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Dissertations / Theses on the topic 'Theatre manager'

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Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Shelton, Rebecca S. "Paint manager for 2008-2009 academic year and paint charge for three sisters and twelfth night." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1241724077.

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2

Simons, Rebecca Joan. "Misalliance: a stage manager's process." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1079.

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3

Mayer, Eric Hans. "A “Wicked” Comparison of Commercial, Freelance and Academic Stage Management to develop Best Practices and Techniques for the Practical Stage Manager." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306291578.

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4

Fernandez, Adriana Cristina. "Challenging the traditions of American musical theatre : stage managing Striking 12 at the University of Iowa." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1597.

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This thesis is documentation and analysis of the stage management process working on the 2014 production of Striking 12 at the University of Iowa’s Department of Theatre Arts. In this thesis, the author analyzes the challenges and successes of Striking 12 from a stage management perspective as well as reflects upon the process and its influence on her as a stage manager.

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5

Teaster, Erin. "Stage Management 101 and 102." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/514.

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6

Leighton, Judi. "Lucia Vestris as lessee and manager of the Olympic Theatre 1831-1839 and the influence of James Robinson Planché." Thesis, University of Leeds, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509849.

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7

Lišková, Kristýna. "Úloha manažera v práci s dětským a studentským publikem v divadle." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-199281.

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This master thesis is concerning the role of the manager in working with children and young audience in the world of theatre. The first chapters undertake the definition of the theatre for children and theatre played by children and brief history of this genre in the Czech Republic. It describes the history and rich tradition of festivals and parades in this area for different age categories until presence. The following chapters are dedicated to the relationship of theatres with their both audiences, current and potential. The thesis also appoints different possibilities of working with the audience and its development, its active engagement through interactive elements and impulses and building the long-term relationship with them. It defines the role of the manager in working with children and young audiences, it describes the activities of organisations concerning the theatre for children, dramatic education and concerning working with the audience and its development. In following chapters, there is description of specific needs of children and student audience and their characteristics. In next chapter there, is the analysis of the level of using marketing instruments and managerial attitudes in theatres, and the possibilities of financing activities of theatres aimed at children audience and youth. By studying the literature and conduction of my own quantitative research, I learnt about the level of cooperation between theatres and schools, and I evaluated the attitude of theatres towards children and youth audience and I was curious if the theatres are nurturing their future spectators.

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8

Sugden, Marguerite Angela. "A stage manager's cosmic experience." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6864.

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9

Hains, Kathleen Sarah. "Stage managing Slaughter city." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1616.

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10

Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-1950)." Communication and Cultural Studies - Faculty of Creative Arts, 2002. http://ro.uow.edu.au/theses/246.

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This thesis explores a cultural history of cinema-going in the Illawarra region of New South Wales over the first half of the twentieth century through oral history interviews with cinema-goers of the period. The research was originally intended to explore the Australian cinema industry from a regional perspective. However, while the interviews contained fascinating details and stories of cinema-going in this period, they did not fit seamlessly into existing academic discussions about cinema which often focus on film texts and national cinema industries. Therefore, as well as considering how the oral histories I collected contributed to pre-existing academic discourses about the cinema industry and national screen content, I have also explored other discourses that are articulated in audience narratives. Through exploring the debates in cultural studies about audience research and the work of the Popular Memory Group and other critical oral historians, I critically evaluate the oral history narratives as well as the methodology of oral history itself. I look at the intersection of oral history practice with cultural studies in order to highlight issues of representation and power and to celebrate the way that differences between written and oral histories can foreground processes of meaning-making. My contention in this thesis is that cinema-going is a strategy of mediation through which people make sense of themselves, their lives and their relationships with others. I test this theory by considering cinema-going in relation to a series of identifications: national identity, local identity, personal identity and political identity (age being one strategic location from which older individuals can draw on age-related discourses and experiences to achieve particular narrative ends). In conclusion I argue that any cultural history of cinema-going is a mediated history which is constructed within a matrix of meaning-making strategies. It is created through audience members� narratives of cinema-going which re-configure memories in accordance with particular discourses of significance either in the narrated past or in the narrating present. The researcher, who tells the story with reference to specific research priorities and current academic discourses, further mediates such a history. Therefore, as well as setting out a cultural history of cinema-going in the Illawarra for debate and further research, the emphasis on mediation is intended to encourage reflection on the creation of history as a complex, collaborative and political process which creates one story as it silences others.

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11

King, Ian William. "A study of decision making by managers in the popular theatre." Thesis, Liverpool John Moores University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.291314.

