Dallas Theater Center.
In the world of opera and classical music, his work has been commissioned by the Hamburg Philharmonie, Haydn Orchestra in Italy, the New York Philharmonic, the National Symphony Orchestra, New York City Opera (National Company), New York’s Gotham Chamber Opera, New York’s Catapult Opera, Opera de Lorraine in
France, the Tanglewood Music Center Opera Program, the Asia Society, the Boston Pops Orchestra, the Yokohama Noh Theater and the Japan Society, the Juilliard School and by many solo artists.
His designs for dance have been commissioned for the repertories of the Royal Ballet (London), Paul Taylor Dance Company, Alvin Ailey American Dance Theater, Martha Graham Dance Company, the Dance Theater of Harlem and Sardono Dance Theater (Indonesia). Numerous ballet works for ABT, Boston, Washington, San Francisco, Mikhailovsky (Russia), Hong Kong, Rio de Janeiro, London’s Rambert, the Scottish National Ballet, Ballet Jazz de Montreal, the Ningbo Song and Dance Company (China), Ballet de Nancy (France) and many others. Contemporary companies with whom he has had long associations include Pam Tanowitz Dance, Karole Armitage Gone! Dance, Philadanco, Lar Lubovitch, Larry Keigwin, Elisa Monte, Buglisi Dance Theater, Maria Benitez Teatro Flamenco. He has designed for the Juilliard School Department of Dance since 1995.
Mr. Taylor is the author of the book “Color & Light: Navigating Color Mixing in the Midst of an LED Revolution” and is a professor of Lighting Design at the University of North Carolina School of the Arts. Throughout his career, he has spoken at universities and professional conferences on various subjects including Color, Equity
& Inclusion, Best Design Practices, and Future Directions of the Lighting Industry. He is the co-founder of the Studio School of Design, a not-for-profit organization dedicated to broadening access to the design fields to all people. He is an Asian Cultural Council Fellow, having been awarded grants to develop and teach courses in
design for the Royal University of Fine Arts in Phnom Penh, Cambodia and in both Jakarta and Surakarta, Indonesia. He presented at New York’s Broadway Lighting Master Class from 1997 – 2014 and is a former member of the Juilliard School’s Faculty. Mr. Taylor spends his free time painting and drawing.
More information can be found at:

Satyabrata Rout

Satyabrata Rout (1958—) from the state of Odisha is a noted Scenographer and director of Indian contemporary theatre. After completing Graduation in Science from Ravenshaw
College, Cuttack, he studied theatre at the National School of Drama, New Delhi with a specialization in Design and Direction in the year 1983. After completion of the course he
worked as the Technical Director of Madhya Pradesh Rangmandal, a theatre repertory established by B.V Karanth at Bhopal till 1989. He returned back to Delhi to join as the founder member of the Theatre-in-Education (TIE) Company, created by National School of Drama under the headship of Mr. Barry John, where he worked as a Teacher-Designer. From 1992 to 2002, he was appointed as a Resource Person in the Extension programme of National School of Drama to coordinate and conduct conducted theatre workshops and academic activities in various regions of India and abroad. He was also appointed as as a Lecturer of Lighting in the
National school of Drama. From 2002-2004. He was appointed as a professor of Scenography and Direction at the Department of Theatre, Sarojini Naidu school of Arts and Communication, University of Hyderabad, India in the year 2007 and teaching there till date.

Dr. Rout has travelled many European, American and Asian countries related with theatre training and academics in various universities and institutions. He has directed
‘Hayavadana’ in Spanish with the students of theatre in the J’averiana University’, Bogotá, ‘Nagamandala’ in Singhali language with the ‘Tower Hall theatre Foundation’, Colombo, Sri Lanka. He was a visiting faculty to the Voice of Maldives at Male and taught at the ‘International Bio-Drama School’ at Villa de Layva, Colombia, S. America. He has visited ‘East 15 Acting School’ at University of Essex, England as a guest professor to direct plays.
He is also a recipient of the prestigious Fulbright Fellowship for which he was deputed at the Central Michigan University as a visiting professor to teach Indian Scenography to the graduate students of the University and also directed ‘Shakuntala’ with the students as the part of fellowship project in 2018-19.
Satyabrata Rout has intensively studied mask making in Tokyo, Japan, in the year 1999
with a Japan Foundation scholarship. He had done his PH.D on: “The Influence of B.V
Karanth on Indian Dramaturgy; a critical study” from the Dept. of English, CCS University, Meerut, India (2008) and D. Lit (Doctor of Letters) on “Dialectics of New Direction Theory: A critical Study” from the Dept. of Theatre, I.K.S.V, Khairagarh University (2019). He has written number of books on Theatre research and practices, including On the Crossroad of Theatre (2012), Animal Farm (2016) and Scenography: An Indian Perspective (Undertaken for publication by Niyogi Books, Delhi).

Community and ritual performance: materiality, culture and meaning


This event is in two parts, panel and workshop.

