The origins of the term ‘scenography’ are associated with both scene painting and architectural perspective drawing. In the twentieth century the term has gradually gained currency by drawing attention to the way stage space can be used as a dynamic and ‘kinaesthetic contribution’ to the experience of performance. This suggests a difference in intention from the static and pictorial scene design of previous centuries. Architect and scenographer João Mendes Ribeiro says that scenography is concerned primarily with the ‘inhabitability of the space’; that is, the creation of spaces with which performing bodies can interact: ‘The scenographic concept, as currently understood by the majority of artists, is a far cry from the pictorial two-dimensional scenography and focuses much more on the three-dimensional (architectural) nature of the space or the scenic object and its close relationship with the performers.’ Contemporary use of the term has also been influenced by the work of theatre designers such as Josef Svoboda. His concern with the actualisation of a play rather than the decoration of the stage underlines the need to consider scenography as a component of performance: ‘True scenography is what happens when the curtain opens and can't be judged in any other way.’