The recent exhibition of British scenographers at the 2015 Prague Quadrennial of Performance Design and Space and at the Victoria and Albert Museum in London was aptly entitled "Make/Believe." As such, it has brought forth to the attention of the wider publics the task and accomplishment of the performance space designer, that is, the creative construction of a performance environment that is at once fictitious yet credible, ephemeral yet generating a firm belief in the durability of performing arts. Of course, it is up to scenography research to make the part of the “make” and of the “believe” in this remarkable feat and we are glad that our journal can contribute to this end.

The current issue of the journal includes an excerpt from Fabrizio Crisafulli’s enlightening study Active Light: Issues of Light in Contemporary Theatre (2013). Crisafulli’s works have been a constant inspiration for theatre artists and we are happy that we have been granted the permission to offer to all those interested in performing arts a glimpse into the practice and theory of this worthy successor of Adolphe Appia.

Also in this issue an essay by Irene Eynat-Confino on a topic that preoccupies both designers and directors who are challenged – should we say “overwhelmed”– by current innovative technologies, namely, the question of authenticity. Danuta Kuznicka brings us closer, in her article, to the sites where it all happens and, more to the point, where theatre performances can still make a difference. And J. Michael Walton brings us back to where it assumedly began, to ancient Greece and its influence on Gordon Craig.