This panel, convened and chaired by Donatella Barbieri (PhD) London College of Fashion / UAL, will focus on practices of rituality and communal performances from significant practice-based researchers gathered from across the globe.

Leroy Little Bear, professor emeritus at the University of Lethbridge and founding member of the first Native American Studies Department, has decades of influential writing and advocacy work behind him that is ongoing; Deepsikha Chatterjee, dance director for New York based Indo American Arts Council whose research and writing is in intangible heritage performance in India and Nepal through tangible masks and costumes; Babatunde Allan Bakare, Assistant Professor at Obafemi Awolowo University in Nigeria whose research on Yoruba Egungun performances is situated in the context of socio-political change in Africa; and Fausto Viana, Professor at San Paolo University, Brazil, whose research is around complex identities in South America which pre-exist colonization, has published extensively on performance, costume and culture.


Matter Performing Gatherings

This event is in two parts; panel and workshop.

We will build on some of the points raised by the ‘Community and Ritual Performance: materiality, culture and meaning’ panel held on 7th August, together with movement practices focused on making performance through its materiality in two parallel workshops, one in person and one online that will meet at three points during the day. The workshop leaders, Donatella Barbieri, Nadia Malik (both in person in Calgary) and Peta Lily (online from London), will explore with participants the role that ritual plays in creative making and moving with and through matter. This creative process will engage issues that impact beyond the personal to wider contexts, via threshold-crossings and through being and becoming via matter. Porous boundaries explored in motion will be between object / space, body / space, body / object. At the core of this workshop is movement generated through material interactions, and in group work, to create emotion and meaning through collective transformations.


  • Leroy Little Bear
  • Deepsikha Chatterjee
  • Babatunde Allan Bakare
  • Fausto Viana
  • Donatella Barbieri (Chair)

Leroy Little Bear

Leroy Little Bear’s lifetime of accomplishment includes some of the most important political achievements for Indigenous peoples in Canada and for human rights around the world. His dedication to education, leadership, community-building and advocacy has led to a United Nations declaration, changed the Constitution of Canada and influenced the lives of thousands of students. He is currently actively involved in the university’s response to the Truth and Reconciliation Commission in Canada and continues to advocate for the return of the buffalo to southern Alberta. Joining in person.

Deepsikha Chatterjee

Deepsikha Chatterjee is dance director for New York based Indo American Arts Council that showcases the work of ritual performers. She researches and publishes on ritual mask and costume making in South Asia—in India and Nepal where community-based performances are situated in temples and ritual spaces. Thesedevotional and venerative performances draw from Hindu, pre-Hindu, Buddhist, tantric, and animistic belief systems. The genres are categorized as intangible cultural heritage forms by Indian and UN bodies. Joining remotely.

Babatunde Allan Bakare

Babatunde Allan Bakare, Elder in his own community, researches, writes and teaches around performance in Africa, and in particular on ritual performance. His subjects include ritual performance and socio-political change in Africa; post-colonialism, culture and performance; and the materiality of ritual. He completed a PhD in Drama and Theatre Studies at Stellenbosch University, South-Africa in 2018 at Nasarawa University and Bowen University, Nigeria.  He is presently an Assistant Professor in English and Literature in the  Dramatic Arts Department, Obafemi Awolowo University in Nigeria. Joining remotely.

Fausto Viana

Fausto Viana researches the materiality of culture through ritual and performance in order to address the complex identities in South America which pre-exist colonization, challenging hierarchies and exclusion zones that distinguish between ‘high’ and ‘low’ culture. He is also a set and costume design professor at the School of Communication and Arts at São Paulo University (USP) since 2003. He got his bachelor in Drama at USP (1992), his master (2000) and doctoral degree (2004) also at USP. He got an additional doctoral degree in Museology (2010), at the Lusófona University of Humanities and Technologies, in Portugal. He has published extensively on his research.  Joining remotely.

Donatella Barbieri (Chair)

Donatella Barbieri (Chair) award winning researcher whose focus is at the intersection of materialities, bodies and performances as sites of resistance, renewal and belonging. Joining in person.

Creative Climate Leadership Canada Report Out


CSPA has partnered with Julie’s Bicycle (JB) to host for the first time in Canada the Creative Climate Leadership (CCL) program, with the support of the Canada Council for the Arts. Since 2017, JB along with multiple partners has been offering intensive training opportunities to creative leaders from the arts and culture sector to deepen their understanding and commitment to climate justice and the ecological crisis. The immersive course will take place at the Barrier Lake Field Station in Kananaskis, Alberta area adjacent to Banff National Park on the traditional territory of the Stoney Nakoda in the foothills of the Rockies, from August 1st to 5th, and is open to artists, curators, creative and cultural professionals and policy-makers that work and live across Canada. This session will share the outcomes of the program.


Centre for Sustainable Practice in the Arts

Presenter information coming soon.

Digital Patterning in Costume Production – Research Presentation and Discussion


The Canadian Costumer’s Digital Research Initiative explores digital pattern design software in the Costume production process. We assessed the applicability of Gerber and CLO3D patterning software.

