Dissertations / Theses on the topic 'Theatre Architecture'
To see the other types of publications on this topic, follow the link: Theatre Architecture.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Theatre Architecture.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Miller, Laurie Kathleen. "Theatre of perception." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/21591.
Full text
2
Weller, Samantha Joanne. "The Lake Theatre." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/53947.
Full textAbstract:
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
3
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.
Full text
4
Yau, Man-ching Cindy. "Redevelopment of State Theatre." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948118.
Full text
5
Penfold, Timothy. "Storm warning: a theatre of atmospherics." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/19081.
Full textAbstract:
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
6
Grobbelaar, Leon. "New Royal Theatre : the Marabi Theatre as locus for cultural reproduction." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/29697.
Full textAbstract:
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
unrestricted
7
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.
Full text
8
Wessels, Anton. "STDC State Theatre dance centre." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-10122006-121626.
Full text
9
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.
Full textAbstract:
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.
10
Keeling, Tom. "Architecture and Human Event: a Theatre for the Consortium." Thesis, Virginia Tech, 1999. http://hdl.handle.net/10919/45206.
Full textAbstract:
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
11
Pollacia, Frank Wallace. "The memory theatre of Giulio Camillo : an investigation of architectural space." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/23434.
Full text
12
Jacobs, Ryan Patrick. "The Troupes of Theatre." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/91188.
Full textAbstract:
The art of theatre has been classified and critiqued as being a mimetic art which is different from architecture. The mimetic arts, such as the performing arts, occur in performance spaces concealed in the physical architecture of a theater building. This fixed location of the theatre has led to the elements of the theatre to be hidden and contained within the box of the architecture. These elements could be referred to as the "troupes of theatre" in the tradition of a group of thespians being considered a troupe. The performing arts have been traditionally confined as temporary entertainment whose lasting value is situated by virtue of existing only while being on stage within the building. Architecture, on the other hand, holds tectonic value by being present as a real, physical addition to the built environment and the world, yet it also performs as a mimetic art. This creates disconnect and discrimination against theatre, as a mimetic art, which is evident through the neglect and concealment of these troupes of theatre within architecture. This is present in contemporary architecture by the location of the portions of theatre's performances spaces being hidden and concealed within. There is a disconnect between the physical theater and the physical architecture of the building that houses it. The question then arises, could these parts of the theatre, the troupes of theatre, participate in the design of the whole building?
In this thesis, the troupes of theatre are celebrated and brought into the same light as the rest of the building that normally confines them to be revealed to the world. Those troupes of the theatre that typically are contained within the box of architecture, are expressed to influence the form of the building. This thesis project seeks to reveal these troupes of theatre that are typically hidden. The troupes that are usually concealed are revealed; the stage rigging, the repetition of the level changes of the seating within a proscenium theater, the curvature of the upper levels of seating, the form of the fly space for stage rigging, the form of the house of the theatre, and the support spaces necessarily for a theatre to properly operate. They become visual design features of the building, and directly influence the architecture by being incorporated into the design. Highlighting these troupes of the theatre allow them to provide didactic information to the public through the architecture. The public is allowed to experience these troupes of the theater, regardless if they are fortunate enough to see a performance or not. Typically, contemporary theatre invites the public into the theatre to have a dialogue within and on the stage of the theatre, within the architecture. But through the troupes of theatre being directly incorporated into the design of the architecture, they invite all to participate. Contemporary theatre acts a public space in its urban framework. It invites and welcomes people of all backgrounds to move throughout, congregate, and experience the troupes of theatre in the city. This theatre encourages and welcomes the public to gather and utilize a previously, uninviting and restricted site along the waterfront in Old Town Alexandria, Virginia.
This dialogue and direct connection between the theatre and architecture allows for endless variations in the design of a physical theater with interpretation left open intentionally to unrestricted creativity. Rather than, the design of a theatre as a simple, concealing container for the mimetic arts to create and display this dialogue only on the stage and behind closed walls, it is through expressing the troupes of the theater mimetically and tectonically that clearly identifies the typology of the building to the public and encourages all to be included.Master of Architecture
This thesis explores the design a proscenium style theatre with all of its necessary support spaces. The proscenium theatre requires dressing rooms, rehearsal rooms, storage, lobby, box office, event space, conference rooms, meeting rooms, a scene shop, crew rooms, offices, and many other support spaces in order for the theatre to perform properly. Typically, many of these support spaces and the actual theatre, where performances occur on stage and the audiences gathers, are hidden or concealed within the architecture of the building. The typology of the building is unknown to the public because of these support spaces are hidden in the shadows. This thesis seeks to celebrate all aspects of the theatre and have them directly influence the design of theatre building, itself. There is more of a connection between the theatre and its support spaces and the architecture of the building. The architecture takes influence from these elements of the theatre. The word “troupes” is used as a pun in reference to a group of thespians, called a troupe, to refer to the elements of the theatre that make a theatre. These troupes of theatre are clearly expressed and celebrated throughout the design of architecture for all, regardless of financial situation, to view these troupes of theatre and gain an understanding of how a theatre actually performs. The design of the physical theatre then because mimetic, imitates, learns, and celebrates, the troupes clearly and outwardly to all. This clearly identifies the typology of the building and is inclusive to all.