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12

Birch, Peter. "Forum conversations : an organisational theatre method for improving managers' interpersonal communication." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/forum-conversations-an-organisational-theatre-method-for-improving-managers-interpersonal-communication(35a23abe-457b-432f-99af-cfeb31e97e45).html.

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Forum Conversations is an organisational theatre method for helping individuals to deal with their difficult conversations in the workplace. It uses professional actors to simulate participants’ ‘difficult others’ and to play out confrontational conversations from participants’ own experience. This study adds to the empirical base of research into organisational theatre. It further conceptualises organisational theatre methods as reflective or refractive. This qualitative, interpretive study examines the perspectives of both participants and actors through a dramatistic lens and also assesses if and how the Forum Conversations method has affected changes in behaviour and approach in the ways individual participants communicate with others in the workplace. In this assessment a novel, methodological approach based on attributions made by participants was used to make comparisons between individuals’ pre- and post- Forum Conversations views about their difficult conversations. Outcomes included improvements in confidence and awareness but also of agency in participants’ dealings with others. The interaction between actors and participants is discussed in terms of a partial dialogism that dwells in the moment of exchange between interactants. From the actors’ side the study highlights the subtly layered reflexivity of the actors in process and also of their tendency to accentuate performance skills. In this context, the interaction is seen to compare with the way professional actors might use rehearsal to prepare for theatre performance. Overall, it is concluded that Forum Conversations is a powerful learning method that enables participants to embody their learning experience and leads to sustained individual change that occasionally includes personal transformation both at work and at home.

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13

Kirley, Rachel B. "The Education and Practical Experience of Theatrical Production Managers." University of Akron / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=akron1117392085.

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14

Hillier, Fleur Jane School of Public Health &amp community medicine Centre for Clinical Governance Research in Health UNSW. "Managing creative and health production processes : issues, similarities and differences." Awarded by:University of New South Wales. School of Public Health and community medicine. Centre for Clinical Governance Research in Health, 2005. http://handle.unsw.edu.au/1959.4/22281.

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In this thesis I am concerned to examine the management behaviours and predilections of managers across the two settings of health and theatre considered to be divergent. To do this I explore and map methods, similarities and differences managers employ to ???manage??? workers across the industries. I also deconstruct creativity and its manifestations in both managerial behaviours and environmental contexts and map the complexity issues that managers face in different settings. Further, I explore the extent to which management activity is contextual to the identity of participant organisational aims and processes and examine the level of calculated chaos experienced by managers across the settings. Central to this approach is the utilisation of multi-method design incorporating interview, micro-ethnography, auto-ethnography and a RAND expert panel to assist with interpretation of the results. Core findings include high degrees of similarity in the roles and functions and support systems utilised by managers across the settings despite substantial differences in environmental contexts and organisational aims and processes. Differences were identified in the areas of: levels of chaos, interactions, purposes, and environmental characteristics. To account for these differences I apprehended seven metafactors grounded in the data sets. These seven metafactors can be found in each setting but emerge in different ways. The metafactors that I apprehend are order versus disorder; creativity; experimentation and change; risk; reflection; trust and respect; and time and pressure. While I discuss these seven metafactors as separate factors in reality they are fundamentally inter-related. Suggestions for future research are included.

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15

Kay, Susan. "Organising, sensemaking, devising : understanding what cultural managers do in micro-scale theatre organisations." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15971.

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The purpose of this enquiry is to challenge and add a further dimension to cultural management, through an empirical exploration of what cultural managers do in a particular domain (theatre) and scale of organisation (micro-) within the (subsidised) cultural sector, in South West England. Working from a sensemaking perspective (Weick, 1979, 1995a, 2009), it focuses attention on what these practitioners do, rather than what they could, should or do not do. It draws on literature from cultural management, theatre and performance studies and organisation and management studies to help address the following questions: • What do cultural managers do in micro-scale theatre organisations (in South West England)? • Why do they do what they do? • How do they do what they do? • In what ways might an analysis of what they do inform talk in and about cultural management? • To what other theoretical conversations might such an analysis contribute? The subjects are three cultural managers running micro-scale contemporary theatre organisations in Bristol, Plymouth and Redruth. The study adopts a qualitative, ethnographic, multi-case study approach, with data collected through non-participant observation, informal interviews and documentary sources. Analysis is inductive, deductive and abductive. The thesis concludes with a conceptual and epistemological re-framing of cultural management as cultural managing, suggesting that what the cultural managers studied do is not only vocationally dedicated to the purpose, values and work of their organisation, but is also isomorphically inflected by them in the doing. Furthermore, it offers (a) an adjusted perspective on “high reliability organising” (Weick & Sutcliffe, 2007) orientated more towards making the best than mitigating the worst; (b) a focus on organising in theatre to colleagues pursuing the relationship between management and the arts; and (c) a challenge to traditional notions of divide between theatre managing and theatre making, particularly at the micro-scale. This is an interdisciplinary study with cross-disciplinary implications.

