https://www.rachelhann.com/publications daily 0.75 2025-11-26 https://www.rachelhann.com/publications/dincolo-de-scenografie monthly 0.5 2025-11-26 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/61f4a8d5-336c-4218-8717-e35f920ba91b/Rachel-Hann_dincolo_de_scenografie_A3.jpg Publications - Dincolo de Scenografie - Translation of Monograph into Romanian - Presa Universitară Clujeană (2025) Read English Version (Routledge, 2019) … un manifest pentru o nouă teorie a scenografiei (…) unul dintre reperele bibliografice majore nu doar în sfera discursului despre scenografie, ci, în plan mai larg, al esteticii, al istoriei artei și al teoriei critice. – Horea AVRAM, conf. univ. dr., Facultatea de Teatru și Film, Universitatea Babeș-Bolyai, Cluj Scenografia, în concepția autoarei, devine astăzi un bazin de confluențe necesar-interdisciplinare, înțelese ca vectori fundamentali pentru definirea ideii de spațiu în artele performative. – Cristian RUSU, lect. univ. dr., Facultatea de Teatru și Film, Universitatea Babeș-Bolyai, Cluj, scenograf, artist vizual Una dintre concluziile acestei cărți este că nu există practică teatrală fără scenografii, nu există scene fără scenografii. Beyond Scenography oferă un manifest pentru o teorie reînnoită a practicii scenografice. – Dr. Rachel Hann, profesor asociat în domeniul Artelor Performative și Designului la Universitatea Northumbria, Newcastle, Regatul Unit https://www.rachelhann.com/publications/interview-scenography-not-set monthly 0.5 2025-01-30 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/f625cfcc-6e72-484e-89d1-b63429170623/54085471234_25c600399d_k.jpg Publications - Interview: Scenography is not set - Interview: Scenography is not set Original Czech language version Interview by Anna Chrtková for A2 magazine on the Prague Quadrennial website (English version): Anna Chrtková asks British cultural scenographer Rachel Hann on; What are the differences in the understanding of scenography between the Anglophone and Czech contexts? And how can scenography theory help to better understand the present and shift our thinking about the future? What’s the power of theatre or performing arts in shaping our everyday life? Will you be addressing climate change in your keynote? What kind of worlds does scenography create through a trans lens? What might these worlds look like? What then are the superpowers that we have as scenographers? https://www.rachelhann.com/publications/bad-costumes monthly 0.5 2025-02-03 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/96450d7d-907e-4c17-9fa4-ea668dacf2e1/insubordinate.jpg Publications - Can bad costumes do good things? - Can bad costumes do good things? Written as a short afterword to the book: This book offers a thesis on costume as insubordinate; as a denial of the prevailing authorities of costume, performance and fashion. By way of an afterword, I ask can bad costumes do good things? Any notion of ‘bad’ (as unwelcome, incorrect, harmful) is of course conceptualised in relationship to a judgement criterion. Bad is always bound to scales of good. Good is a success, the planned, or a desirable outcome. Good costumes behave well. Bad costumes enable behaviours that are unwelcome, undesirable, or outside of quality standards. Costumes can behave badly when they either perform in unexpected manners or solicit actions from the wearer that are read as ill-advised or even criminal. Badly assembled costumes result from a perceived failure of technique or selection of materials, which may even result in collapse, breakage or malfunction. Any discussion of bad costume is therefore a discussion on how costumes are judged to behave in line with expectations, whether agreed or implicit. Yet, I want to suggest that bad costumes can reveal the work of costume that may have otherwise been unseen or dismissed as frivolous. Bad costumes can offer a method for investigating how costumes are judged, understood, and politicised. https://www.rachelhann.com/publications/transgendering-assemblages monthly 0.5 2024-12-11 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/95c10219-269c-409b-925d-c010478532d1/Figure+3.jpeg Publications - Transgendering-assemblages: Sin Wai Kin’s trans techniques and acts of boybanding - Critical Studies in Fashion & Beauty This article investigates the artist Sin Wai Kin’s (單慧乾) speculative approach to drag through the prism of ‘transgendering-assemblages’. Influenced by the assemblage theory of Manuel DeLanda and Jasbir Puar, I propose that