13
Bowler, Lisa Marie [Verfasser], and Christopher [Akademischer Betreuer] Balme. "Theatre architecture as embodied space : A phenomenology of theatre buildings in performance / Lisa Marie Bowler ; Betreuer: Christopher Balme." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2016. http://d-nb.info/1124395792/34.
Full text
14
Artan, Tülay. "Architecture as a theatre of life : profile of the eighteenth century Bosphorus." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/14456.
Full text
15
Maguire, Hugh Francis Bernard. "C.J. Phipps (1835-97) and nineteenth century theatre architecture (1863-97)." Thesis, Courtauld Institute of Art (University of London), 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287793.
Full text
16
Helm, N. "Theatre architecture and dramatic form : from a chronology to a typology." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1352791/.
Full textAbstract:
Since the early 20th century, dramatic creativity has been limited by theatre architecture. Evidence for this is that innovative drama will rarely take place in conventional theatre buildings. The evolution of theatre architecture is traditionally viewed as fundamentally linear with classical models being modified in response to social change and technical advances. Today this paradigm continues as the accepted basis for architectural design. Examination of a range of exemplars using different techniques - historical and scientific - shows why this idea and approach persists, as it reveals other historical models that could be a reference for new approaches to designing theatre buildings/places. Informed by this work - and parallel to it - a design experiment in practice operates as a critique of today’s approach. The work as a whole looks to identify the social logic of theatre architecture in the context of the design process. It examines theatre’s ritual base and presents the dramatic event as a societal structuring device. The findings suggest that for innovation to be more than a one-off incident a different architectural-education and professional model is required to that currently in operation. A framework closer to medical practice is proposed, where architectural specialists are trained and experimental monitoring and assessment is set against a body of (typological) laboratory and desktop research. Practice demonstrates however that additionally for theatre architecture - and this is probably true of other specialist architectural fields - an interdisciplinary experimental approach must be taken if innovation is to be maximised while risk is minimised.
17
Yau, Man-ching Cindy, and 游曼淸. "Redevelopment of State Theatre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B3198311X.
Full text
18
Engström, Ella. "Spaces of Storytelling." Thesis, KTH, Arkitektur, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-298493.
Full textAbstract:
Spaces of Storytelling is a project aiming to create alternative theatre spaces, based on the relationship between storyteller and audience. By exploring story, deconstruction of the program, the meeting between set design and architecture, and the relation to landscape on a site in Stockholm, the goal has been to reimagine what a theatre could be. A method has been to go back to the basics of theatre and identify the different components of what theatre is and has been through history. The word storytelling is used to describe theatre in a wider sense, including practises that traditionally might not have taken place in a traditional theatre building. The project resulted in three performing spaces (the interactive theatre, the oral storytelling theatre and the moving audience theatre) each focusing on a specific aspect of storytelling. The Interactive Theatre is designed for audience participation and communal experience. The Oral Storytelling Theatre honours the tradition of passing along a story from one to the other. The Moving Audience Theatre is an open space where the audience member actively choses a point of view. All three spaces encourage the audience to be an active participant in different ways.
19
Krajewska, Olga. "Theatre of Modern Era : Stage of Equilibrium." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460653441.
Full text
20
Calder, Barnabas William Luke. "Committees and concrete : the genesis and architecture of Denys Lasdun's National Theatre." Thesis, University of Cambridge, 2007. https://www.repository.cam.ac.uk/handle/1810/252043.
Full textAbstract:
This thesis looks at the genesis of one of Britain’s most important post-war public buildings, and analyses its architecture. Part I offers a brief account of the campaign for a National Theatre from the nineteenth century onwards, and describes the struggle to obtain the funds to start construction and thereafter to complete it. It then examines the process by which Denys Lasdun and Partners were appointed, and discuses Lasdun’s charismatic gifts in winning clients. Part II traces the protracted committee and individual consultations which provided the architects with their brief. The building was shaped by discussions of avant-garde theatre forms which took place 1963-66. The process, and the built outcome, were also affected by the stormy rows that blew up in the Building Committee – which included among its members Laurence Olivier, Peter Hall, Peter Brook and Kenneth Tynan – and by the Committee’s periodic clashes with Lasdun. Part III looks at the architectural expression given to the functional skeleton drawn up with the Building Committee. It describes the creative process within Lasdun’s office, and examines the effects on the architecture of Lasdun’s unusual design methods. The National Theatre is placed in its architectural context nationally and internationally, as well as within Lasdun’s career. Following this analysis of the designs, the building process is discussed. The thesis ends with a chapter assessing the reception of the finished theatre, which ranged from the very favourable to the very hostile.
21
Hann, Rachel Nicole. "Computer-based 3D visualization for theatre research : towards an understanding of unrealized utopian theatre architecture from the 1920s and 1930s." Thesis, University of Leeds, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540209.
Full text
22
Oosthuizen, Hugo M. "Audible architecture - An exploration of the threshold in the public realm as an interactive space." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/31581.
Full textAbstract:
This project is situated in Olievenhoutbosch - a still-developing community - within a new urban design framework called the Olievenhoutbosch Osmosis Framework, which is a student project criticizing the original Olievenhoutbosch Ministerial Housing Estate Framework of July 2005. The framework addresses the issues related to connectivity in the area, and the design intervention attempts to address this issue on a human scale, on various experiential levels. The dissertation explores the use of multi-functional theatre spaces with varying degrees of interaction and levels of activity. The primary generators for this design intervention has been its urban connectivity, location, the specific site, human movement, and human activities related to the site and the programme of the intervention. In view of the context, the programme, the design intent of the framework, and the location in the framework, the design intervention will create spaces both in and around the structure in which various activities can take place, through the interplay between different tectonic elements.Dissertation MArch(Prof)--University of Pretoria, 2012.
