Stage design in the context of "Masque"

Mise-en-scène (French pronunciation: [miz ɑ̃ sɛn] ; English: "placing on stage" or "what is put into the scene") is the stage design and arrangement of actors in scenes for a theatre or film production, both in the visual arts through storyboarding, visual themes, and cinematography and in narrative-storytelling through directions. The term is also commonly used to refer to single scenes that are representative of a film.

Mise-en-scène has been called film criticism's "grand undefined term". Ed Sikov has attempted to define it as "the totality of expressive content within the image". It has been criticized for its focus on the dramatic design aspects rather than the plot itself, as those who utilize mise-en-scène tend to look at what is "put before the camera" rather than the story. The use of mise-en-scène is significant as it allows the director to convey messages to the viewer through what is placed in the scene, not just the scripted lines spoken and acted in the scene. Mise-en-scène allows the director to not only convey their message but also implement their aesthetic; as such, each director has their own unique mise-en-scène. Mise-en-scène refers to everything in front of the camera, including the set design, lighting, and actors, and the ultimate way that this influences how the scene comes together for the audience.

Alexandre (Alexander) Nikolayevich Benois (Russian: Алекса́ндр Никола́евич Бенуа́, romanized: Aleksandr Nikolayevich Benua; 3 May [O.S. 21 April] 1870 – 9 February 1960) was a Russian artist, art critic, historian, preservationist and founding member of Mir iskusstva ("World of Art"), an art movement and magazine. As a designer for the Ballets Russes under Sergei Diaghilev, Benois exerted what is considered a seminal influence on the modern ballet and stage design.