Some of the benefits we explore are:

  • 3D modelling, which is invaluable for digitally printing fabrics and has tools for customizing placement and scale of graphics.
  • Archival attributes provide easily accessible, organized patterning storage.
  • Virtual fittings allow Designers and Cutters to collaborate and share work at a distance.

We look forward to sharing and discussing the results of our research on the benefits and potential drawbacks of digital integration. Our research is available at, and was generously funded by Canada Council for the Arts.


Canadian Costumer’s Digital Research Initiative


  • Cathleen Sbrizzi – Research Coordinator
  • KaeLeah Spallin – Test Cutter
  • Elizabeth Sutherland – Sr.Cutting Consultant
  • Marlee Bygate – Test Cutter

Cathleen Sbrizzi – Research Coordinator

Cathleen is a formally trained Cutter, Designer and Technician. In addition to a decade of industry experience she brings with her credentials which include a BA from Dalhousie Universities Costume Studies program, Auxillery fashion classes from NSCAD University, and the ‘Innovative Pattern Cutting’ certificate from Central Saint Martins (London Uk) Website: Cathleen.Design

KaeLeah Spallin – Test Cutter

KaeLeah’s passion for sewing began at the age of nine with 4-H sewing. Knowing that she wanted to pursue a career that could put her sewing skills to work she attended Red Deer College and received a Diploma in Costume Cutting and Construction. She fostered these skills working as a stitcher (Stratford), first hand, junior cutter and cutter at many theatres including Citadel Theatre, The Banff Centre, and Theatre Calgary.

Elizabeth Sutherland – Sr.Cutting Consultant

Elizabeth Sutherland is one of Alberta’s most talented cutters. She has worked as a Tailor, and Cutter for stage and film for over 20 years and taught costuming in the Theatre Studies Program at Mount Royal College, Calgary for 7 years. She has been Lead Costume Cutter at Theatre Calgary for the past 15 years.

Marlee Bygate – Test Cutter

Marlee is a graduate of Dalhousie University’s Costume Studies Program and has worked as a stitcher and cutter for theatre in both Nova Scotia and Ontario. Shelives and works in Toronto, where cuts for the Canadian Stage, Young People’s Theatre, the annual Ross Petty Pantomime, and innumerable independent productions. She specializes in women’s wear and historical costume, but especially loves to build for children’s theatre, where costumes are often large, specialized and outrageous.

Decentralizing Design and Re-imagining Collaborative Theatre in Saskatchewan


The North American model for theatrical production works against true collaboration and often results in a process and a production that is less than satisfactory for all the artists involved. This panel brings together a number of theatre artists from Saskatchewan, Canada who are challenging this historic model. Decentralizing design can radically change the entire production process and move theatre much closer to being a truly collaborative art. This discussion brings together Saskatchewan based artist-scholars, artistic directors, and independent artists to discuss the necessity of change, past successes, ongoing challenges, and the future of decentralized theatre production in a post-pandemic world.


  • Carla Orosz
  • Wes D Pearce

Wes D Pearce

Professor Wes Pearce (born and raised in Treaty 4 Territory) teaches classes in costume and/or set design, scenography, Canadian Theatre and pop culture for the Theatre Department at the University of Regina (Treaty 4 and Treaty 6 Territory). He has designed across Western Canada including over 20 productions for Regina’s Globe Theatre as well as Persephone Theatre, Stage West Calgary, Alberta Theatre Projects, Prairie Theatre Exchange and Western Canada Theatre.

Carla Orosz

Carla is an Associate Professor of Theatre Design at the University of Saskatchewan She has been designing sets, costumes and lighting for theatre full- time since 2006 when she completed a MFA in Theatre Design at the University of Victoria. Her work can be found throughout Saskatoon at Persephone Theatre, Shakespeare on the Saskatchewan and Live Five. She is a member of ADC, IASTE Local 300 and CITT. She is a proud mother of 2.

Ecoscenographic approaches to embracing the digital within performance


If we are to embrace an ethical, ecological approach to making and designing performance, we must also carefully consider how we embrace the digital in our work. As makers and designers around the world are learning to look at their creative practice through the lens of environmental impact, there is so much still to learn about the role technology can play in ecoscenography.

This hybrid panel will bring together experts in sustainable arts practice, extended reality and digital scenography, as well as branch beyond the stage to the arts and culture sectors to ask: How do we embrace the digital within our eco-stages? What role, if any, can technology play in our future theatre?

This panel is ideal for designers, students, makers, teachers, and anyone who has been perplexed by this issue in their own practice. The 1hr hybrid session will be followed by an in-person workshop activity lead by Professor Ian Garrett (in person attendees only).


  • Tessa Rixon
  • Ian Garrett
  • Leela Schauble
  • Dan Barnard

Tessa Rixon (AU)

Tessa Rixon is a practitioner-researcher in intermedial performance, digital scenography & Australian performance design. As Lecturer in Scenography at Queensland University of Technology, Tessa’s work promotes new modes of integrating established and emergent technologies into live performance; exploring the potentiality of authenticity within digital scenography; and showcasing Australian performance design practice and histories. Her latest research explores the impact of the pandemic on digital pedagogies within the creative arts, and the role of technology within ecoscenography.

