Relevant bibliographies by topics / Theatre Architecture

Academic literature on the topic 'Theatre Architecture'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Theatre Architecture"

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Mohammadi, Banafsheh. "Of Architecture and Hope." Journal of the Society of Architectural Historians 81, no. 3 (September 1, 2022): 357–71. http://dx.doi.org/10.1525/jsah.2022.81.3.357.

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Abstract Of Architecture and Hope: The Citadel Theatre of Edmonton and the Cruel Optimism of a Bygone Petroleum Age explores how one of the largest theaters built in North America in the twentieth century represents a form of petroleum-driven “cruel optimism,” a concept introduced by Lauren Berlant. Drawing upon a wide range of primary sources from the City of Edmonton Archives, the Provincial Archives of Alberta, the University of Alberta Archives, and the private archives of the family of theater cofounder Joe Shoctor, Banafsheh Mohammadi provides a detailed analysis of the design and materials of the Citadel Theatre as a means of examining how they exemplify a distinctive twentieth-century form of petroleum-based aesthetics.
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Aronson, Arnold. "Architecture Against Theatre." PAJ: A Journal of Performance and Art 45, no. 1 (January 1, 2023): 108–12. http://dx.doi.org/10.1162/pajj_r_00650.

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Crossfield, Scott A. "Design thinking of the Multiform Theatre: A case study." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A210. http://dx.doi.org/10.1121/10.0011068.

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Multiform Theatres are perhaps the most complex theatres to design. They must support the artistic aspirations of musicians, actors, dancers, directors, designers, and visual and aural artists in one highly flexible, transformable space. A true Multiform Theatre seamlessly supports the creation of art through automated architecture altering the Artist/Audience relationship and adapting to the artist’s spatial needs, while providing adaptable technical and acoustic opportunities that inspire new artistic forms. When done right, the architecture itself becomes part of the artistic process. How does one space change from a 625-seat Concert Hall to a 350-seat Recital Hall to a 250-seat Proscenium Theatre to a laboratory for Immersive Environments, Research and Experimentation? Join Scott Crossfield, ASTC from Theatre Projects as he guides you through the design thinking behind the new Multiform Theatre at Brown University—a radical, one-of-a-kind theatre machine designed to inspire innovative new art making, enable unprecedented artistic collaboration and serve as a hub for performance at the Brown University.
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Mazalán, Peter. "Theatre Scenography of Architecture Objects." Slovenske divadlo /The Slovak Theatre 66, no. 1 (March 1, 2018): 41–51. http://dx.doi.org/10.2478/sd-2018-0003.

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Abstract Since the beginning of the 20th century theatre has developed a completely different form of expression tools. The development of architectural methods has reached the point where it is continually moving apart from its archetype to newer and newer intellectual encryption. The method of its creation and perception have been radicalised by means of new media to offer a greater extent of its own representation. Architecture in the context of our study will be represented by the scenography. Architecture will be explored in relation to a space and its inherent characteristics by means of heterotopy and synaesthesia. Space with its specific role becomes a sphere of imagination for the audience. The study does not consider the classical term of architecture as the building and scenography as a staging of decorative mise-en-scéne.
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Haslett, Rosalind. "Architecture and New Play Development at the National Theatre, 1907–2010." New Theatre Quarterly 27, no. 4 (November 2011): 358–67. http://dx.doi.org/10.1017/s0266464x11000674.