transgendering-assemblages actualize the properties of transness (Marquis Bey) through particular trans techniques (Grace E. Lavery). I introduce Sin’s more-than-human trans techniques, from make-up to costume, and approach to nonbinary storytelling to investigate identity assemblages more broadly. With explicit attention to their engagement with Chinese opera and Taoism, the speculative boyband in Sin’s Turner Prize nominated work It’s Always You (2021) prompts my proposal for ‘boybanding’ as a technique for investigating identity assemblages. The final section is focused on the genderings of East Asian masculinities in Sin’s work to argue how all gender-assemblages are also ‘racializing assemblages’ (Alexander G. Weheliye). I conclude with a provocation on what assemblage as a nonbinary concept (defined by what it does rather than what it is) can offer studies of gender. https://www.rachelhann.com/publications/pluriversal-scenographics monthly 0.5 2025-01-30 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/d49567f5-9f06-4299-812d-82c0a311b927/IMG_8617.jpg Publications - Pluriversal scenographics and staging world feelings: climate crisis in SUPERFLEX’s ‘It Is Not The End Of The World’ - Cultural Geographies This article investigates the role of scenographics in staging climate crisis cultures. The art collective SUPERFLEX’s installation It Is Not The End Of The World (Copenhagen 2019) explored human-world relations through techniques of set design, lighting, sound and costume. Central to this was a detailed 1-to-1 scale replica of the UN Building toilets re-imagined as an archaeology of a future without humans. While described as an ‘installation’, It Is Not. . . is adopted as a case study that exemplifies the role of scenographics in irritating a sense of place and is argued as affording insight into the assemblages of place, world and atmosphere. Drawing upon Global South philosopher Arturo Escobar’s ‘pluriversal design’, I offer an argument for scenographics as a methodology when investigating world feelings in an era of climate crisis. ‘Pluriversal scenographics’ is proposed as a critical framework for the staging of nondualistic, relational and more-than-human ‘possible reals’. Pluriversal concepts are proposed as a model for renewing the political purpose of scenographic practice as a methodology for investigating world feelings. I conclude with a call for a renewed political task of scenography and the value of this perspective for theatre makers, arts professionals and cultural geographers. https://www.rachelhann.com/publications/costume-scenographics monthly 0.5 2023-09-18 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1aed725e-b5c9-496e-896f-bf566f0768cd/costume-agency-rectangle_2023-06-12-175341_hxgb.png Publications - Costume Scenographics - Costume Agency (2023) What do costumes do? I ask this question with two positions in mind. First, I am interested in how costumes produce a sense of atmosphere, occasion, or event. Second, I propose that costuming as a socio-material technology orientates feelings of world. The first position is more straightforward than the second, but, as I will argue, are inextricability connected. My inspiration for this discussion proceeds from my experiences as part of the Costume Agency workshops in August 2021 at the Oslo National Academy of the Arts (KHiO). My encounters with performances by costume artists such as Sally E Dean, Snezana Pesic, Lotta Barlach, Berit Haltvik and Jenny Hilmo Teig are formative to what follows. Indeed, I have written this chapter as a thought experiment in reply to what their costumes did; how they affected, orientated, and acted upon/with me. I was stuck by how these costume performances felt, over-and-above what they ‘looked like’. Accordingly, I now seek to rethink the established orthodoxies of costume – as simply visually codified, ‘symbolic dress’ – to argue costume as a technology. I propose that the techniques and cultural frames of costume change, transform, or irritate felt relationships between humans, nonhumans, and everything in-between. In an era of climate crisis as well as the cultural instability of social categories (whether gender, race, sexuality etc.), my aim for this thought experiment to unpack the underwritten felt place orientating traits of costume. I name these ‘costume scenographics’. https://www.rachelhann.com/publications/gender-assemblages monthly 0.5 2023-09-06 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1675101464693-ZDIFLV4AWK9CHZ8XQHPP/Figure+1.jpg