Ian Garrett (CA)

Dr Ian Garrett is designer, producer, educator, and researcher in the field of sustainability in arts and culture. He is Associate Professor of Ecological Design for Performance at York University, director of the Centre for Sustainable Practice in the Arts and Producer for Toasterlab, a mixed reality performance collective.


Leela Schauble (AU)

Leela Schauble is a visual artist, digital marketing all-rounder, and digital producer. She’s passionate in using creative, engaging and new ways to create and deliver content in a continually changing digital environment. Her artistic practice primarily aims to explore the relationship between technology and the natural environment. Leela completed a Master of Fine Arts Research at The Victorian College of Fine Arts in 2017. She is a prize-winning photographer who has exhibited in ARI’s, commercial galleries, and festivals. She has also undertaken several Artist in Residence programs, which heavily shapes her practice, including; The Artist Immersion Program with LABVERDE within the Amazon Rainforest and sailing to the Arctic Circle.

Dan Barnard (UK)

Dan Barnard’s artistic practice focuses on creating experiences that put audience members as decision makers at the heart of interactive performance. Dan splits his time between Digital Story Studio Fast Familiar and London South Bank University, where he is a member of the Centre for the Study of the Networked Image. Dan’s research centres on digital performance and he is a member for the Association for Research in Digital Interactive Narratives and the EU COST Action on Interactive Narrative Design for Complexity Interactions. Dan co-convenes the Theatre and Performance Research Association’s Performance and New Technologies Working Group.

Elders Taking the Lead: How Can We Use Scenographic Play to Re-view the World with Older People?


Through activating cultural memory, revealing and piecing together lost stories, our international panellists will share the contribution their interactive practices make to unlocking intergenerational and caring relationships with older people in innovative and unexpected ways.

This hybrid panel, chaired by Fiona Watt (UK), includes Loukia Minetou (Greece/UK) ‘Let’s Don’t Forget Those Who Forget’, Francesc Serra Vila (Spain/UK) ‘Let’s Go Out for A Walk?’ and Mayra Stergiou (Greece/UK) ‘Dark Matter’.

We want this panel and discussion event to be as inclusive as possible for those with additional access needs to take part. Please contact us if you require specific assistance.

This venue is fully accessible in a wheelchair.

Fiona Watt

Fiona Watt (UK) is a scenographer who develops commissioned projects as a lead artist, curator, producer and design educator.
In 2019 she curated Staging Places: UK Design for Performance representing the UK at the Prague Quadrennial before taking up residency at the V&A, London.
From 2014 – 2021 she was Honorary Secretary and subsequently Chair of the Society of British Theatre Designers .
She is UK Performance Design Commissioner for OISTAT and Co-Chaired the OISTAT Space Design Sub-Commission 2017 – 2021.

Francesc Serra Vila

Francesc Serra Vila (Spain/UK) is a scenographer and architect working at the intersection between live arts and immersive installations.
LET’S GO OUT FOR A WALK? is Francesc’s artistic response to the Covid-19 lockdown, creating intimate but interconnected one-to-one experiences with and for elderly people who live confined in care homes. The piece invites them on a journey that relates their memories from the past into the present. Performed in public space, the project was originally developed in Girona for Festival Inund’ART 2021.

Mayra Stergiou

Mayra Stergiou (Greece/UK) is a theatre director and performance artist with a strongly movement based, scenography led and experimental approach. ‘People say your whole life flashes in front of your eyes before you die but what happens when you have dementia?’ The research and development for Dark Matter | Mayra Stergiou involved working with care staff and dementia patients in a care home to unlock relationships and facilitate wellbeing using puppetry.

Loukia Minetou

Loukia Minetou (Greece/UK) is a set and costume designer and installation artist, currently collaborating as a researcher on the dementia/design related project ‘Let’s don’t Forget Those Who Forget’, a research cluster at University College London. The project explores co-designing approaches to involving dementia sufferers in stakeholder consultations about the built environment they move through and inhabit. Her PhD on Design for Dementia at the University of Stirling is funded by the Alzheimer’s Society UK.

Inclusive Imaginary Worlds in Theatre for Young Audiences


This hybrid panel, chaired by Fiona Watt (UK), including Roma Patel (Makers of Imaginary Worlds), Nikki Charlesworth and Mia Ward (Nikki Charlesworth Productions), Paul Tennent (Mixed Reality Lab – University of Nottingham) and Laura McEwen (Associate Artist Red Earth Theatre), will share research and developments in interactive scenography, digital and analogue creative captioning techniques and the fully integrated use of sign language as part of creative storytelling in Theatre for Young Audiences.

Focussing on demonstrating a cluster of innovative work emerging from in and around Nottingham, UK, we will explore how this performance design-led approach can enable theatre for families and young audiences to be dynamically inclusive.

