Dissertations / Theses on the topic 'Theaters – Stage-setting and scenery – Germany'
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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.
Full textAdkins, 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.
Full textBradfield, 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.
Full textGunther, Jan-Stefan. "The flexible, low-tech environment : a kit of simple architectural elements." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1231349.
Full textDepartment of Architecture
Snider, Jesse Rhea. "Desire Lines: Dérive in Heterotopias." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248523/.
Full textBarrus, 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.
Full textviii, 176 leaves : col. ill. ; 29 cm
O'Connor, Lorney Roland. "Directing and designing Shakespeare's The Tempest." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2581.
Full textBrunner, Stefan H. "An evening of American operas : an architectural approach to design." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/933458.
Full textDepartment of Architecture
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.
Full textBorn 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
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.
Full textThe 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.
Lash, Alexander Keith Paulsson. "Doors, Noises, and Magic Hats: The Tools of Spatial Representation on the Seventeenth-Century Stage." Thesis, 2019. https://doi.org/10.7916/d8-p22b-bd44.
Full textDonaldson-Selby, Susan Jeannette. "The craft of scenic illusion : an investigation into how theatre space and dramatic genre influence the scenographic process, with specific reference to Greg King's set designs for Aladdin (2007), Oleanna (2008), and the Wizard of Oz (2008)." Thesis, 2012. http://hdl.handle.net/10413/9836.
Full textThesis (M.A.)-University of KwaZulu-Natal, Durban, 2012.
Kara, Ewa. "Beyond the Music: The Contemporary Operatic Scenography of Robert Wilson, Achim Freyer and Karl-Ernst Herrmann." Thesis, 2015. https://doi.org/10.7916/D8DN443T.
Full textHo, Shin-Jung 1974. "Multimodalities and dramatic imaginations in mise-en-scène communication." Thesis, 2007. http://hdl.handle.net/2152/3252.
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Clelland, Cathie Margaret. "More than just tricks : the implications for stage design of Tennessee Williams' notion of 'plastic theatre'." Phd thesis, 2012. http://hdl.handle.net/1885/151341.
Full textYannacci, Christin Essin. "Landscapes of American modernity: a cultural history of theatrical design, 1912-1951." Thesis, 2006. http://hdl.handle.net/2152/3444.
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