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16

Crestani, Eliana 1966. "Traveling actress and manager in the nineteenth century: The western career of Nellie Boyd, 1879-1888." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278588.

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This study examines the activity of the Nellie Boyd Dramatic Company between 1879 and 1888. Actress-manager Nellie Boyd formed the company around 1876 and from 1879 onward she decided to perform exclusively in the western U.S., pioneering several southwestern territories. This thesis discusses the Boyd company's impact on the life of particular western towns; the organization of the company, its repertoire and the possible significance of Boyd's choice of roles; and the critical reception accorded to Boyd and her company. The study of Boyd's career in the West offers insights into the significance of traveling companies on the cultural and social development of growing communities. It illustrates the activity of independent traveling companies parallel to the rise of the combination managerial system. It also reveals the story of a woman leading a successful show-business enterprise and enhancing her personal and professional reputation in the nineteenth-century western scene.

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17

Molnar, Lee Marc. "Guide to Opera Stage Management for the Aspiring Theatrical Stage Manager." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1428349593.

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18

Cohen, Nathan Gad. "The research and the creation of a stage manager's book for "The sound of music" musical tour show." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/2398.

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During the research for the components of a musical production tour company of “The Sound of Music” (Play by Lindsey and Cruze and Music by Rodgers and Hammerstein), the Producer begins with constructing the organizational structure and ascribing essential jobs focusing on the Stage Manager’s position and his duties. As an organized and informative leader, the Stage Manager’s main responsibility is to create a book which will assist him/her in processing necessary evolving data into a clear and communicative information. During the production phases, The Stage Manager’s book assists with managing technical and artistic needs using distinctive lists: sound, lights, props, costume, and ground plans. Also, it assists the Stage Manager in prompting sound, light and crew cues from a well-prepared prompt script, which generates smooth rehearsals and performances. Thus, in a large musical capacity the creation of a Stage Manager’s book is an inevitable organizational production tool.

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19

Blemker, Douglas M. "Relationship management using Q methodology and the organization-public relationship scales with nonprofit theatres around Indiana." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390649.

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This research focused on gaining a greater understanding of Indiana nonprofit theatre professionals regarding relationship-building practices with their patrons. In addition, this researcher questioned whether Bruning and Ledingham's organization-public relationship theory was applicable to theatres.Executive directors and managing directors from 21 theatres completed a Q sort to evaluate their perceived level of relationships with their patrons. From the sorts, three distinct factor groups were revealed: communitarians, partner makers, and idealists.The communitarians placed a strong commitment to the community and education. The partner makers focused on building community and business partnerships. Idealists showed a generalized focus on both community, patron, and businesses without being able to fully implement their interests.
Department of Journalism

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20

Near, Aubrey Jean. "Finding my Fun home: reflections on stage managing a modern musical." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6818.

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21

Tames, Elizabeth A. "Playing Monopoly : actor/manager Robert William Elliston (1774-1831) and the struggle for a Free Stage in London 1802-32." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19403/.

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This study reveals the complexity of relationships inherent in a system of theatre governance shaped by exclusive rights. Royal patents granted in 1662 entrusted sole guardianship of the ‘national’ or ‘regular’ drama to two ‘patent’ or ‘legitimate’ theatres (ultimately, established as The Theatres Royal Drury Lane and Covent Garden). These held privileged access to the traditional canon of serious, literary drama, including Shakespeare. The monopoly regime’s power, re-affirmed in The Theatre Licensing Act 1737, prevented all other playhouses, labelled ‘minor’, from producing the national corpus of plays, and from employing ‘the spoken word’: continuous speech unaccompanied by music. ‘Minor’ theatres were restricted to exhibitions of movement, music, and rhyme, commonly termed ‘burletta’. By the early 1800s a consensus held the ‘patent’ regime responsible for degrading rather than preserving dramatic standards. Actor/manager Robert William Elliston purchased his first London ‘minor’ theatre in February 1809. From that moment he began a largely self-interested campaign to overthrow the monopoly. Seeking an equitable footing, Elliston made a series of formal challenges, but when they failed he abandoned official channels. Thereafter, while remaining within the law, he adopted subversive means to gain his goal of a free stage. The Times’s review of Elliston’s first circumvention of the law in August 1809, an innovative ‘burletta’-ized Macbeth, lauded his ‘irregular’ production, while recognizing this novel version as a landmark incursion into the ‘legitimate’ canon. Elliston’s pioneering role in the struggle for reform, recorded in 1926, has been little researched since. The thesis re-evaluates Elliston’s agency in the ‘patent’ cartel’s demise, so contributing to a re-assessment of the narrative of the monopoly regime, and the ideological and social significance of its abolition. Once free competition was achieved, the theatre became a space in which the ‘legitimate’ canon could be accessed by every class of theatre-goer.