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In recent criticism a perceived dichotomy has emerged between ‘new writing’ and ‘new work’ for the theatre. In this article Rosalind Haslett contends that this dichotomy is often reflected in the infrastructure of theatre organizations and theatre spaces themselves. Thus ‘new writing’ is seen to refer to a literary process which takes place in a conventional theatre building, while ‘new work’ tends to occur in non-traditional forms and spaces. The relationship between non-conventional spaces and the performance work that might take place in them has received some critical attention, but there has been less exploration of the ways in which theatre architecture can inform the processes which surround new writing for the theatre. Tracing the history of the National Theatre in London back to its origins, long before it occupied a building of its own, Rosalind Haslett explores the relationship between the policies and processes taking place within the organization and the physical and architectural development of actualizing its building. She suggests that, if the layout of a theatre building has the power to influence the kind of work and the modes of production which take place within it, the activities of the individuals and organizations residing within such structures can also drive architectural change. Rosalind Haslett is Lecturer in Dramatic Literature at Newcastle University. Her research interests include dramaturgy and literature management, theatre architecture, and theatre history.
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Obracaj, Piotr. "Theatre architecture. A synthesis of arts in theatre." Czasopismo Techniczne 3 (2019): 51–62. http://dx.doi.org/10.4467/2353737xct.19.033.10207.

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Bellia, Angela, and Antonella Bevilacqua. "Rediscovering the Intangible Heritage of Past Performative Spaces: Interaction between Acoustics, Performance, and Architecture." Heritage 6, no. 1 (December 29, 2022): 319–32. http://dx.doi.org/10.3390/heritage6010016.

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The relationship between the shape and social use of Greek and Roman theatres has always been overshadowed by the technical and acoustic analyses of these performance spaces. Relevant ruins illustrate the relationship between performance typology, acoustics, and construction development of ancient theatres, which were mainly determined by the requirements of artistic venues. The music in tragedies and comedies, the dances, and the public speeches performed in the same places helped to shape the constructions according to the requirements of the events. In addition to the need to satisfy social and political interactions, the functions of musical performances and public speeches in theatres were maintained across generations so that they organically coexisted in both Greek and Roman times. This paper presents new insights into the relationships between sound and architecture, focusing on the case study of the Greek–Roman theatre of Katane and its evolution through the centuries. Architectural features have been described in terms of the social functions of the theatre rather than as mere results of geometric rules. A brief comparison with the neighboring odeion of Katane and other Greek–Roman theatres has been made regarding destination use.
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Fair, Alistair. "‘A new image of the living theatre’: the Genesis and Design of the Belgrade Theatre, Coventry, 1948–58." Architectural History 54 (2011): 347–82. http://dx.doi.org/10.1017/s0066622x00004093.

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When it opened in March 1958, the Belgrade Theatre, Coventry, was the first new professional theatre to be constructed in Britain for nearly two decades and the country’s first all-new civic theatre (Figs 1 and 2). Financially supported by Coventry City Council and designed in the City Architect’s office, it included a 910-seat auditorium with associated backstage facilities. Two features of the building were especially innovative, namely its extensive public foyers and the provision of a number of small flats for actors. The theatre, whose name commemorated a major gift of timber to the city of Coventry from the Yugoslav authorities, was regarded as the herald of a new age and indeed marked the beginning of a boom in British theatre construction which lasted until the late 1970s. Yet its architecture has hitherto been little considered by historians of theatre, while accounts of post-war Coventry have instead focused on other topics: the city’s politics; its replanning after severe wartime bombing; and the architecture of its new cathedral, designed by Basil Spence in 1950 and executed amidst international interest as a symbol of the city’s post-war recovery. However, the Belgrade also attracted considerable attention when it opened. The Observer’s drama critic, Kenneth Tynan, was especially effusive, asking ‘in what tranced moment did the City Council decided to spend £220,000 on a bauble as superfluous as a civic playhouse?’ For him, it was ‘one of the great decisions in the history of local government’. This article considers the architectural implications of that ‘great decision’. The main design moves are charted and related to the local context, in which the Belgrade was intended to function as a civic and community focus. In this respect, the Labour Party councillors’ wish to become involved in housing the arts reflected prevailing local and national party philosophy but was possibly amplified by knowledge of eastern European authorities’ involvement in accommodating and subsidizing theatre. In addition, close examination of the Belgrade’s external design, foyers and auditorium illuminates a number of broader debates in the architectural history of the period. The auditorium, for example, reveals something of the extent to which Modern architecture could be informed by precedent. Furthermore, the terms in which the building was received are also significant. Tynan commented: ‘enter most theatres, and you enter the gilded cupidacious past. Enter this one, and you are surrounded by the future’. Although it was perhaps inevitable that the Belgrade was thought to be unlike older theatres, given that there had been a two-decade hiatus in theatre-building, the resulting contrast was nonetheless rather appropriate, allowing the building to connote new ideas whilst also permitting us to read the Belgrade in terms of contemporary debates about the nature of the ‘modern monument’.
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Wang, Chen, and Heng Li. "Built Environmental Variations Between Regular and Imax Theatres." Open House International 43, no. 4 (December 1, 2018): 41–51. http://dx.doi.org/10.1108/ohi-04-2018-b0006.

