O processo de construção da identidade visual do espetáculo contemporâneo.
The role and methodology of communication design in constructing visual identity systems for contemporary theatre productions
x
Professionals related to theater, including stage directors, artistic directors, and communication directors
National and international communication designers with extensive experience in the field of theater
Final-year undergraduate students of Design and Graphic Production
Theater specialists and communication designers (some with academic roles)
| # | Name of Method | Research Phase | Research Approach | Researcher Role | Object of Study / Participants | N |
|---|---|---|---|---|---|---|
| 1 | Literature review | Exploratory | Qualitative | x | x | unspecified |
| 2 | Interview | Exploratory/Generative | Qualitative | x | Professionals related to theater, including stage directors, artistic directors, and communication directors | 6 |
| 3 | Interview | Exploratory/Generative | Qualitative | x | National and international communication designers with extensive experience in the field of theater | 8 |
| 4 | Workshop | Generative/Evaluative | Qualitative | x | Final-year undergraduate students of Design and Graphic Production | 120 |
| 5 | Expert panel | Evaluative | Qualitative | x | Theater specialists and communication designers (some with academic roles) | 8 |
Knowledge Exchange (PhD Process) Exchange with Academia
| IK&T | Academia | Design Practice | Society |
|---|---|---|---|
| Context | No | No | No |
| Vision | No | Yes | Yes |
| Means | No | No | No |
Communicate a clear overall artistic vision and specific design intentions to the designer so that the visual identity of the performance aligns with the director’s concept.
Maintain open and continuous communication with the designer throughout the production process, allowing questions, feedback, and shared discussion of ideas.
Share expectations regarding the image of the play, its dissemination, deadlines, budget, and formal production requirements so the designer can work within clear parameters.
Allow the designer enough creative freedom, space, and time to explore multiple visual approaches rather than forcing an early closure of the proposal.
Provide the designer with adequate resources, including access to texts, rehearsals, photographs, backstage visits, and detailed production information.
Maintain creative collaboration with the designer through meetings, brainstorming, and constructive dialogue, offering feedback while remaining open to adjustments.
Recognize and respect the designer’s expertise, trusting their ability to translate the artistic vision into an effective communication project.
Keep the communication team open to change by allowing design revisions and schedule adjustments as the production evolves and new needs emerge.
Communicate clearly with the artistic director from the beginning of the process and openly acknowledge blocks or dead ends when the current visual strategy is not working.
Be prepared to receive constructive feedback and adjust the work until the image fully satisfies the artistic vision and communication needs of the production.
Collaborate actively in all production meetings, contributing ideas and suggestions that support the overall success of the performance.
Remain flexible in dealing with last-minute changes, special communication needs, and adjustments throughout rehearsals and the run of the show.
Keep updated on current theatre-design trends, communication practices, technologies, and visual styles at both national and international levels.
Respect the artistic director’s vision throughout all phases of the design process, recognizing that design proposals will always be judged in relation to that vision.
Extend the study to smaller-scale theatrical contexts and local communities, where the relationships between design, institutions, and audiences may take different forms.
Carry out more interviews and deepen the study in segmented ways, focusing separately on theatre scale, designer typology, or collaboration typology.
Develop an Iberian comparative study between the Portuguese and Spanish cultural markets, especially cities such as Lisbon and Madrid or Porto and Barcelona, in order to identify processual and aesthetic convergences and divergences.
Map existing theatre educational programs and design workshops, then develop seminars, debates, and practical activities that teach design-for-theatre principles, visual representation techniques, and the use of tools and software.
Study the impact and practices of artificial intelligence in the visual construction of the play’s identity and in the unfolding of communication materials.