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22

Tsang, Hsin-Chih. "Transitioning Older Volunteers: Exploring the Perceptions of Volunteer Managers in Theaters and Performing Arts Centers." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1407321665.

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23

Brunner, Stefan H. "An evening of American operas : an architectural approach to design." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/933458.

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Considered apart from the concrete; general; theoretical; hence, difficult; ideal. 2. A summary of epitome; a generality, in law, a compendium; in logic, an abstract idea or term; in grammer, an abstract noun, as virtue, goodness, etc.*
Department of Architecture

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24

Lesson, Benjamin. "La torpille numérique : problématiques métier de l’exploitation cinématographique à l’heure des multiplexes et des diffusions multi-supports." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20090/document.

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L’exploitant de cinéma articule l’espace public cinématographique et l’espace public ; il offre une définition, une objectivation du cinéma au sein de l’espace public, dans la manière dont il construit un cadre d’expérience esthétique. Il est donc à la croisée des chemins : il doit veiller à donner un site (matériel et symbolique) à l’expérience esthétique, selon les logiques propres à son champ et en considérant la « demande » du public.Les problématiques de son métier concernent aussi bien son positionnement concurrentiel, que son positionnement au sein de l’espace public cinématographique ainsi qu’au sein de l’espace public. La présente thèse vise à en rendre compte, de manière transdisciplinaire et engage également une réflexion sur le discours porté sur le cinéma au sein de l’espace public ainsi que la fonction que lui accorde cet espace. Les nouveaux dispositifs numériques peuvent conduire à la radicalisation du caractère mass media du film (en multipliant les modalités de réception), mais ils offrent également nouvelles configurations esthétiques; le cinéma doit donc être (re)défini en fonction de ces nouvelles possibilités (partie 1).C’est toute l’institution cinématographique qui est confrontée à la problématique de l’émergence des nouveaux médias et qui, malgré elle, tend à réduire la valeur expérientielle du cinéma au caractère mass media du film. Or, c’est le marché qui capte et exploite le plus cette logique (partie 2).Cependant, l’exploitant n’est pas seulement un diffuseur ; le travail de l’exploitant est également d’opérer une médiation. Ainsi, il s’agit de considérer les problématiques de sociabilité engagées par la salle de cinéma et les conditions de création de micro-agora, de micro espace public par l’exploitation (partie 3).Ce n’est que dans une saisie globale des deux aspects du cinéma (mass media et micro agora) que l’exploitant a une fonction claire et importante, qu’il convient de revaloriser au sein de l’espace public cinématographique (conclusion)
The movie theatre manager articulates the cinematographic public place and the public place. He proposes a definition and an objectification of the cinema within the public place, depending how he « builds » an aesthetic experiment frame. Thus, the movie theatre manager is on a « crossroad ’: he has to ensure the (material and symbolical) frame required for an aesthetic experiment, depending on institutional practices and according to the spectators « demands». The business challenges of the movie theatre manager concern as well its competitive location, as its location within the cinematographic public place as well as within the public place. This thesis aims at reporting it, in an interdisciplinary way. It also commits a comment on the definitions of the cinema belonging to the public place as well as the function that this space grants it.The new digital devices can drive to the radicalisation of the mass media aspect of the movie (by multiplying the ways of reception). But they also offer new aesthetic configurations. Thus, the cinema has to be (re) defined according to these new possibilities (Part 1).It is all the film institution which is concerned by the problems due to the new technologies emergence and which tends to reduce the cinematographic experiential value to the mass media of the film aspect. Now the market exploits this logic more than the institutions do and so appears as the only guarantor of the quality (Part 2).However, the movie theatre manager is not only a diffuser; his work also is to proceeds a mediation. So, it is a matter of considering the sociability problematics committed by the theatre space and the conditions of creation of micro- agora, micro public place by the movie theatre (Part 3).It is only in a global seizure of both aspects of the cinema (mass media and micro-agora) that the movie theatre manager has a clear and an important function, that it must be revalued within the film public place (conclusion)

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25

XIE, HONG-TING, and 謝鴻廷. "A Study of Curriculum Development in Nurturing Stage Manager of Theatre in Taiwan." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/997fgy.