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The movie substitutes such as home cinema, video on demand (VOD), and plasma televisions leaded to a declining attendance of patrons to movie theatres, which urged the invention of IMAX theatre to call movie lovers back to cinemas. Many cinemas plan to renovate their regular digital theatre auditoriums into IMAX theatre auditoriums, but there lack of study for built environmental variations between regular and IMAX theatres. Through the combination of a questionnaire survey and a case study on a leading cinema company in Malaysia, the Tanjong Golden Village Cinemas (TGV), this paper aims to identify the structural and architectural differences between regular digital theatre auditorium and IMAX theatre auditorium in the perspectives of acoustic and visual experiences. The most significant factor influencing the satisfaction of visualization in IMAX is “immersive of picture” followed by “sharpness of colour” and “feels as part of the picture”. The most significant indicators for audio experience in IMAX is “direction of object”, which enable an audience to trace the direction and position of an object on the screen without looking at it. The built environmental variations between regular and IMAX theatres in terms of screen, camera and projection methods, seating, architectural layout, wall design, and sound system arrangement were thoroughly compared in the case study.
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Pöhlmann, Egert. "Vitruvius De Architectura V." Greek and Roman Musical Studies 9, no. 1 (March 29, 2021): 157–74. http://dx.doi.org/10.1163/22129758-12341380.

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Abstract In Book 5 of De architectura, the main subjects of Vitruvius are the Roman and Greek theatre and their acoustic qualities, explained with the help of several Greek theories. Vitruvius tries to enhance them by introducing a system of assisted resonance. Following the Harmonics of Aristoxenus, he recommends equipping theatre buildings with ἠχεῖα of bronze or earthenware, with the aim of increasing the strength of the voices of actors. Archaeological evidence for such equipment is nonexistent. But in Eastern and Western churches, vessels under the floor and in the walls were found. The Western examples begin in Carolingian times, when De architectura became known again. Thus, there is a debate about whether or not the work of Vitruvius had an influence on Carolingian architecture. The ἠχεῖα of Vitruvius and the resounding vessels in churches work as Helmholtz-Resonators, the sound-absorbing effects of which were used in churches with high internal resonance, while their sound-reinforcing effects were the aim of the ἠχεῖα in theatres.
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Dissertations / Theses on the topic "Theatre Architecture"

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Miller, Laurie Kathleen. "Theatre of perception." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/21591.

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Weller, Samantha Joanne. "The Lake Theatre." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/53947.

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At the beginnings of this thesis, the importance was solely focused on the design of an independent multipurpose theater and the transitions between the public area and backstage. As the year and project progressed, it changed to become a realization and study of architectural experiences within a space. After choosing a site within the Snoqualmie National Forest in Seattle overlooking Lake Serene, decisions were made to design a theater that would not hinder the natural landscape but immerse the audience in it. Years of backpacking, camping, and hiking, I have personal experiences and memories of walking through the shafts of light shining through the canopies of the trees or feeling the dampness that sticks to clothes as you roam through the fog rolling off the mountains. The orientation and exterior choices were made as to not take away from an audience member's experience of the natural surroundings of the area. Blending the building within the mountain hides it from view as to not over take the landscape behind it, the bridge connects the two mountains to each other and the building itself creates an axis towards the lake. The movement through the lobby was designed as a natural progression towards the view as a canopy of timber surrounds the audience, mimicking the trees outside. How we perceive architecture is how we experience it. Creating a space that would not only flow with its natural environment but also have movement inside to assist each individual, whether it is a visitor, stagehand, technician, or performer was my end goal. Focusing my efforts on the visitor, I was able to learn the importance of moments and the simplicity of details. Taking ultimately what Juahani Pallasmaa is quoted saying that "the architectural experience calls for the senses of balance, movement, orientation, continuity, time, self, and existence."
Master of Architecture
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Garlick, Anna Gorel Gunvor. "Neoclassicism and English theatre architecture 1775-1843." Thesis, University of Exeter, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337725.