Architecture
MArch(Prof)
Unrestricted
23
Gomes, Fausto. "São Paulo: An Ecological View Of A Theatre For Modernity." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2850.
Full textAbstract:
Future challenges for human civilization, especially in the developing world, will increasingly be characterized by both an urban and global condition. What will be the response by design in the face of the implications of this unprecedented scale of development? The thesis is a speculative analysis of the essential nature of the phenomenon of the global mega-city, and is a necessary first step in creating a framework to answer this question. The Brazilian city of São Paulo is chosen as this thesis case study because it is a 'matured' version of this Modern urban phenomenon. Underlying and guiding the creation of this picture of the mega-city is the assertion that the fundamantal nature of the phenomenon of São Paulo is essentially an ecological one. Like any other ecological analysis, the first stage of the inquiry is to identify the motivating force that orders the system and propels the change of the urban ecology. In the case of São Paulo, the thesis develope a picture of an urban agglomeration that has been driven by the unrestrained forces of the aspirations of global Modernism and the exploitation of growing urban multitudes by the personal avarice of capitalism. São Paulo is seen as an urban experiment that rests in the tacit gamble that the economic aspirations underlying São Paulo are limitless in the face of the obvious limits of the city' and globe's biosphere. This relationship between urban organism and host ecology is characterized as parasitic and like the economic and social propelling forces of Modernity, forms the fundamental underlying relationships of the ecology of São Paulo. These relationships in juxtaposition with the propellant force of Modernism, form the sketch of a framework that the thesis proposes for a responsible position for design in the mega-city. In light of this ecological sketch of São Paulo, the underlying perpective for design in the mega-city seeks to strike a balance between economy, ecology and should be founded on a view of the city as an investment that can be evaluated for its performance in providing the context for human flourishing in relations to its use of natural resources.
24
Lagerquist, Tore. "Drama on the Edge of the Public Realm." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135595.
Full text
25
Latto, Jeff. "The idea of transmutation in the theatre of Giulio Camillo /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61052.
Full textAbstract:
Transmutation is explored with respect to the sixteenth century text L'Idea del Theatro, by Giulio Camillo, linking the arts of alchemy, eloquence and divination. Alchemy establishes the doctrine of transmutation; eloquence is founded on the creative movement of deviation, while divination points to symbolization. The 'corporeal visions' of Camillo are set in opposition to the 'single eye' vision from which originate theories on perspective by the architects Leon Bastista Alberti and Sebastiano Serlio.
26
Ohanyan, Rima. "The Theatre of a Thousand Plateaus : How can architecture accommodate the postmodern conceptions of the theatre and provide spaces for non-conventional theatricals where narrative is deconstructed and the audiences are active co-creators or co-participants?" Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-174995.
Full textAbstract:
Today’s world has undergone through a variety of changes shifting from metaphysical way of thinking into postmodernism which has left its footprint in the aspects of literature, art and theatre. But architecture doesn’t reflect those changes in the theatrical world because buildings are not adjusted to the postmodern performances. In this research I made a journey through postmodern philosophy, literature, art, architecture, and theatre and tried to analyze the main tools of postmodernism, such as deconstruction of narrative, displacement etc. Then I applied them into my project which makes an attempt to translate the postmodern mind into a physical space and create a theatrical area. It tries to answer the question whether architecture is able to accommodate postmodern conceptions and performances where the audiences are the creators and active participants of their own narratives. The case study of the performance Sleep No More has become the concept for my design proposal where I also used displacement to combine several objects in a new context. The analysis and the design method have shown that architecture can accommodate all the cultural developments and can transform from postmodern conceptions into a physical space with the help of the same tools that are used in postmodern literature, art and philosophy. A building can become the embodiment of a post modernistic idea.
27
Koumaridou, Olympia. "Light Evoking Emotions: The Element of Surprise in theatre and photography conveyed through the medium of light.Parallels and applications in Architecture." Thesis, KTH, Ljusdesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280072.
Full textAbstract:
The aim of this dissertation is to research the way light is used as a tool to reveal emotions, focusing on The Element of Surprise. Light is a powerful medium that could instantly change the perception of space in terms of mood and atmosphere that is created by it. By observing the way light is used to reveal ‘Surprise’ in contemporary Theatrical Performances and contemporary painting techniques such as Light Photography Painting paradigms, we can find parallels and apply similar techniques of thought, into the creation of architectural indoor and outdoor public spaces.The feeling of surprise is an extremely intense emotion happening instantly and has an important impact on human brain and psychology. The main characteristic of this feeling is that whatever causes surprise is unforgettable. People feel this emotion as the result of an unexpected event and surprise happens when expectations mismatch reality, regardless of the fact that it can be something positive or negative.This Thesis starts by observing light within a contemporary Greek theatrical performance called “The Experiment”, which took place on April 2019 in “Megaron” Athens Concert Hall, trying to identify the way that light is used to evoke the feeling of surprise, while at the same time examining the work of a Slavak photographer Jozef Sedlak, who uses light as a painting tool in his contemporary ‘Painting Photographs’ οften creating surrealistic pictures that provoke the feeling of surprise to the viewers. More specifically, the dissertation focuses on dynamic and static 3D and 2D representations of light used to reveal surprise in order to draw conclusions for architectural 3D space that can be experienced dynamically (move through) or statically (sit/stand and contemplate one specific perspective) by comparing the above mentioned contemporary theatrical performance with interiors of Hilton Tokyo and Midland Square Tokyo ,and Photography Painting with 2D lighting schemes Yamaguchi Xavier Memorial Church and Okiden Naha Building for their facades.The methods used are mainly qualitative through personal observations, interviews and questionnaires having as criteria of evaluation the following qualities of light: visibility, contrast, light color, layers of light, transformation and completeness.The chapters “Results” and “Analysis” lead to the comparison, which took place in chapter “discussion”, in order to find the parallels above mentioned.
