irina (ira) komissarova
European-based scenographer and meta-disciplinary artist (she, her)
In the context of theatre and the performing arts, the terms "set designer" and "scenographer" are often used interchangeably. This leads to confusion about the roles involved, even within the professional field. It's an issue that needs clarification.
"Scenography" describes a comprehensive approach to the study and practice of all aspects of design in performance. It includes not only scenic and set design but also lighting, sound, and costume design. Moreover, scenography can act as visual dramaturgy, engaging the audience through non-verbal storytelling.
After a decade as a set designer, I'm proud to describe myself as a visual artist with a broad background in all aspects of performing arts and experience creation.
I am a practicing scenographer, flexible by trade and autonomous in my own right.
My work focuses on creating immersive, site-specific experiences that operate close to, yet independently from, traditional theatre and performance.
As a scenographer, I engage with visual arts in a performance context, transcending the conventional boundaries of a designer's role.
I work both independently and collaboratively, partnering with other artists on principles of equality and mutual respect. This approach fosters creative growth and enriches our shared artistic endeavors and research.
formal bio.
European-based scenographer and meta-disciplinary artist, born in Moscow in 1989.
Her academic journey began with an unfinished degree in Interior and Environmental Design at the Institute of Contemporary Art in Moscow, where she studied for five years until 2011. Shifting her focus to theatre, she obtained a Bachelor of Arts in Scenography from the Vilnius Academy of Arts in Lithuania in 2014. In 2017, she attended the Summer Theatre Leader's School at the Meyerhold Theatre Art Centre, developing an alternative residency project for meta-disciplinary arts. She further honed her skills with a degree in Theatre Arts Technology from The Moscow Art Theatre School in 2022, before returning to scenography as an independent discipline.
Recently, she completed a Master of Arts in Scenography at the Norwegian Theatre Academy (2024) and began a traineeship at Gian Maria Tosatti studio in Naples.
Her work has been showcased at prominent venues including the Norwegian Museum of Science and Technology, Moscow Art Theatre, National Kaunas Drama Theatre, Klaipeda Drama Theatre, OKT/Vilnius City Theatre, Art Printing House, Old Vilnius Theatre, State Siauliai Drama Theatre, Juozas Miltinis Drama Theatre, and Mogilev Drama Theatre. Additionally, her work has appeared in public spaces across Ivangorod, Vilnius, Prague, Barcelona, Milan, Bergen, Piatra Neamț, and other cities.
info.
feel free to text me in english, lithuanian or russian click here
interviews.
publications.
ARTICLE for Magazine on questions of scenography, scenic technics and technology, architecture, education and management in the field of performing arts (© «Сцена», No4 (96) 2015).
«Pushkin’s Tales» by Robert Wilson
Irina Komissarova «How it was» Irina Komissarova, a young artist, who was present at the performance’s rehearsals, writes about the work on the performance, Wilson’s method, ways of constructing the artistic space and collaboration with Russian actors.
keywords: Theatre of Nations, Robert Wilson, Alexander Pushkin, Yevgeny Mironov, Darya Moroz, Seseg Hapsasova, Olga Lapshina, Alexander Stroyev, AJ Vassbard, Julia von Leliva, Manuell a Halligan.
http://the-stage.ru/upload/iblock/cfe/cfef5c5199f06bd80785d3fa55961ea5.pdf
(full version in Russian)
SCENOGRAFE. Storia della scenografia femminile dal Novecento a oggi by Anna Maria Monteverdi (© Dino Audino 2021)
This book about females in scenography contains a chapter about my collaboration with Oscaras Korshunovas / Chapitolo secondo. Registi/autori e scenografe (Italian language).