Publications - Gender-Assemblages: The Scenographics of Sin Wai Kin</a> - Image: Sin Wai Kin (2019) Narrative Reflections on Looking https://www.rachelhann.com/publications/ada-m-patterson-interview monthly 0.5 2023-11-08 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/e1c8d1c3-68bf-475e-98bf-5eeca479cad9/ada2.jpeg Publications - Ada M. Patterson – in conversation with Rachel Hann - Image:Ada M. Patterson, Buchibushi (2019), performance, digital video. Photo: Sharelly Emanuelson. Courtesy: the artist & Copperfield, London. https://www.rachelhann.com/publications/the-new-meyerhold-theatre monthly 0.5 2023-09-06 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1675101744068-J816ZKWSMRCHOG7K693A/Fig+3.png Publications - The New Meyerhold Theatre: Visualising A Lost Architectural Experiment - The Routledge Companion to Vsevolod Meyerhold (Routledge, 2022) In 1938 the construction of a new theatre in Moscow conceived by the Russian theatre director Vsevolod Emilyevich Meyerhold (1874–1940) was abandoned. This chapter charts the findings of a research project that examined Meyerhold’s lost architectural experiment using computer-based 3D visualisation as a research method. The overall aim is to offer a record of the decision-making processes inherent within the practice of visualising an unrealised architectural project. Focused on the practical implications had the project been realised, the processes of archival research and visualisation were undertaken simultaneously by the author (as both modeller and researcher) and the resulting images are presented as a ‘platform’or ‘document’for interpreting the surviving source material: from Meyerhold’s writings and the influence of this previous scenographic work, to incomplete architectural drawings and written … https://www.rachelhann.com/publications/onatmospherics monthly 0.5 2023-08-15 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1675101991151-10HDTSFF0KCETGGUQYIB/Staging+Stormzy.jpg Publications - On Atmospherics: Staging Stormzy and nonbinary thinking - Ambiances (2021) Taking the UK Grime artist Stormzy’s performance at Glastonbury 2019 as a case study, this article investigates the tactics, technologies and processes revealed through the act of staging atmospheres. Process-based philosophies of experience, such as pluriversal design and worlding, are adopted to examine the ontologically ‘nonbinary’ perspectives that an atmosphere-led stage aesthetics invite. Methodologically, Stormzy’s headlining act produced by TAXBOX and collaborators is analyzed through the geographer Derek McCormack’s approach to speculative devices (such as balloons or stage sets) as ‘doing atmospheric things’. This includes an analysis of stage atmospheres as indeterminate ‘worlding envelopes’ and the role of atmospherics in enacting, projecting, or affirming possible worlds for Black British culture. McCormack’s proposal of atmospheric envelopment is extended into the study of theatre and performance by positioning ‘scenographics’ as a type of atmospherics. Put simply, this article offers an initial argument for considering the tactical affects of scenographics within the production of atmospherics. The article concludes with a challenge to category-based (binary) stage ontologies and argues the benefits of atmospherics as a process-based (nonbinary) approach to stage aesthetics. https://www.rachelhann.com/publications/afterword-how-to-celebrate monthly 0.5 2023-08-25 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1692100351965-SV0JB7INIU3P3M4MHK3N/Screenshot+2023-08-15+at+12.49.40+%282%29.png Publications - Afterword: How to celebrate - Tanja Beer, Ecoscenography: An Introduction to Ecological Design for Performance This afterword for Tanja Beer’s book Ecoscenography reflects on the notion of ‘celebration’ as replacing ‘production’ in scenographic work cycles. The question I now ask is not why ecologically grounded scenographic practice should be embraced, but rather how. How can theatre and performance celebrate the interweaving of humans, things and places? By way of an afterword for this book and as a provocation to future practitioners, I offer three replies to this question: · Empty space is a colonial concept. · Health is a criterion for scenographic practice. · Design for the feelings that have no name. Each of these are offered as wayfinders to help negotiate the complexities of living with a climate changed world. Yet, also to embrace the next fifty years as a period unpresented