28
Pacák, Radim. "Slovinské národní divadlo v Lublani." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2009. http://www.nusl.cz/ntk/nusl-215634.
Full textAbstract:
THE MAIN MATERIAL AIM WAS TO CREATE 2 VOLUMES WITH COMPLEMENTING ITS FUNCTIONAL USAGE AND FROM THIS RESULTING ALSO DIFFERENTIATION OF FACADES OF PARTICULAR VOLUMES. THE BUILDING EXPRESSION CORRESPONDES TO FUNCTIONAL FEATRUES OF PARTICULAR BUILDINGS BUT TO URBANISTIC LOCATION TOO. THE THEATRE IS SOMETIMES CALLED „BLACK BOX“ BEACAUSE OF THE CLOSED BUILDING CHARACTER, EMBEDING THE AUDITORIUM IN THE CENTRE OF THE BUILDING AND BY POSITIONING RELATING ALL FUNCTIONS AROUND. I USED THE SAME CONCEPTION FOR MY DESIGN. THE DISPOSITION DEPENDS ON THE CONSTRUCTION SYSTEM WHICH GOES THROUGH THE COMPLETE OBJECT AND WHICH IS THE CARCASE CONSTRUCTION.
29
Lososová, Ivana. "Slovácké divadlo II." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2019. http://www.nusl.cz/ntk/nusl-400687.
Full textAbstract:
The main topic of this diploma thesis is to solve problematic situation of the Slovac Theatre in Uherske Hradiste. Today, the progressive theater ensemble is housed in a former Sokol‘s building, which is not capable of fullfilling requirements of a complicated theatrical structure. The theater ensemble's organism is also disturbed by the separation of the studio scene outside the main theater area. The project explores the possibilities of moving the theater to a new building, which is located in Smetanovy sady, close to the historical centre of Uherske Hradiste. The design of the building responds to the environment of the regional city, the needs of a specific theater ensemble and modern theatrical procedures supported by the analysis of Czech theater architecture.
30
Filmer, Andrew Robert. "Backstage Space: The Place of the Performer." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1415.
Full textAbstract:
This thesis presents a systematic investigation of the backstage spaces of theatres in the city of Sydney, Australia, combining the documentation of eight specific theatre buildings with ethnographic accounts of performers’ activities within them. As the title of the thesis suggests, my focus throughout is to better understand the ‘place’ of performers, the ways in which performers inhabit certain physical, social, and imaginative realms. Through this thesis I assess the impact of backstage spaces on performers’ work processes, their performances, and their own understandings of what it is to be a performer. To undertake this assessment I conduct a tripartite survey of the backstage spaces afforded performers, taking into consideration ‘perceived’ space (space as it is empirically measured), ‘conceived’ space (space as it is represented), and ‘lived’ space (space as it is experienced). Approaching this survey via Edward Casey’s understanding of ‘place,’ my analysis is informed by a range of theories, notably, spatial syntax analysis, discourse analysis, and phenomenology. Through this thesis I develop two overarching and interconnected arguments. The first is that theatrical performance is profoundly affected by the features of backstage support spaces and by performers’ backstage practices. Building on this, the second is that a study of backstage spaces offers a particularly apposite approach to further understanding the ‘place’ of theatrical performers. I contend that the backstage spaces performers inhabit can be characterised by their very poverty and that these poor conditions testify to a widespread ignorance and ambivalence on the part of society at large towards performers’ needs. Furthermore, noting the way in which performers valorise their own abilities to compromise and adapt, I argue that backstage areas largely inform performers’ dominant discourses of professionalism and worth. Ultimately, I identify the ‘place’ of the performer as one of flux that necessitates the constant negotiation of significant tensions. [Please note: The photographic documentation and building plans referred to in the text of this thesis are not available online. Please contact the Department of Performance Studies at the University of Sydney or the Sydney eScholarship Repository.]
31
Filmer, Andrew Robert. "Backstage Space: The Place of the Performer." Arts, 2006. http://hdl.handle.net/2123/1415.