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Yau, Man-ching Cindy. "Redevelopment of State Theatre." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948118.

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Penfold, Timothy. "Storm warning: a theatre of atmospherics." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/19081.

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This document begins with a theory paper written in the first half of this year before moving on to images, charts, and graphs that have informed and inspired my project. It then offers answers to these fundamental questions relating to my chosen design project: Where? Why? What? and How? Before I move on to this, a brief description of the final design direction to locate the reader... The construction of a Theatre of Atmospherics located at the main breakwater of Cape Town harbour. This Theatre consists of four elements;, _a weather device; _a research facility for the South African National Antarctic Programme (SANAP); _a 'shifting' communal space for the research facility; and the theatre itself. The weather device is located at the end of the breakwater. It is a visual communicator that once again connects the people of Cape Town with the sea through its foreshadowing of the weather. The SANAP research facility is composed of office space, research labs, meeting spaces, conference facilities and a visitor centre and is located along , and protected by , the breakwater. The shifting communal space runs on tracks along the breakwater and is controlled by the ebb and flow of the tides. It is a resource centre for the research labs. During severe storm events it shifts to the landward end of the breakwater, closing it off to the public and activating the theatre. The above elements find a connector in the theatre. This is a space located at the entrance to the breakwater. It houses machinery (cogs, wheels, pulleys and ropes) that connect the weather device to the shifting communal space. It forms an entrance gateway to the breakwater which now becomes open to the public. The machinery forms a mechanical expression of the weather as registered by the weather device . During severe storm events the shifting communal space of the research facility gets pulled all the way to the theatre , closing the breakwater off whilst completing and activating the theatre. The theatre now becomes a stage to present all the work the SANAP researchers have been doing in Antarctica , displaying their findings to the public making them aware not only of the beauty and fragility of Antarctica , but also of its effect on the weather in Cape Town
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Grobbelaar, Leon. "New Royal Theatre : the Marabi Theatre as locus for cultural reproduction." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/29697.

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This dissertation investigates the role of architecture in the conservation of intangible heritage with specific reference to the ‘Marabi’ culture, a vibrant township culture unique to Marabastad in the North West of Pretoria which played a formative role in the development of South African popular culture from as early as the 1930’s. Due to the relocation of its citizens, the demolition of the Royal Theatre (together with the decommissioning of the Empire and Orient theatres) and the increasing effects of global cultural homogenization Marabastad has become dislocated from its cultural heritage. The principle aim of the dissertation is to re-introduce aspects of Marabastad’s cultural heritage within it’s current context. The proposal intends to revive historical cultural practices by re-establishing the physical loci that once hosted them, which in the context of Marabastad, are the The Royal, Empire and Orient theatres. The proposed intervention focuses specifically on the site of the Royal Theatre which was demolished in 1967. The project aims to (re)introduce a multi-form theatre on the site which will once again facilitate the cultural practices unique to the Marabi culture. The architectural response is informed primarily by the following: 1. The historical function of the ‘Marabi’ theatre as a multi-use, adaptable space that had to accommodate a variety of functions such as town hall, cinema, school, church hall, events venue, dancehall and theatre. 2. An analysis of the existing historical built fabric of Marabastad (which reveals a complex layering of thresholds). 3. Programmatic requirements: Multi-form theatre with shebeen, informal restaurant, recording studio and artist accommodation. 4. Amalgamation of performance space with public space within a historical meaning framework. 5. Response to contextual conditions, both current and proposed in the 2002 Aziz Tayob Meyer Pienaar Integrated Spacial Design Framework.
Dissertation (MArch(Prof))--University of Pretoria, 2011.
Architecture
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Söderin, Gudmar. "Dialogue Theatre : Encounter Two Sides of Society." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135512.