creativity, experiment, and of celebrating human interdependence with worlds that sustain, care, and weather uncertain futures. https://www.rachelhann.com/publications/sports-wear-performs monthly 0.5 2023-09-04 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1692100702582-TG0HK1BH01MBGMGQATDI/Screenshot+2023-08-15+at+12.57.37+%282%29.png Publications - Sportswear Performs</a> - Sports Plays (Routledge, 2021) Section introduction on Sports Equipment. The contributors to this section on Sports Equipment engage with the gendered, political, and material dimensions of sport—with a particular focus on sportswear (extending to the places and practices of preparing bodies for sport). This introduction has been written as a selected guide to critical lenses that might aid a reading of the chapters. The term ‘equipment’ is taken to be inclusive of a range of technologies that perform alongside and with human bodies, not least clothing. Performers have long known that costume practices exceed a purely aesthetic dimension (of what it looks like), or as actor trainer Stella Adler put it, ‘what you put on affects you inside. Whether the fit of a hat or the flow of a dress, these costumed relations can alter an individual's performance. Athletes know this same relationship. To perform in a certain way again and again, requires a bodily preparation that is inclusive of the clothes worn. https://www.rachelhann.com/publications/staging-trans-feelings monthly 0.5 2023-11-08 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/dee6c570-92ba-40ba-9cb0-e034216d2e2f/Webp.net-resizeimage-6.jpg Publications - Staging Trans Feelings: tactical atmospherics and cisgenderism in We Dig (2019) - Image: We Dig (2019) by None of Us Is Yet a Robot https://www.rachelhann.com/publications/painting-scenographics monthly 0.5 2023-09-06 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1675102116275-KP9LRP0UZXMT2YFU17AF/silke-otto-knapp-in-the-waiting-room-uas-010-corrected.jpg Publications - Painting Scenographics</a> - Silke Otto-Knapp: In the Waiting Room (Chicago Press, 2021) My starting point for this essay is a simple premise: that paintings orient feelings of world. This follows the idea that paintings afford access to the feel of other places. Paintings connect different senses of world together. Paintings orient physically as well as emotionally. Accordingly, I ask can these place-orienting traits of paintings be understood as in some way “scenographic”? Silke Otto-Knapp’s paintings regularly take the stage environment as their subject. Notably, her 2017 exhibition at Midway Contemporary Art (Minneapolis) was titled “Bühnenbilder”, which is often translated as “stage designer.” Yet I suggest that Otto-Knapp’s paintings also evoke a quality of scenography, by which I mean the multiple methods used to evoke atmospheres of place in theatrical performances, such as set, light, sound, or costume. Silke Otto-Knapp’s paintings could be seen to represent stage environments. But at the same time, one could argue that, as with the stage environments they evoke, her paintings enact a feeling of place that others, complicates, and reveals normative orders of place. This is my starting point for proposing “painting scenographics.” https://www.rachelhann.com/publications/at-the-borders-of-scenography monthly 0.5 2023-09-07 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1692100483424-AGC85TITRKEYZ57DXDB4/9781350204447.jpeg Publications - At the borders of scenography - Scenography and Art History: Performance Design and Visual Culture (Bloomsbury, 2021) Foreward for Scenography and Art History introducing how to approach scenography as a crafting of borders. I always feel that scenography works best at a border. If you arrive to this book as an art historian, border thinking is one key for unlocking its potential for art history. Indeed, I encourage you to think of scenography as the crafting of borders. Whether in terms of disciplines or materialities, scenography weaves border feelings by highlighting the intersection of distinct stagecrafts, media, and ontological spillages between the politically contrived and ‘the real’. In doing so, it leans on a cross-disciplinary range of subjects, techniques and processes that exceed the institutional contexts of theatre. Historically, scenographic practice has been conceptualized as a lesser form of architecture, akin to a potemkin village or painted backdrop, that serves only to communicate a preexisting message. Contemporary