We want this panel and discussion event to be as inclusive as possible for those with additional access needs to take part. Please contact us if you require specific assistance.

This venue is fully accessible in a wheelchair.

Presenter information coming soon.

Internship at International Arts Festivals


Internship at international arts festivals is valuable. It provides an opportunity for students to shorten the gap between academic and professional worlds through direct practices.

The PQ-WSD internship program was a collaboration between OISTAT and Prague Quadrennial in 2019. The program aimed at cultivating theatre talents through practice.

How does an internship influence one’s career? How to make the best use of an internship? This panel moderated by Wan-Jung Wei (OISTAT Executive Director) invites a past PQ-WSD intern to share their experiences as well as the PQ 23 international team representatives to present PQ projects, PQ Studio opportunities, and PQ 23 opportunities for emerging designers.


OISTAT, Prague Quadrennial


  • Moderator: Wan-jung Wei
  • Sean Crowley
  • Chen-Shin Wang
  • Patrick Du Wors
  • Barbora Příhodová

Wan-Jung Wei

Wan-Jung Wei is the youngest Executive Director of OISTAT since its inception, also the first with diplomatic training. She holds an MA degree in Arts Politics & Public Policy in New York University and joined OISTAT in 2011 to combine her passion for dance, theatre and international affairs, applying this blend of skills to her daily works. She continuously explores the relation between performing arts and politics with a focus on women’s rights and gender equality.

Sean Crowley

Sean Crowley has worked across the design spectrum in film, opera, theatre and television, designing over 200 productions for companies across the UK and Europe. He became Head of Design at RWCMD in 1999 and Director of Drama in 2011. In 2007, Sean was Project Leader and Co-Designer for the PQ Scenofest. He then was the Project Leader and Designer for WSD 2013 in Cardiff and Project Leader for the OISTAT50 celebration in Cardiff in 2018. Sean was a member of the OISTAT executive committee between 2013 and 2021. He was a Curatorial Panel Member for the Performance selection at WSD 2017 in Taipei and led the PQ OISTAT internship programme at PQ2019.

He is both an educator and practitioner. His ultimate aspiration is to develop future generations of performance practitioners with and an advanced skill set, a flexibility in their philosophy, and a positive approach to problem resolution.

Chen-Shin Wang

Chen-Shin Wang graduated from the department of Philosophy, National Taiwan University and was one of the interns in OISTAT headquarters 2018 / PQ 2019. She is responsible for websites, social media, newsletters and event-marketing. She started her passion for performing arts as a performer in color guard, and found her position in the arts administration field.

Patrick Du Wors

Patrick is a Canadian freelance performance designer, Curator of PQ Studio and Associate Professor at the University of Victoria.

Barbora Příhodová

Barbora Příhodová, Ph.D., is a researcher, teacher, and educator in 20th and 21st century scenography. Publications include the edited book Scénografie mluví [Scenography Speaks: Conversations of Jarka Burian with Josef Svoboda, 2014; nominated for the Czech “Theatre News Award” 2014), essays and book reviews in Theatre & Performance Design, Theatre Design & Technology, and Performance Research journals, and book chapters in The Routledge Companion to Scenography (2018) and The Disappearing Stage: Reflections on the 2011 Prague Quadrennial (2012). Since 2009, she has collaborated with the Prague Quadrennial as a consultant, writer, and editor. She is the curator of PQ Talks 2021. She teaches at Villanova University and at The University of the Arts in Philadelphia.

Marrying the traditional with the intermedial: interventions in costume practice.


This panel, composed of active practitioners in the field of costume studies who also work in higher education, interrogates how the research, the recording, and exploration of processes help students to integrate themselves into an industry that is constantly ahead of the curve through the implementation of virtual, augmented, and digital realities.

The discussion will promote the understanding of the principles of specialist processes in costume making, as well as exploring sustainable ways for creative three-dimensional approaches to modifying, altering, or adapting the performing body.


University of the Arts London and Aalto University


  • Jorge Sandoval
  • Jennifer Hayton
  • Lara Jensen
  • Maarit Kalmarkurki

Dr. Jorge Sandoval

Course Leader (UAL)

Jorge holds a Doctor of Arts degree from the School of Arts Design and Architecture (Department of Film, Television and Scenography) at Aalto University in Helsinki, Finland. He is currently the Course leader for the BA (Hons) Costume for Performance Course. He collaborates with the research group ‘Costume in Focus’, at Aalto University (Finland), and he is an active participant at the Performing dress lab at the University of the Arts London. Jorge Sandoval trained as a designer-maker for theatre after retiring from a fulfilling career in dance. Jorge is an interdisciplinary artist and educator with a BFA in Art History and Studio Art and an MFA in Interdisciplinary Studies.

Lara Jensen

Senior Lecturer (UAL)

Lara Jensen has spent her professional career making Costumes for Live Performance, Music, Flim, Television, and Theatre. Specialising in tour costumes she has had the fortune to design and make for Artists such as Lady Gaga, Madonna, Queen, Beyonce, and Katy Perry. Her most recent work designing costumes for REBOOT with Adrenaline and Endorphin Productions is centred on enhancing performance design and costume through the use of wearables. Lara completed her MA in Costume for Performance at LCF graduating in 2009 and her teaching and research focus is on soft wearables.