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Wessels, Anton. "STDC State Theatre dance centre." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-10122006-121626.

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Tamari, Mona V. (Mona Veronica) 1975. "A mobile theatre for Debussy's Pelléas et Mélisande." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/70349.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2002.
Includes bibliographical references (p. 98-99).
This thesis shows the possibilities of staging operas in unexpected yet accessible places. The location, no longer neutral, as most theaters try to be, becomes an important factor in each performance. It affects the development of the narrative, the relationship of the audience to the performance, and the technical requirements of the stage. Like the stage sets, musicians, and costumes that are renewed seasonally for the staging or an opera, the site and architecture constitute another, dynamic component in the creative process, while giving a new form and meaning to a familiar site. Three places in Tokyo are the site of the project: 1. an urban lot (Shibuya Ward, commercial and residential neighborhood) 2. an open riverbank (Tama River, Western Tokyo) and 3. an interior space (the glass hall lobby, Tokyo International Forum). The staging of one opera, Debussy's Pelléas et Melisande, provides the project's program.
Mona V. Tamari.
M.Arch.
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Keeling, Tom. "Architecture and Human Event: a Theatre for the Consortium." Thesis, Virginia Tech, 1999. http://hdl.handle.net/10919/45206.

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Architecture is an interaction, a marriage between human event, human need, human spirit and built form. Architects range along the line of this interaction from those that embrace the complexity of humanity and struggle with form to those that embrace only form and cause humanity to struggle with the results. Is it possible to stand in the center of the creative tension of this struggle, embracing and recognizing the power of built form to support, shelter, enliven, confront, uplift and even bring transformation, healing and poetic transcendence to the human event and therefore to life while simultaneously embracing the rich complexity, contradiction and paradox of human event which informs and interacts with the place of happening; to recognize and wed the power of both. This thesis is an exploration which questions the relationship of human event and the architectural response to that event. Perhaps it may serve to stimulate discussion of the vital bond between human beings and the places they design for themselves to inhabit.
Master of Architecture
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Books on the topic "Theatre Architecture"

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Clemente, Susanna. Reconstructing Theatre Architecture. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-89968-4.

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Rufford, Juliet. Theatre & Architecture. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-45115-6.

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Hertzberger, Herman. Chassé Theater Breda =: Theatre Breda. Rotterdam: Uitgeverij 010 Publishers, 1995.

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Read, Gray. Modern Architecture in Theatre. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137368683.

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Theatre Engineering and Architecture Conference. (1st 2002 London, England). Theatre engineering and architecture. London: Theatrical Events Ltd, 2004.

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Lee, Briant Hamor. European post-Baroque neoclassical theatre architecture. Lewiston: E. Mellen Press, 1996.

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Hilmera, Jiří. Česká divadelní architektura =: Czech theatre architecture. Praha: Divadelní ústav, 1999.

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1942-, Cole Robert Reed, ed. Joseph Urban: Architecture, theatre, opera, film. New York: Abberville Press, 1992.

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Architecture in words: Theatre, language and the sensuous space of architecture. New York: Routledge, 2006.

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Vlassēs, Dēmētrēs. Dēmētrēs Vlassēs: Architektonikē, design, glyptikē, theatro = Dimitris Vlassis : architecture, design, sculpture, theatre. Athēna: Ekdoseis Papazēsē, 1992.

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Book chapters on the topic "Theatre Architecture"

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Biet, Christian, and Christophe Triau. "Architecture." In What is the theatre?, 80–86. London ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429437137-6.

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Rufford, Juliet. "Architecture and mimesis." In Theatre & Architecture, 15–32. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-45115-6_2.

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Rufford, Juliet. "Theatre, architecture and illusion." In Theatre & Architecture, 47–67. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-45115-6_4.