approaches to scenography embrace a more holistic account of how the combination of materiality, light, scent, or even temperature evoke feelings of place. The interface of scenography and art history provides an apt context from which to re-map and re-think the underlying borders and anti-theatrical biases that frame scenographic cultures. Whether the critical possibilities of a stage set or the multi-sensory experiences of gardens, I encourage you to consider how scenographic techniques are present in a range of staged material cultures that intervene, irritate or complicated normative flows of space and place. https://www.rachelhann.com/publications/modelling-kieslers-endless-theatre-approaches-to-paradata-for-heritage-visualization monthly 0.5 2023-08-17 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1675274513734-TN85WMP0XA1LVXIXKMZO/Figure+1.jpg Publications - Modelling Kiesler’s Endless Theatre: approaches to paradata for heritage visualization https://www.rachelhann.com/publications/notes-on-beyond-scenography monthly 0.5 2023-08-17 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1692102002133-LQ4Y2398MI45PP9GI2P6/cover_issue_3935_pt_BR.png Publications - Notes on Beyond Scenography - Cena, 2020 This essay in English and Portuguese documents the lecture ‘Scenographic Futures’, presented as part of the session PQ TALKS, at PQ 2019, a position statements called ‘Changing the Question’is presented to reflect if rather than asking what is scenography, now the question is what does scenography do?. How scenography affects, channels, and orientate experiences of stage, place, and world. https://www.rachelhann.com/publications/justice-scenographics monthly 0.5 2023-09-06 https://www.rachelhann.com/publications/debating-critical-costume monthly 0.5 2023-08-23 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/90531bfa-4afd-434b-add5-b1d01d7fd7f2/Figure+1.jpg Publications - Debating critical costume: negotiating ideologies of appearance, performance and disciplinarity - Studies in Theatre and Performance (2019) In this article, I present an argument for a proposed focus of ‘critical costume’. Critical Costume, as a research platform, was founded in 2013 to promote new debate and scholarship on the status of costume in contemporary art and culture. We have now hosted two biennial conferences and exhibitions (Edge Hill University 2013, Aalto University 2015). These events have exposed an international appetite for a renewed look at how costume is studied, practised and theorized. Significantly, Critical Costume is focused on an inclusive remit that is interdisciplinary and supports a range of ‘voices’: from theatre and anthropology scholars to working artists. In that regard, I offer an initial argument for how we might collectively navigate this interdisciplinary field of practice with reference to other self-identified critical approaches to art and design. By focusing on an interdisciplinary perspective on costume, my intention is to invite new readings and connections between popular practices, such as Halloween and cosplay, with the refined crafts of theatrical and film professionals. I argue that costume is a vital element of performance practice – as well as an extra-daily component of our social lives – that affords distinct methods for critiquing how appearance is sustained, disciplined and regulated. I conclude by offering a position on the provocation of critical costume and a word of caution on the argument for disciplinarity. https://www.rachelhann.com/publications/interview-with-rachel-hann monthly 0.5 2023-08-17 https://www.rachelhann.com/publications/beyond-scenography monthly 0.5 2025-11-26 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1675101352599-WBP01XVD53HAY4VCLDUN/largepreview.png Publications - Beyond Scenography - Monograph - Routledge 2019 Translations available: Romanian - Presa Universitară Clujeană 2025 Focused on the contemporary Anglophone adoption from the 1960s onwards, Beyond Scenography explores the porous state of contemporary theatre-making to argue a critical distinction between scenography (as a crafting of place orientation) and scenographics (that which orientate acts of worlding, of staging). With sections on installation art and gardening as well as marketing and placemaking, this book is an argument for what scenography does: how assemblages of scenographic traits orientate, situate, and shape staged events. Established stage orthodoxies are revisited - including the symbiosis of stage