Full textAbstract:
Doctor of PhilosophyThis thesis presents a systematic investigation of the backstage spaces of theatres in the city of Sydney, Australia, combining the documentation of eight specific theatre buildings with ethnographic accounts of performers’ activities within them. As the title of the thesis suggests, my focus throughout is to better understand the ‘place’ of performers, the ways in which performers inhabit certain physical, social, and imaginative realms. Through this thesis I assess the impact of backstage spaces on performers’ work processes, their performances, and their own understandings of what it is to be a performer. To undertake this assessment I conduct a tripartite survey of the backstage spaces afforded performers, taking into consideration ‘perceived’ space (space as it is empirically measured), ‘conceived’ space (space as it is represented), and ‘lived’ space (space as it is experienced). Approaching this survey via Edward Casey’s understanding of ‘place,’ my analysis is informed by a range of theories, notably, spatial syntax analysis, discourse analysis, and phenomenology. Through this thesis I develop two overarching and interconnected arguments. The first is that theatrical performance is profoundly affected by the features of backstage support spaces and by performers’ backstage practices. Building on this, the second is that a study of backstage spaces offers a particularly apposite approach to further understanding the ‘place’ of theatrical performers. I contend that the backstage spaces performers inhabit can be characterised by their very poverty and that these poor conditions testify to a widespread ignorance and ambivalence on the part of society at large towards performers’ needs. Furthermore, noting the way in which performers valorise their own abilities to compromise and adapt, I argue that backstage areas largely inform performers’ dominant discourses of professionalism and worth. Ultimately, I identify the ‘place’ of the performer as one of flux that necessitates the constant negotiation of significant tensions. [Please note: The photographic documentation and building plans referred to in the text of this thesis are not available online. Please contact the Department of Performance Studies at the University of Sydney or the Sydney eScholarship Repository.]
32
Pelletier, Louise 1963. "Nicolas Le Camus de Mézières's architecture of expression, and the theatre of desire at the end of the Ancien Régime, or, the analogy of fiction with architectural innovation." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36674.
Full textAbstract:
Cette dissertation explore le role de l'architecture en tant que langage expressif, a travers la theorie de caractere en France a la fin du dix-huitieme siecle. Depuis l'Antiquite, Vitruve avait etabli le role expressif de l'architecture dans sa definition du terme "decorum". Pour Vitruve, toutefois, l'architecture exprimait un ordre qui transcendait sa materialite, l'ordre de l'univers.Vers la fin du dix-septieme siecle, des changements culturels importants transformerent la nature meme de l'architecture. Le questionnement des fondations naturelles de l'architecture plongea la discipline dans une crise potentielle de la signification architecturale. Les architectes du dix-huitieme siecle commencerent a explorer le pouvoir expressif de l'architecture en tant que produit d'une imagination personnelle et specifique au contexte culturel, et essayerent de preserver sa signification de facon a ce que l'architecture demeure un langage commun.
L'architecte francais et theoricien Nicolas Le Camus de Mezieres (1721--ca.1793) developpa une theorie de l'architecture suivant laquelle le caractere d'un batiment se devait d'exprimer sa destination ou le statu social du client pour lequel il etait construit. Contrairement aux theories de caractere precedentes en architecture, celle de Le Camus etait basee de facon explicite sur une analogie entre l'architecture et le theatre: le mode d'expression en architecture suivait une progression temporelle typique du deroulement dramatique dans une piece de theatre; l'augmentation graduelle de l'ornementation des portes et des seuils successifs rappelait la succession des decors dans une performance de theatre. Cette etude examine les theories d'expression au theatre qui influencerent de facon explicite les theorie architecturales de Le Camus, telles que la mise en scene et le jeu des acteurs. Une etude plus poussee du role social et politique du theatre dans sa forme construite met en evidence l'innovation architecturale de l'oeuvre batie de Le Camus.
Alors que les etudes precedentes sur Le Camus de Mezieres mettent l'emphase sur son plus important traite architectural, Le genie de l'architecture, ou l'analogie de cet art avec nos sensations, cette dissertation analyse egalement le vaste repertoire des oeuvres ecrites de Le Camus, incluant ses pieces de theatre, son roman, et une description d'un jardin pittoresque. Ces ouvrages revelent l'objectif reel qui sous-tend la theorie architecturale de Le Camus: la volonte d'exprimer la tension erotique d'une architecture des sens.
33
Hunsaker, Carrie Elizabeth. "Deconstructing the Fourth Wall: Immediacy in Performative Architecture." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212100640.
Full textAbstract:
Thesis (Master of Architecture)--University of Cincinnati, 2008.Advisors: Michael McInturf (Committee Chair), Tom Bible (Committee Co-Chair). Title from electronic theses title page (viewed Sept. 7, 2008.). Includes abstract. Keywords: Chatauqua; Boulder; Colorado; performative architecture; immediacy; event; performing arts; festival grounds; mountain architecture; fourth wall; theatre. Includes bibliographical references.
34
Ma, Hoi-yin Claris. "A youth oriented activities space in our urban area." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25951488.
Full text
35
Buccheri, Alessandra. "The architecture of clouds in art and theatre : a lost path from the Florentine Renaissance to the Roman Baroque." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508753.
Full text
36
Pelletier, Louise. "Nicolas Le Camus de Mézières's architecture of expression, and the theatre of desire at the end of the Ancien Régime, or, The analogy of fiction with architectural innovation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0032/NQ64639.pdf.
Full text
37
Davis, Cecil. "THE DESIGN PROCESS AS ASSISTANT ART DIRECTOR FOR THE FILM NATIONAL LAMPOON'S ROBODOC." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3637.