Jennifer Hayton

Lecturer (UAL)

Jennifer Hayton is a Lecturer for Costume for Performance at London College of Fashion. Jenny Hayton’s Performance and Costume Design practice explores devised performance, dance theatre, site specific and large scale public participation events, sustainability and museum practice. Her design work has performed at The Royal Opera House, Sadler’s Wells, Polka Theatre, Lyric Hammersmith, The Place, Laban, The Peoples Show, Almedia Theatre, The Royal Court, Royal Albert Hall, Imagine Festival. With 20 years experience in Education and as a practitioner, her current PhD research focuses on Archives and the costumed body.

Dr. Maarit Kalmarkurki

Maarit Kalmakurki is a scenographer who studied Fashion Design (BA Hons) at the University of Central England, and Costume Design (MA) at Aalto University, Finland. Since 2004, she has designed costumes and sets for various theatre and opera productions in Finland. Maarit holds a Doctor of Arts degree from Aalto University, Department of Film, Television and Scenography. She has taught on scenography and costume in Finland, U.S and Australia and has been a visiting researcher at UCLA. Maarit presents regularly in international conferences and she is an active member of the Costume in Focus research group, as well as a member of the Society of Theatre Research in Finland (TeaTS), Society for Animation Studies (SAS) and OISTAT/Costume Design Group.

Old Dogs and New Tricks: What is Sustainable Theatre Design?


Old Dogs and New Tricks: What is Sustainable Theatre Design? is an ambitious, national project, funded by the Canada Council for the Arts, and overseen by the newly struck Environmental Stewardship Committee at the Professional Association of Canadian Theatres and by Associated Designers of Canada’s Green Committee. This project aims to investigate resistances to change in our sector, particularly resistance to sustainable or Green Design practices, and to empower artists and producers alike to begin implementing sustainable design and production solutions as soon as possible. By supporting collaborations between theatres and designers with targeted investigation, we will start to find answers for the performing arts sector. This project is an exciting opportunity to shine a light on this area of our industry, and increase field knowledge and data to inform strategies and prioritize resources that could impact significant change.


PACT / ADC / Theatre New Brunswick


  • Ken MacKenzie
  • Andrew G Cooper
  • Bronwyn
  • Michelle Steinberg

Presenter information coming soon.

Research Conversations about Performance Space and Cultural Geographies


Theatre is artifice. It employs codes. It relies on cultural knowledge, understanding and/or familiarity to be effective as comment, protest, enquiry, celebration. This panel will share and discuss moments in performances, events and storytelling located within specific cultures and places. Panelists will focus on intersections of performative spaces, underrepresented geographical locations, and emerging cultural identities.

Participants will be invited to consider how, in times of increasing global and generalised cultural reference points, we can respect and value the particular and located? Within the conversation, we hope for space to learn or intuit more about our own individual vocabularies of belonging.


OISTAT Research Commission


  • Kate Burnett
  • Other presenter information coming soon.

Kate Burnett

Kate Burnett is the Chair of OISTAT Research Commission. She is an award winning theatre designer and curator/co-curator of 5 national exhibitions for the Society of British Theatre Designers since 1994. She was editor of the WSD2013 catalogue (Cardiff) and on the Jury for WSD 2017 (Taipei).

Theatre of Mexican Origin


Panel where four designers will speak about Mexican works or works adapted to Mexico with costume design in a decisive moment in the history of Mexico, from the Mexica to the present day, also we will talk about works that through synthesis and reinterpretation of Mexican eras and styles and reflection of Mexican beliefs, values and traditions, which are presented from literary structures that favour the sense of belonging and social bond with our origins.


Vestuario a escena


  • Laura Marnezti
  • Libertad Mardel
  • Emilio Rebollar
  • Eloise Kazan

Laura Marnezti

She has a degree in set design and a master’s degree in Visual Arts. She carried out a research stay within the Master of Sound Art at the University of Barcelona. She was a beneficiary of the Young Creators program, with the project “Inhabiting noise and silence” which was presented at the Prague Quadrennial and at Václav Havel Square in the Czech Republic. She has exhibited at CEART Ensenada and has given conferences and workshops on costume as an artistic piece.

Libertad Mardel

Graduated from the Scenography career, has worked as a costume designer in more than forty works in different national and international theaters such as UNAM, Centro Cultural del Bosque, Hellenic Theatre, National Center for the Arts and the Almagro Festival. She has participated as an art and wardrobe assistant for student shorts and series. She collaborated as wardrobe assistant and coordinator in series with institutions such as Argos, Canal 11, Claro Video, Azteca. and Netflix

Emilio Rebollar

Costume and set designer. Producer, actor and director; founding partner of Vestuario a Escena. With more than 25 years of experience; Graduated from the Master’s Degree in Theater and Performing Arts from the International University of La Rioja, Spain and from the Theater School at UNAM. He has participated in more than 80 plays, dances and operas. Teacher of costume and production, he has given lectures and workshops on costumes in Mexico and France.