and scene and the aesthetic ideology of 'the scenic' - to propose how scenographics are formative to all staged events. Consequently, one of the conclusions of this book is that there is no theatre practice without scenography, no stages without scenographics. Beyond Scenography offers a manifesto for a renewed theory of scenographic practice for the student and professional theatrical designer. https://www.rachelhann.com/publications/costume-politics monthly 0.5 2023-09-06 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/ee4fd66d-dc5b-4c0a-a268-db84b9b7ce60/Screenshot+2023-08-15+at+13.32.19+%282%29.png Publications - Costume Politics - Shared Space: Music, Weather, Politics, 2016 Costume is subversive. It subverts the rules of a fashion system and exposes the theatricality of dress. Accordingly, the politics of costume are arguably a politics of ‘othering’: how the conscious subversion of appearance serves as an act of bodily estrangement. Yet, as evident in the Prague Quadrennial (PQ) tribes in June 2015, this othering is an active process that is undertaken equally by those engaged in the event of costuming and those who witness this act. Devised by exhibition curator Sodja Lotker, each PQ tribe was commissioned with an expected minimum of four individuals that were masked or costumed. Importantly, the group would take on a shared behavioural trait or characteristic when traversing a predetermined route through the centre of Prague, which included an underground train station and busy public squares. Each tribe would also interact directly with the inhabitants of Prague by spending 50Kč. Based on this broad outline, the PQ tribes were suitably diverse and focused on a range of different concerns. Some, such as Hideki Seo’s Jump!, evoked the logic and context of the fashion catwalk. Others, as exemplified by Simona Rybáková Swans, adorned costumes originally designed for theatrical performances. There were, however, a number of PQ tribes that aimed to enact or provoke an overtly political intervention: where the enactment of a tribe was a conscious act of rupture within the everyday flow of the city. Lotker’s call focused on this attribute most explicitly by noting that the PQ tribes ‘will install healing tribes on the weak points of the city of Prague to question everything’(Lotker 2014). These ‘weak points’ included … https://www.rachelhann.com/publications/practice-matters-arguments-for-a-second-wave-of-practice-research monthly 0.5 2023-08-14 https://www.rachelhann.com/publications/addressing-practice-introducing-a-new-section-for-stp monthly 0.5 2023-08-14 https://www.rachelhann.com/publications/editorial-critical-costume monthly 0.5 2023-09-06 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/75ef1800-e948-4a12-b4d7-e0da5980a86c/cclogo2bw.png Publications - Editorial: Critical Costume - Scene, 2014 Costume is critical. It is critical to making performance, critical to spectator- ship, critically overlooked within scholarship, notable when in crisis, and a means of critically interrogating the body. It is therefore critical that we discuss costume. Yet, it is equally imperative for costume to find appropriate meth- ods and frameworks to support new forms of practice. A critical discourse of costume aims to promote new questions and scholarship on the intersec- tions between body, design and performance. This is the concern of critical costume. Investigations formulated under the banner of critical costume aim to debate the purpose, usages and implications of costuming as a social, artistic and craft-based phenomenon. Costume and the study of dress in performance remains a nascent area of academic enquiry. In the absence of a significant canon of literature or established methods for costume enquiry, researchers working within this field are applying pre-existing methods and theoretical frameworks, as well as pioneering new approaches, in order to debate the critical and practical distinctions between body, design and performance. Performance designer Dorita Hannah echoes this line of thought as she argues that ‘it is high time we do speak of how design elements not only actively extend the performing body, but also perform without and in spite of the human body’ (Hannah and Mehzoud 2011: 103). Critical costume is a response to this call for action, for new scholarship, for new practices and for a renewed appraisal of performing bodies. https://www.rachelhann.com/publications/blurred-architecture-duration-and-performance-in-the-work-of-diller-scofidio-renfro