Full textAbstract:
In this thesis, I will detail and analyze the production design processes for National Lampoon's RoboDoc, written by Douglas Gordon M.D., filmed and produced in Orlando, Universal Studios and Ormond Beach, FL, as experienced through the art department. The direction of the thesis will be based on how a background in architecture and theatre guides the design motivation(s) within a production team for film. My documentation will include a process journal written throughout the production of the film to include design meeting topics, research and design inspiration, sketches, budget and location concerns, coordination of scenic elements, crew team coordination, paperwork, and thoughts on working within the art department team as well as working with other teams of production. Photographic records will include pre-production allocation and storage, load-in scenarios, set construction, and final design in set and set dressing. Final comments will be based on a personal evaluation, evidence of my progression throughout the production, and how an advanced focus in design through education and practice affected the project.M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
38
Whitmire, Derrick. "Architecture as Theater; Creating a Vital Architectural Narrative." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337950009.
Full text
39
Ekström, Lisa. "Intervention for the Specific : An Architectural Dialogue With the Historical City of Visby." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223548.
Full textAbstract:
How can contemporary architecture approach an extremely specific and historical context?Grounded in the site and its history, this question is investigated through theprocess of adding a literary theatre and housing in the city centre of Visby, Gotland.
40
Burgess, Islay. "A Heritage Center for the Mississippi Gulf Coast: Linking the Community and Tourism Through Culture." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002738.
Full text
41
Blake, Michael Joseph. "The New Harmony: An Adaptive Reuse Transit Hub." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/34664.
Full textAbstract:
The development of jazz during the American industrial revolution represents a broader shift in the zeitgeist of the New World. With a rich heritage of rhythmic emphasis in both art and life, African American jazz musicians were able to internalize the increasingly polyrhythmic nature of the metropolis, and groove with the potentially oppressive presence of the machine. Their brazen embrace of the temporal encouraged artists of all media, replacing the burden of permanence and exactitude with the fearlessness of an improvising jazz soloist. The jazz-inspired works of Le Corbusier and Piet Mondrian, for example, explored a synesthetic relationship between the visual and the audible has captured the imagination of the great artists, musicians, architects, and philosophers throughout the history of culture.
My thesis exploration attempts to continue this tradition in the context of an increasingly accelerating speed of life, and the new, environmentally sensitive role of the machine. Just as Jazz poeticized the hectic rhythms of the industrial age, I believe that architecture should be conceived of as a synchronizing element within the contemporary urban landscape. Through my design of an adaptive reuse transit hub, my intent was to embrace the temporal in a manner that not only reflects the spirit of the age, but also creates musical architecture.
Master of Architecture
42
Akture, Zeynep. "A Typology Of Ancient Theatres In Modern Spain And Greece - A Geo-historical Approach." Phd thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/3/12605994/index.pdf.
Full textAbstract:
This study offers an inquiry into the historical context of the invention, consolidation, and on-going popularity of the ancient theatre typology based on the Greek-Roman ‘
binarism&
#8217
, for a better understanding of its philosophical and theoretical foundations. It scrutinises those foundations in order to discover, in their limitations for an assessment and restitution of the architectural characteristics of extant ancient theatre remains, a new set of variables for devising an alternative method of classification that adopts the &
#8216
network&
#8217
model. The classification made on the basis of the geographical distribution of the extant ancient theatre remains in modern Spain and Greece according to their size, their construction period, and the construction technique applied in their cavea enables an interpretation of Roman period theatre construction activity in these two regions of the Mediterranean from a &
#8216
geo-historical&
#8217
point of view, in the light of the variety of processes expressed by the term &
#8216
Romanisation&
#8217
. A comparative analysis of the examples in the two study areas along Fernand Braudel&
#8217
s three historical time planes reveals the structural differences between the two corresponding provinces of the Roman Empire, highlighting the usefulness of adopting a &
#8216
rhizomatic&
#8217
model instead of a &
#8216
binary&
#8217
one in typological studies of ancient theatre architecture for their better integration into contemporary discourses emphasizing &
#8216
cultural diversity&
#8217
and &
#8216
change&
#8217
in the Mediterranean basin.
43
Segura, Antonio. "Opera i Stockholm, Frihamnen." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-34151.
Full textAbstract:
Projektets ide är främst att göra byggnaden till en spektakulär och funktionell upplevelse förbesökarna. Varför är detta förslag den bästaför den här platsen? För att den är intressant och blir som ett märke och symbol för Stockholm som Sydneyoperan är för Australien. Dessutom kopplar den till omgivningen med sitt reflekterande fasad och den skapar en ny och spännande inre miljö för besökarna. När man har ett så stort program som detta projekt har bör man ta chansen att skapa att skapa monumentala rum och intresseväckande former. Speciellt om operan ska kunna konkurrera med resten i Norden.
44
Kalmaru, Märta. "Opera i Stockholm, Galärvarvet." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-34444.
Full text
45
Beaudoin, Antoine. "Theâtre et architecture sous le Troisième Reich : les scènes de plein air au service de la propagande de masse." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100133/document.
