Relevant bibliographies by topics / Theaters – stage-setting and scenery – dictionaries

Academic literature on the topic 'Theaters – stage-setting and scenery – dictionaries'

Author: Grafiati
Published: 27 July 2024
Last updated: 30 July 2024

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Dissertations / Theses on the topic "Theaters – stage-setting and scenery – dictionaries"

1

Lee, Jun-yu Phoebe, and 李俊妤. "Balcony romance: stage distance andclosure." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B36763159.

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Adkins, David A. "Scenic Design for Alan Ayckbourn's Taking Steps." Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/AdkinsDA2003.pdf.

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Bradfield, Howard. "Performance design : the Western Australian Opera Company's contribution to performance design 1968-1997." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/355.

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During the span of thirty years from 1968 - 1997 the Western Australian Opera Company grew from its infancy into a major regional performance group. Its significant contribution to the local entertainment industry is not solely the presentation of opera but also its support and fostering of technical theatre training in Western Australia.
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Gunther, Jan-Stefan. "The flexible, low-tech environment : a kit of simple architectural elements." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1231349.

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This creative project focuses on the research, planning, design and field-testing of a kit of basic architectural elements that can be used to build simple spaces and small constructions. These elements are reusable, easy to handle, and allow for a nearly infinite number of configurations.The environment in which the system was developed is a setting of an improvisational outdoor theatre, called 'Live-Action-Role-playing-Games'- (LARP). Therefore the system does not provide a high quality indoor space, but rather focuses on the critical requirements of theatrical stages, such as flexibility, ease of erection and variety. Additionally, the system dealt with the pragmatic issues of affordability and cost-effectiveness.The design process commenced with great attention being paid to the very special requirements of LARP and attempting to test initial assumptions. It included two surveys of LARP participants and use of charrettes to incorporate users input into the design process. Prototype elements were then constructed and field-tested during a full-scale replication of an actual LARP-event over afour-day testing period.Following this an evaluation was made, lessons were learned, and the information gained was incorporated in to the final design.This document then records the entire design process and concludes with extensive documentation of the system.
Department of Architecture
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Snider, Jesse Rhea. "Desire Lines: Dérive in Heterotopias." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248523/.

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This study provides an examination and application of heterotopic dérive, a concept that combines spatial theories originated by Foucault and psychogeographical methods advocated by the Situationists, as enacted within theatrical performance spaces. The first chapter reviews theories related to space, place, and heterotopias, as well as the psychogeographical methods of the Situationists, particularly the dérive. The literature review is augmented with accounts of my experiences of serendipitous heterotopic dérive over a period of several years as a cast member in, or a technical director for, theatrical productions in the Department of Communication Studies Black Box Theatre. Based on the review, I postulate that heterotopic dérive is a potentially valuable phenomenon that performance studies scholar/artists can utilize consciously in the rehearsal process for mounting theatrical performances. To test this proposition, I worked collaboratively with a theatrical cast to craft a devised performance, Desire Lines, with a conscious effort to engender heterotopic dérive in the process of creating the performance. This performance served as the basis for the second chapter of the study, which analyzes and discusses of the results of that investigation. This project enhances understanding of the significance of the places and spaces in which performers practice their craft, and argues for the potential of recognizing and utilizing the agency of heterotopic spaces such as the Black Box.
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Barrus, David W. "Hamlet : the design as process." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Theatre and Dramatic Arts, c2012, 2012. http://hdl.handle.net/10133/3389.

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This thesis represents the written portion of the Degree Requirements of the Master of Fine Arts in Theatre Design. The Thesis production of HAMLET, by Wm. Shakespeare (edited by Brian C. Parkinson), was the University of Lethbridge Department of Theatre and Dramatic Arts third show of the 2011 – 2012 Mainstage Theatre season, running February 14 – 18, 2012, performed at the University Theatre in the University of Lethbridge Centre for the Arts, Lethbridge, Alberta. HAMLET was directed by Brian C. Parkinson, with the assistant direction of L. Jay Whitehead and Yvonne Mandel. Contained within this written portion of the thesis is a discussion of the design concepts for this production, along with photographic records of models, technical drawings, and other pertinent information.
viii, 176 leaves : col. ill. ; 29 cm
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O'Connor, Lorney Roland. "Directing and designing Shakespeare's The Tempest." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2581.

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The purpose of this project is to assess the production level one person can achieve when directing, designing, and managing all aspects of a major theatrical production. It will identify strategies and techniques which are crucial for success in the areas of theatrical design and management.
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Brunner, Stefan H. "An evening of American operas : an architectural approach to design." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/933458.

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Considered apart from the concrete; general; theoretical; hence, difficult; ideal. 2. A summary of epitome; a generality, in law, a compendium; in logic, an abstract idea or term; in grammer, an abstract noun, as virtue, goodness, etc.*
Department of Architecture
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Chuzeville, Sylvain. "Vie, œuvre et carrière de Jean-Antoine Morand, peintre et architecte à Lyon au XVIIIe." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20076/document.