Eloise Kazan

She studied fine arts in Mexico and a postgraduate degree in set and costume design at the Bristol Old Vic Theater School in England. She has worked as a set and/or costume designer in 6 countries. She is one of the winners of the best costume award at the PQ and she was part of the international jury of the same contest in 2015 and of the World Stage Design in 2017 and 2022. She is a Member of the National System of Art Creators.

The Role of the Cultural Practices and Theatre Tradition on Creativity in Japanese Theatre and Beyond


Western-style theatre is relatively new in Japan as it started being developed at the turn of the 20th century. In fact, it came to be called Shingeki (New Theatre) in 1913. Japanese theatre practitioners of today create a wide variety of performances while many continue to produce centuries-old theatres, such as Noh, Kabuki, and Bunraku. In contemporary Japanese theatre, despite the heavy western influence, there are still traditional methods practiced during the creative process.

The panel members consisting of a few of the most respected designers and directors will discuss how such traditional practices and cultural traditions and deeply rooted Japanese aesthetics influence the collaboration between a designer and a director. All of the panel members studied stage design or directing in the West at one point in their lives. They will compare and contrast the Western and Eastern theatre practices and discuss how Japanese theatre will go forward in and outside Japan in the future.


  • Yoshinori Tanokura
  • Mitsuru Ishii
  • Shusaku Futamura
  • Junkichi Mochizuki

Presenter information coming soon.

To Print or not to Print: Sustainable Performance Practice Publications


Responding to the respective aims and concerns of both Tanja Beer’s ‘Ecoscenography: an introduction of ecological design for performance’, and the Theatres Trust and ABTT’s ‘The Theatre Green Book project’, this panel invites presentation of publications ranging from papers, blogs and chapters to manuals and resource lists, in order to consider individual eco-practice as well as the collaborative approaches of increasing numbers of performance companies and suppliers. Our focus on ‘works in progress’ is a reflection of the ongoing research, development and experiment in this area, as well as the ‘reflection in and on action’ essential to all areas of design and making for performance.


OISTAT Research Commission


  • Kate Burnett
  • Other presenter information coming soon.

Kate Burnett

Kate Burnett is the Chair of OISTAT Research Commission. She is an award winning theatre designer and curator/co-curator of 5 national exhibitions for the Society of British Theatre Designers since 1994. She was editor of the WSD2013 catalogue (Cardiff) and on the Jury for WSD 2017 (Taipei).

World Stage Design 2025


World Stage Design 2025 will be held at Sharjah Performing Arts Academy (SPAA), United Arab Emirates. It will be the first time that World Stage Design travels to an Arab country.

World Stage Design focuses on contemporary performance design, theatre architecture, performance design research, and live performance technology through an international exhibition and surrounding events. WSD 2025 will be the sixth iteration of OISTAT’s World Stage Design (WSD) and each advances the efforts of previous events: Toronto, Canada (2005); Seoul, South Korea (2009); Cardiff, Wales (2013); Taipei, Taiwan (2017); and Calgary, Canada (2022). In the session, the WSD 2025 team will give a presentation on how they imagine the possibilities and potential of World Stage Design.




Ecologically Sustainable Stage


How to make more sustainable choices when making a performance? The Ecologically Sustainable Stage online panel presents observations about working processes around performance making within educational studio stage conditions. The similarly named workshop gathered Scenography, Lighting and Sound design students together with teachers and theatre technicians to scrutinize complex questions on sustainability in their stage practices. The three-week workshop was organized in one of the studio stages of the Theatre Academy of Uniarts Helsinki in March-April 2022. Based on their experience, the workshop participants share their notions and questions in the online panel for the WSD seminar audience.


Theatre Academy, University of the Arts Helsinki, Performance Design Programmes


  • D.A. Tomi Humalisto
  • D.A. Liisa Ikonen
  • Jari Kauppinen
  • Dr Tanja Beer

Presenter information coming soon.

Expanded scenography in the Global South – Residual spaces and materials in performative power


How do we situate ourselves as artists concerning the different contexts in which we operate?

Confronting the stage making and its tradition in internal spaces – coming from the European and North American culture – would it be possible to conceive an expanded scenographic epistemology from a South global perspective, connected with the environment and our realities?

Reflecting on the permanent destruction in countries like Brazil—which come from the colonial period—this panel investigates the performative power of discarded and residual places, objects, and materials as a condition and possibility, sharing different perspectives combining spatial intervention, politics, waste production and performance.


Renato Bolelli Rebouças

Presenter information coming soon.