Full textAbstract:
Le mouvement de construction de théâtres en plein air sous le Troisième Reich ou Thingbewegung est un aspect relativement méconnu de la politique culturelle national-socialiste. Ce théâtre de propagande devait réunir plusieurs milliers de spectateurs dans des lieux excentrés, des espaces construits spécialement par le régime afin de célébrer la communauté du peuple dégagée de toute différenciation sociale ou, pour reprendre la terminologie nazie, la Volksgemeinschaft. L’aspect central reste la volonté du régime de faire coïncider, à une échelle considérable, une nouvelle forme d’architecture et de spectacle théâtral de masse. L’objectif, exprimé clairement dès le début du mouvement en 1933, était l’élaboration de 400 scènes sur l’ensemble du territoire. Dès 1934, vingt étaient effectivement en construction et en 1939, au début de la Seconde Guerre mondiale, elles étaient environ au nombre de trente. Ce projet de recherche part de l’hypothèse qu’une meilleure compréhension du phénomène devient possible lorsque ce dernier est restitué dans la tradition historique double du théâtre et de l’architecture. Cette démarche, à la fois synchronique et diachronique, fondée sur une approche pluridisciplinaire, vise à mettre au jour les formes spécifiques de création de ces lieux scéniques tout en soulignant l’appartenance à la politique idéologique totalitaire du national-socialismeThe open-air theatre construction movement under the Third Reich or Thingbewegung is a relatively unknown aspect of National Socialist cultural policy. This propaganda theatre was to gather several thousand spectators in outlying places, spaces specially built by the regime to celebrate the community of the people free of any social differentiation or, to use Nazi terminology, the Volksgemeinschaft. The central aspect remains the regime’s desire to bring together, on a considerable scale, a new form of architecture and mass theatrical performance. The objective, clearly expressed from the beginning of the movement in 1933, was to develop 400 stages throughout the country. By 1934, twenty were actually under construction and, at the beginning of the Second World War in 1939, there were about thirty of them. This research project is based on the hypothesis that a better understanding of the phenomenon becomes possible when it is replaced within the dual historical tradition of theatre and architecture. This approach, both synchronic and diachronic, based on a multidisciplinary approach, aims to uncover the specific forms of creation of these scenic places while emphasizing the association with the totalitarian ideological policy of National Socialism
46
Kůs, Martin. "GENIUS THEATRI, České Budějovice." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2017. http://www.nusl.cz/ntk/nusl-316333.
Full textAbstract:
Fragmented and heterogenous space of Mariánské náměstí needs a new unifying element that will not compete with its surroundings, and yet not blindly respectful. It will simply stand there and in time become a natural part of the area. Rough massive volumes with minimum of windows boldly face surrounding urban blocks. Its dynamic facades emphasize the opennes and chaos of the area. Rough raw boulders with single elegant crystal inserted amongst them. Like a diamond amongst coal. It is interconnected through bridges. People and life flows through the whole structure.
47
Jacob, Adrienne. "L'opéra de Strasbourg, une architecture au service de la vie sociale et artistique à Strasbourg (XIXe-XXe siècles)." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG028.
Full textAbstract:
Créée sous l’Ancien Régime sous le nom de 'Comédie Françoise', l’institution qui fait aujourd’hui partie de l’Opéra National du Rhin a une histoire mouvementée au XIXe siècle. Elle reflète la spécificité culturelle de la ville, dont une partie de la population est germanophone au XIXe siècle. Deux théâtres vont cohabiter dans la ville pendant près d’un siècle, jusqu’à l’interdiction de celui en langue allemande. L’histoire architecturale de l’institution a une vie propre, marquée par d’autres événements, mais toujours liée à la présence de la culture française. Au XVIIIe siècle, le théâtre de langue française est imposé par les autorités. Il est le seul théâtre privilégié de la ville. Il sera hébergé dans quatre lieux successifs plus ou moins provisoires, dont une ancienne église abbatiale, jusqu’à la construction de l’édifice actuel, entre 1801 et 1821. Le choix urbain définitif est le résultat de l’histoire d’un lieu voué depuis le Moyen Age au commerce et aux loisirs : l’actuelle place Broglie. Le choix architectural est lui aussi le résultat d’une histoire qui commence sous l’Ancien Régime, avec plusieurs projets de papier pour la construction d’un vrai théâtre. Sous l’Ancien Régime, la corporation des Drapiers prend l’initiative d’aménager une salle appelée Théâtre allemand et située dans un autre quartier. Il y a donc deux théâtres. Mais entre 1789 et 1805, le Théâtre français décline jusqu’à disparaître complètement en 1806, tandis que son homologue allemand est florissant. Cependant la nouvelle législation du Premier Empire met fin à la liberté théâtrale instaurée par la Révolution. Elle entraînera la mort du Théâtre allemand en 1808. À partir de ce moment, et jusqu’en 1821, le Théâtre français se maintient tant bien que mal à la Salle Saint-Etienne, dans un cadre législatif de plus en plus rigide. Le directeur est confronté à d’innombrables difficultés humaines et matérielles...[]The Strasbourg Theatre was an institution that is now belonging to the Opera National du Rhin. It has been created under the “Ancien Régime”, and was named 'Comédie Françoise' at that time. Its tormented history reflects the cultural particularity of the city, in which a large part of the population is German speaking in the 19th century. Two theatres will cohabit in the town during nearly one century, until the prohibition of the German one. The architectural story of the institution hat its own life, marked by other events, but always linked to the presence of the French culture.The authorities order the creation of the French Theatre. It is the only one that has the privilege of the French King. It is going to use four different places, more or less temporary. One of them will be, after the French Revolution, a former church. The actual house is build between 1801 and 1821. The urban choice is resulting of the story of a place dedicated until the Middle Ages to trade and leisure : the actual Broglie square. The architectural choice is resulting of a story that begins before the French Revolution, with various projects remaining paper designs. At that time, the guild of the drapers takes the initiative of creating a special room for the German Theatre, in another part of the town. The city has now two heatres. But between 1789 and 1805, the French Theatre looses its importance until disappearing completely in the year 1806. Meanwhile, the German Theatre is flourishing.But the new legislation of the First Empire ends the period of freedom of the French Revolution for theatres. It will soon kill the German Theatre, in the year 1808. Since that year, and until 1821, the French Theatre has the greatest difficulties in the former church called Salle Saint-Etienne. The legislation becomes more and more rigorous. The manager has human and material difficulties...[]
48
Gyllengahm, Isabelle. "Opera i Stockholm, Stadsgårdskajen." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-34445.