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Né en 1727 à Briançon, Jean-Antoine Morand a 14 ans lorsqu’il se lance, suite à la mort de son père, dans une carrière artistique. C’est à Lyon qu’il s’installe et fonde, en 1748, un atelier de peinture. Il reçoit des commandes officielles et privées, travaille régulièrement pour la Comédie, se spécialise dans la peinture en trompe-l’œil et la scénographie, y compris les machines de théâtre. À la fin des années 1750, encouragé par Soufflot, il se tourne vers l’architecture et l’embellissement, ainsi que l’y disposent différents aspects de sa première carrière.Architecte autodidacte, Morand souffre d’un déficit de légitimité et tente d’y remédier en recherchant la reconnaissance publique. Mais ses succès, en particulier la construction à titre privé d’un pont sur le Rhône, n’y suffisent pas. La carrière de Morand est tiraillée entre fierté entrepreneuriale et appétence institutionnelle. Son image pâtit de l’opposition entre spéculation foncière et promotion du bien public. Cela concerne en particulier son grand œuvre, un projet d’agrandissement de Lyon sur la rive gauche du Rhône, compris dans un plan général donnant à la ville la forme circulaire.Morand a peu construit et il ne subsiste presque rien de son œuvre pictural. On dispose en revanche d’un fonds d’archives privé d’une grande richesse, sur lequel s’appuie cette thèse, afin de mettre au jour les intentions, les relations et la psychologie d’un architecte autrement méconnu
Born in 1727, Jean-Antoine Morand is 14 years old when he embraces an artistic career, following his father’s death. Having settled down in Lyon, he establishes his own painter’s workshop in 1748. Receiving public and private commissions and working for the theatre on a regular basis, he specializes in trompe l’œil painting and stage-setting, including machinery. In the late 1750s, spurred on by Soufflot, he turns to architecture and city-planning, as various aspects of his previous career could have prompted him to.As an autodidactic architect, Morand suffers from a lack of legitimacy against which he pursues public recognition. But his successes, which include the building of a privately-owned bridge across the Rhône, aren’t enough. Morand’s career is torn between entrepreneurial pride and his longing for tenure. His public image is marred by the alleged opposition between land speculation and the defense of public good. This concerns mostly his great work, a project for the extension of Lyon on the left bank of the Rhône, included in a circular general city plan.Morand hasn’t built much and very little remains of his pictorial work. This thesis is based on an extensive private archive that allows us to explore this otherwise unsung architect’s intentions, relations and psychology
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Bezuidenhout, Pieter Andries. "A comparative study of institutions involved in the training of scenic artists." Thesis, 2010. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1000375.

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Thesis (MTech. degree in Performing Arts) -- Tshwane University of Technology. 2010.
The training of students for the technical side of the Entertainment Industry in South Africa is not something that has been with us for many years. It is only for the last 33 years that an institution, the then Technikon Pretoria, started a course that trains Scenic Artists in South Africa. Not many institutions are training Scenic Artists in South Africa, and the current Department of Entertainment Technology has always been the leader in this field. In the United Kingdom, training students as Scenic Artists has been part of their programmes for the last ninety years. One finds that there is a demand for training Scenic Artists in the United Kingdom, because of the size and complexity of the Entertainment Industry there. During the Apartheid era, South Africa was excluded from the International scene, so the demand did not really exist here for a number of years. Lately, the Entertainment Industry in South Africa has picked up momentum and expanded its borders immensely, and this has created a great demand for trained Scenic Artists in South Africa. Today one can proudly say that one is part of an industry that trains people as Scenic Artists in South Africa that contributes to the global Entertainment Industry. The Scenic Artists who completed their studies at TUT are employed nationally and internationally, and deliver a very high standard of work on the most impressive projects. During the research that was done between the Tshwane University of Technology in South Africa and the Rose Bruford College and Guildhall School of Drama and Music, both in the United Kingdom in London, one can see that there are no major differences between the three institutions. Each institution has its own methodology, but at the end, all are working towards one goal, and that is to train the best Scenic Artists possible. The differences that present it are in the course structure, available facilities and the amount of staff allocated to do the training.
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Books on the topic "Theaters – stage-setting and scenery – dictionaries"

1

Listovskiĭ, V. V. V spektakle uchastvuet tekhnika--: Tekhnika st︠s︡eny i pravila ee ėkspluatat︠s︡ii, slovarʹ-spravochnik. Moskva: St︠s︡eny, 2009.

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Roy, Alain. Dictionnaire raisonné et illustré du theátre à l'italienne. Paris: Fondation Beaumarchais, 1992.

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Alain, Roy. Dictionnaire raisonné et illustré du théâtre à l'italienne. Le Méjan, Arles: Actes sud-Papiers, 1992.

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Ladj, Michel. Le lexique de la scène. Paris: Editions AS, 1998.

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C, Boulanger Norman, ed. Theatre backstage from A to Z. 4th ed. Seattle: University of Washington Press, 1999.

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Norman, Boulanger, ed. Theatre backstage from A to Z. 3rd ed. Seattle: University of Washington Press, 1989.

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J, Mikotowicz Thomas, and Aronson Arnold, eds. Theatrical designers: An international biographical dictionary. New York: Greenwood Press, 1992.

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(1995), Prague Quadrennial. Prague quadrennial of theatre design and architecture, 1995: Industry Palace, Výstaviště Praha 26.6-16.7.1995. Edited by Bílková Marie, Šrāmek Jan, and Divadelní ústav (Prague, Czech Republic). Prague: Published by Theatre Institute, 1995.

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Stephen, Peithman, and Offen Neil, eds. The stage directions guide to working back stage. Portsmouth, NH: Heinemann, 2000.

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10

Drábek, Pavel. Czech stage art and stage design. Brno: Masaryk University, 2011.

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You might also be interested in the extended bibliographies on the topic 'Theaters – stage-setting and scenery – dictionaries' for particular source types:
Dissertations / Theses Books
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