Melbourne x Berlin / Scenography & Serendipity in the Warehouse


Scenic design, installation, op-art and trompe-l’oeil have become increasingly familiar in urban and suburban environments. Escapism, usually the domain of the theatres, operas, circuses and runways, needs a more immediate, domestic application in the age of Covid-19, when so many performance venues have closed. In mid 2021, an intensive project between design students in both Melbourne and Berlin looked to familiar spaces for opportunities for fantastical design, happenstance theatricality and immersive scenographies, recognizing that art can meet the angsts of a society, alleviate anxieties and offer new perspectives. This exhibition and panel presents the resulting installations and reflects upon the extraordinary collaborations which unfolded across the twin cities.


Students from SRH Berlin University of Applied Sciences, Berlin School of Design and Communication and University of Melbourne, Faculty of Fine Arts and Music, VCA Production.


  • Gilbert Beronneau and Graphic Design Students from SRH Berlin University of Applied Sciences
  • Anna Cordingley and Production Design Students from The University of Melbourne

Gilbert Beronneau

Gilbert Beronneau is a celebrated film director, producer, audio visual designer and graphic designer. He is also Professor for Audiovisual Communication; Study programme director Film und Motion Design, Kommunikationsdesign, Social Design and Sustainable Innovation and Film, Television and Digital Narratives at SRH Berlin University of Applied Sciences.

Anna Cordingley

Anna Cordingley is an award-winning set and costume designer for theatre, opera, dance, musical theatre and cabaret whose designs have been seen by audiences throughout Australia, Europe, Britain and the United States. She also designs exhibitions, events, creates public art and installation and is a senior lecturer at University of Melbourne, Faculty of Fine Arts and Music, VCA Production.

Oriental traditional ink art and performance design


Ink art is a cultural treasure that runs through China from ancient times to the present. Over the years, I’ve been constantly experimenting with how to incorporate this long-standing yet poetic art form into my theatrical projects. I also summarize and organize what I’ve learned and seen over the years from my attempts and explorations. These feelings and thoughts include not only the research on the oriental ink painting culture, but also many experiences on the combination of eastern and western art forms and the differences between eastern and western thinking and concepts.


Qin Wenbao

Qin Wenbao

Qin Wenbao is a well-known costume and stage designer in China dedicated to drama, opera, film, and television. He got the Gold Awards-Costume Design in 2017 World Stage Design (WSD) & 2018 International Stage Art Network (iSTAN) – Stage Costume&Make up Design Competition Exhibition. He is also the Associate Professor at the National Academy of Chinese Theatre Arts (NACTA).

The Story Garden: Collaboration between Ecoscenography and Community Orientated Drama


The Story Garden is a community engagement project that features stories shared by the residents in the seacoast area, New Hampshire, the United States during the COVID-19 pandemic. The panel presentation will share the collaboration and creation process of this outdoor performance project that blends life, nature, and memories together. The Story Garden incorporates living elements that grow with the story during the development phase, as well as scenery elements created by participants as an embodiment of weaving stories from their pandemic experiences.


  • Raina Ames
  • Szu-Feng Chen

Raina Ames

Raina Ames is Director of Theatre Education and the Chair of the Department of Theatre and Dance at the University of New Hampshire. She holds an MFA in Theatre Pedagogy, MS Ed in Gifted Education, and BA in Theatre. Most recently, she has published a chapter in the book, Arts Integration in Education: Teachers and Teaching Artists as Agents of Change released by Intellect Publishing Fall 2016 (Gail Humphries-Mardirosian and Yvonne Pelletier Lewis, Eds).

Szu-Feng Chen

Szu-Feng Chen is an artist, designer, and educator from Taiwan. She holds an MFA in Theatrical Design from The University of Texas at Austin and has designed for over a hundred productions. Her interest in integrating unconventional materials in her artistry has led her creative focus to sustainable design in visual storytelling. She is the Director of Design and Theatre Technology at the Department of Theatre and Dance at the University of New Hampshire.

Jean-Guy Lecat – WSD 2022 Living Legends


Over the last two years, theatre artists have endured the pandemic while most of the theatres and operas were closed. Theatres produced some work digitally on the internet and others offered old productions from their filmed archive through their local networks. Every Sunday I saw a beautiful play made by French Comedie Francaise on the national channel.

At that point, most of the theatres closed for the first time, and many artists and technicians lost their jobs. At that time I realized that theatre in general may have reached a turning point and that its future will certainly need to be different.

The way we are creating theatre has to change for two 2 reasons: ecology and financing. Performance and the spaces they exist in need to transform. How can we reconsider the ecology and financial means of producing theatre and opera to adapt to new ways of performance creation?


Jean-Guy Lecat

Jean-Guy Lecat

Jean-Guy was the technical director, decorator and scenographer for Peter Brook at the Théâtre des Bouffes du Nord for over twenty five years. Today he continues his practice as a freelance scenographer and theatre architecture consultant. Since the beginning of his career, he has always kept one foot in theatre and the other foot in architecture. Because of Lecat’s 40-year experience in making over dilapidated warehouses, abandoned factories and monasteries into viable performance spaces—because of his immense body of knowledge in the uses of scenography, the history of design, the importance of good acoustics and, most significant, the relationship of actor to audience—Lecat is considered a world leader in the field of theatre and design.