The Scenography of Light and Movement in Duodrama Theatre: A Study of the Play The Last Turn

Abstract

This study examines the scenography of light and movement in the duodrama play The Last Turn, focusing on how visual elements construct dramatic meaning within a limited theatrical space. Using a semiotic approach, the research analyzes the dialectical relationship between lighting design and bodily movement as central components of theatrical expression. The study is structured into a preface introducing scenography, duodrama theatre, and the selected play, followed by two main sections devoted to the analysis of light and movement. The findings reveal that lighting exceeds its technical role and functions as a structural force in shaping dramatic space. Dim lighting creates an intermediate zone between visibility and obscurity, while selective illumination exposes superficial social appearances yet conceals deeper economic realities. The opposition between light and darkness emerges as a key dramatic principle symbolizing the conflict between truth and illusion. The study also demonstrates that bodily movement generates conflict on social, psychological, and symbolic levels. Actions such as jumping from the window condense class tension, while the contrast between movement and stillness embodies fear, anxiety, and emotional collapse. Stillness signifies paralysis and helplessness, whereas movement becomes associated with loss and the failed search for liberation. The study concludes that light and movement operate as interconnected semiotic systems that deepen the expressive power of contemporary theatrical performance.