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26

Cheng-I, Shih, and 史正怡. "Technical staff or Artistic worker：Stage Manager For The Production Team of Theatre Company：A Case Study of 《Yan -Zhi He》 By Taiwan Drama Performance Company." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/07361166719853626406.

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碩士
樹德科技大學
經營管理研究所
96
This study is exploring the stage manager is technical staff or artistic worker of the theatre production team and how the theories of human resource planning are employed in back stage production team in drama works, and whether or not those theories and practices can be developed further? The author of this paper is involved in the production of 《Yan -Zhi He》as assistant stage manager. Through the participant observation, the author interviews the stage manager, technical crew and artistic team for their practice experiences. Based on those interview materials along with theoretical studies, the author tries to identify how the leader of production team is scheduling and managing its human resource? This paper also discusses the reality of this plan and management as mentioned above in Taiwan’s theatre companies nowadays? This paper discovers that due to the shortage of production budget, many theatre companies in Taiwan are producing the works without the involvement of technical experts. Since a good theatre production cannot be created without the involvement of technical specialists, the author of this paper suggests that the companies should establish a liaison system with relevant academic institutes and develop its own human resource within the companies. If the employment of technical experts from outside of company is unavoidable, then the company should serious consider to hire the same team for the touring.

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27

Cordeiro, Joana Venda Machado. "O trabalho do diretor de cena, um métier artístico? : uma experiência na direção de cena do Teatro Nacional de São Carlos." Master's thesis, 2016. http://hdl.handle.net/10362/18200.

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O trabalho do diretor de cena, um métier artístico? – uma experiência na direção de cena do Teatro Nacional de São Carlos consiste no relatório das atividades desenvolvidas durante o estágio curricular do segundo ciclo académico, realizado nessa instituição cultural. O estágio teve como objetivo a participação como assistente de direção de cena das Óperas La Cenerentola e The Rake’s Progress. Do conjunto dessas ações, o presente relatório enfatizará a reflexão teórica acerca do papel do diretor de cena nos processos criativos de construção de espetáculos. A partir da contextualização do trabalho em direção de cena, atentar-se-á na realidade específica da direção de cena em ópera, de forma a refletir sobre a profissão do diretor de cena e a sugerir novas linhas de pensamento.
Stage management, an artistic métier? – an experience in stage management in São Carlos National Theatre is a report of the internship developed at this cultural institution. The internship as assisting stage manager was held during the second academic semester and focused upon two main opera projects: La Cenerentola and The Rake’s Progress. The report will emphasize a theoretical reflection on the role of the stage manager within the show construction’s creative process. Starting from the working context of the stage manager, the report will be based upon the specificities of stage management in opera to reflect upon the role of stage diretors and suggest new lines of thought.

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28

Stockmaster, Brian James. "An investigation of theatre technical manager's estimation practices." 1998. http://catalog.hathitrust.org/api/volumes/oclc/39389363.html.

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Thesis (M.F.A.)--University of Wisconsin--Madison, 1998.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaf 461).

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29

HUANG, YI-ZHAN, and 黃逸展. "A Stage Manager’s Work in the Theatre through Different PhasesA Case Study on Bertolt Brecht’s The Good Woman of Setzuan Produced by the MPCA of Tunghai University." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/sftfp5.

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碩士
東海大學
表演藝術與創作碩士學位學程
107
Nowadays, the culture of performing arts and the groups of performing arts have begun to rise / increase gradually. When a performance group is creating its work, there must be a person in charge of the overall progress and time planning, so that their work can develop smoothly. This technical report aims to explore the different phases in a production’s stage supervision when it is being created: the early stage, the middle stage, and the final stage. This report's data is based on the experience of the author’s actual participation in a theatrical production. It depicts a stage manager’s on-spot work content and his status of being the stage supervisor, and also portrays the technical analysis and discussions related to that particular production according to the author’s personal experience. After the actual participation, it was learned that many new stage managers did not know how to prepare for the production they had joined, and this would certainly lead to confusion and frustration. Therefore, the author concludes that a new or inexperienced stage manager should always try to cooperate with experienced professionals or teams, and better guidance should be provided by performance venues as well.

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