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Rufford, Juliet. "Theatre and the tectonic." In Theatre & Architecture, 67–85. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-45115-6_5.

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Rufford, Juliet. "Introduction." In Theatre & Architecture, 1–14. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-45115-6_1.

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Rufford, Juliet. "From event-space to space acts." In Theatre & Architecture, 32–46. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-45115-6_3.

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Rufford, Juliet. "Conclusion." In Theatre & Architecture, 85–86. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-45115-6_6.

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Read, Gray. "Civic Debate: University Theatre." In Modern Architecture in Theatre, 101–16. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137368683_6.

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Fair, Alistair. "Towards a New Theatre Architecture." In Modern Theatres 1950–2020, 35–44. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-7.

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Read, Gray. "Introduction: Architecture as a Performing Art." In Modern Architecture in Theatre, 1–23. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137368683_1.

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Conference papers on the topic "Theatre Architecture"

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Yoon, Sounghoon. "Evaluation of Indoor Environment of a Lecture Theatre." In Architecture and Civil Engineering 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.89.30.

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Milicevic, Sladjana. "THE EMPTY SPACE IN THEATRE AND PSYCHOANALYSIS." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.054.

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Bevilacqua, Antonella, Francesca Merli, and Lamberto Tronchin. "Verdi theatre of Salerno: a deepening acoustic research." In 2021 Immersive and 3D Audio: from Architecture to Automotive (I3DA). IEEE, 2021. http://dx.doi.org/10.1109/i3da48870.2021.9610925.

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Scaroni, Carolina, Elisa Levi, and Edoardo Alessio Piana. "Virtual model and acoustic characterisation of the ancient Roman theatre in Brescia." In 2021 Immersive and 3D Audio: from Architecture to Automotive (I3DA). IEEE, 2021. http://dx.doi.org/10.1109/i3da48870.2021.9610960.

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Bevilacqua, Antonella, Francesca Merli, and Lamberto Tronchin. "Sound quality of the Valli theatre: standard outcomes and development of data presentation." In 2021 Immersive and 3D Audio: from Architecture to Automotive (I3DA). IEEE, 2021. http://dx.doi.org/10.1109/i3da48870.2021.9610845.

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Farina, Angelo, Antonella Bevilacqua, Lamberto Tronchin, and Nicoletta Dal Ronco. "Digitally acoustic reconstruciton of the Roman theatre of Verona at its orginal shape." In 2021 Immersive and 3D Audio: from Architecture to Automotive (I3DA). IEEE, 2021. http://dx.doi.org/10.1109/i3da48870.2021.9610965.

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Merli, Francesca, Gino Iannace, Antonella Bevilacqua, and Lamberto Tronchin. "The Roman theatre of Benevento: reconstruction of sound propagation with a multichannel microphone." In 2021 Immersive and 3D Audio: from Architecture to Automotive (I3DA). IEEE, 2021. http://dx.doi.org/10.1109/i3da48870.2021.9610964.

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Bevilacqua, Antonella, Francesca Merli, Angelo Farina, Enrico Armelloni, Adriano Farina, and Lamberto Tronchin. "3dof representation of the acoustic measurements inside the Comunale-Pavarotti Theatre of Modena." In 2021 Immersive and 3D Audio: from Architecture to Automotive (I3DA). IEEE, 2021. http://dx.doi.org/10.1109/i3da48870.2021.9610875.

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Bevilacqua, Antonella, Francesca Merli, Lamberto Tronchin, and Angelo Farina. "Acoustic measurements of the Roman theatre of Pompei by mapping the sound reflections." In 2021 Immersive and 3D Audio: from Architecture to Automotive (I3DA). IEEE, 2021. http://dx.doi.org/10.1109/i3da48870.2021.9610922.

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Smolin, Artem. "INTEGRATION OF INTERNET- AND MEDIA-TECHNOLOGIES AT THE NEW STAGE OF ALEXANDRINSKY THEATRE." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.039.

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Reports on the topic "Theatre Architecture"

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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