Full textAbstract:
Stockholmsoperan, Stadsgårdkajen, en opera för alla! Koppla samman och tillåta; Mitt huvudkoncept handlar om att skapa kopplingar i staden och locka människor att vistas på platsen, dag som natt, Stockholmsbo som värmlandsbo. Oavsett om du går på opera eller bara tar en kvällspromenad, vill äta en god matbit eller fika på café, ska operan tillgodose alla dessa behov.
49
Čučka, Pavel. "GENIUS THEATRI, České Budějovice." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2017. http://www.nusl.cz/ntk/nusl-316339.
Full textAbstract:
České Budějovice struggles with unsuitable spaces for the Theatre and the Philharmonic. It is also confronted with urbanistic challenges of underused public spaces. This diploma thesis sets out to remedy these challenges and offer a possible solution through the design of Platform of live arts – opera and philharmonic halls at Mariánské náměstí. I approach this problematic area with an effort of creating a distinctive feature, that propagates new spatial relationships and changes the existing perception of space. The center of gravity, two performance halls, are placed in the utmost tip of the plot in confrontation with historical skyline of the old city. Counterweight of this expansive volume is a park, theatrical gardens at the opposite and. The idea is to preserve quality free space around which similar institutions might find their place in the future, thus creating a cultural oasis.
50
Almeida, João Estevam Lima de. "Um deus a céu aberto: Diônisos e a expressão material do teatro na paisagem da pólis na Grécia arcaica e clássica - séc. VI-III a.C." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/71/71131/tde-15102014-104045/.
Full textAbstract:
Na contemporaneidade nenhum deus da Grécia antiga exerce tanto fascínio quanto o deus do vinho, Diônisos. Filho de Zeus e de Sêmele, perseguido por Hera, protegido por Hermes e duas vezes nascido, estranho estrangeiro, veste máscaras, é coroado de hera, senhor da videira, impera nas Antestérias e nas Lenéias, está representado nos textos antigos, em vasos, frisos, frontões e nos legou o lugar de sua identidade, o teatro. O teatro é por excelência o espaço de Diônisos. Livre e libertador, o deus a céu aberto, com o passar do tempo tem para si um espaço singular. A presente pesquisa se detém na arquitetura teatral como uma tecnologia simbólica e sua disposição na paisagem para tentar compreender os códigos implícitos que denotam indícios de uma comunicação não verbal, presente no ambiente construído. Entendemos lugar como um conceito relacional, repositório de sequências e ações que se torna parte da tradição de um povo. Aliamos documentação textual às fontes materiais e, para desenvolver nosso tema, selecionamos um repertório com dezesseis teatros do mundo grego. Na Grécia situam-se nas seguintes cidades: Atenas, Argos, Delfos, Delos, Dodona, Epidauro, Mileto, Priene e Sicione. Na Itália eles estão localizados em Heracleia Minoa, Lócris, Metaponto, Morgantina, Segesta, Siracusa e Taormina. Utilizamos o nosso corpus documental como um registro a revelar aspectos do culto dionisíaco na pólis grega do séc. VI ao III a.C.In the contemporary world, there is no other ancient Greek god who is found as fascinating as Dionysus, the god of wine. Son of Zeus and Semele, pursued by Hera, protected by Hermes and twice-born, strange foreigner, wearer of masks, crowned with ivy, lord of the vines, he is represented in ancient texts, vases and friezes, and he bequeathed to us the home of his identity: the theatre. The theatre is the Dionysian space par excellence. Liberated and liberating, the god of the open sky, with the passing of time he comes to possess a singular space for himself. This research project focuses on theatrical architecture as a symbolic technology, and on its use within the landscape, with the aim of understanding the implicit codes that denote the indices of a non-verbal communication present in the built environment. Space is understood as a relational concept, a repository of sequences and actions that become part of a people\'s tradition. We will link textual documents to material sources and, in order to develop the subject further, we have made a selection of sixteen theatres in the Greek world. In Greece, they are situated in the following cities: Athens, Argos, Delphi, Delos, Dodona, Epidaurus, Miletus, Priene and Sicione. In Italy, they are located in Heracleia Minoa, Locri, Metaponto, Morgantina, Segesta, Syracuse and Taormina. We will use our body of documents as a register through which to reveal aspects of the Dionysian cult in the Greek polis during the period VI-III BC.