monthly 0.5 2023-08-23 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1692025396348-A9EMTB2R7VX9XFOG4M5X/Blur-Building-DillierScofidioRenfro_18.jpg Publications - Blurred Architecture: Duration and performance in the work of Diller Scofidio + Renfro - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.rachelhann.com/publications/the-theatre-has-left-the-building-exploring-the-future-of-theatre-and-performance-architecture monthly 0.5 2023-08-14 https://www.rachelhann.com/publications/dwelling-in-light-and-sound monthly 0.5 2023-09-06 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1692024816756-RDG9ZMW26E5XEUEG942Q/Mentzos01.jpg Publications - Dwelling in light and sound: An intermedial site for digital opera - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.rachelhann.com/publications/phd-thesis monthly 0.5 2023-08-21 https://www.rachelhann.com/publications/hellerau-returned monthly 0.5 2023-08-15 https://www.rachelhann.com/publications/category/Scenographics monthly 0.5 https://www.rachelhann.com/publications/category/Articles monthly 0.5 https://www.rachelhann.com/publications/category/forewords monthly 0.5 https://www.rachelhann.com/publications/category/short+form monthly 0.5 https://www.rachelhann.com/publications/category/Nonbinary monthly 0.5 https://www.rachelhann.com/publications/category/Book monthly 0.5 https://www.rachelhann.com/publications/category/Costume monthly 0.5 https://www.rachelhann.com/publications/category/practice+research monthly 0.5 https://www.rachelhann.com/publications/category/PhD+Thesis monthly 0.5 https://www.rachelhann.com/publications/category/Scenography monthly 0.5 https://www.rachelhann.com/publications/category/climate+crisis monthly 0.5 https://www.rachelhann.com/publications/category/Books monthly 0.5 https://www.rachelhann.com/publications/category/Atmospherics monthly 0.5 https://www.rachelhann.com/publications/category/transness monthly 0.5 https://www.rachelhann.com/publications/category/Open+access monthly 0.5 https://www.rachelhann.com/publications/category/digital+practice monthly 0.5 https://www.rachelhann.com/publications/category/architecture monthly 0.5 https://www.rachelhann.com/themes daily 0.75 2025-01-08 https://www.rachelhann.com/themes/scenographics monthly 0.5 2025-01-08 https://www.rachelhann.com/themes/transness monthly 0.5 2024-08-01 https://www.rachelhann.com/themes/costume monthly 0.5 2024-08-01 https://www.rachelhann.com/themes/architecture monthly 0.5 2023-08-21 https://www.rachelhann.com/themes/climate-crisis monthly 0.5 2024-08-01 https://www.rachelhann.com/themes/atmospherics monthly 0.5 2024-08-01 https://www.rachelhann.com/themes/practice-research monthly 0.5 2023-08-21 https://www.rachelhann.com/themes/digital-humanities monthly 0.5 2023-08-21 https://www.rachelhann.com/home daily 1.0 2025-02-03 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/be102988-c45f-4670-8e25-e93d89bcd64b/Rachel+Hann+Profile+Image+no+one+has+permission+to+reproduce+V1.png https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1675101352599-WBP01XVD53HAY4VCLDUN/largepreview.png https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/dee6c570-92ba-40ba-9cb0-e034216d2e2f/Webp.net-resizeimage-6.jpg Home https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1675101991151-10HDTSFF0KCETGGUQYIB/Staging+Stormzy.jpg Home https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1692100351965-SV0JB7INIU3P3M4MHK3N/Screenshot+2023-08-15+at+12.49.40+%282%29.png Home https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1692102002133-LQ4Y2398MI45PP9GI2P6/cover_issue_3935_pt_BR.png Home https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/b4576a10-a1b8-44af-9224-9b1377bad01c/texture-1264022_1280.jpeg Home https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/b4576a10-a1b8-44af-9224-9b1377bad01c/texture-1264022_1280.jpeg Home https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1692024661373-ZT6ZYIJYN94MK86QPTKP/Dittrich01.jpg Home https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1713786955509-D1KF8LM1DVXG38O9I6C1/IMG_8617.jpg Home https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/1719414170011-EZVJSH7OJLHTUKAVRY1M/Figure+3.jpeg Home https://www.rachelhann.com/about daily 0.75 2025-10-01 https://images.squarespace-cdn.com/content/v1/63d7fe813039dd190eb66e82/292d163d-54ce-42b8-af42-64f42a57cc68/Rachel+Hann+Profile+Image+no+one+has+permission+to+reproduce+V2.png https://www.rachelhann.com/contact-us daily 0.75 2024-06-28