Academic literature on the topic 'Theatre – Production and direction'
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Journal articles on the topic "Theatre – Production and direction"
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Montecchi, Fabrizio. "Creation processes in contemporary shadow theatre." Móin-Móin - Revista de Estudos sobre Teatro de Formas Animadas 2, no. 21 (December 20, 2019): 293–306. http://dx.doi.org/10.5965/2595034702212019293.
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Is there a particular form of stage writing and direction for contemporary shadow theatre? What are the processes involved in creation? What is the director’s role in designing and directing in shadow production? These are some of the questions that are dealt by Fabrizio Montecchi, according to his theatrical practice and his directing work and which falls within the merits of the most characteristic features of the shadow theatre.
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Kreicberga, Zane. "LATVIAN THEATRE IN TRANSITION . THE ROOTS IN THE 1990s." Culture Crossroads 19 (October 11, 2022): 78–88. http://dx.doi.org/10.55877/cc.vol19.30.
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This paper focuses on the emergence and evolution of the so-called independent theatre scene in Latvia in the radically changing socio-political and institutional context of the 1990s. The analysis concerns the question why in Latvia the independent theatres did not become a significant alternative from the inherited institutional repertory theatre system until the second decade of the new century. Examples of the independent theatres Kabata, Skatuve and Mūris help to illustrate the general tendencies showing that a lack of a strong artistic vision and managerial strategy in difficult economic circumstances lead to the underdevelopment of a diversity of production models in performing arts in Latvia. In addition, after a short loss of direction, institutional theatres in the mid-90s started to attract nearly all artistically interesting new initiatives, especially if it already had proved itself within the independent scene. The New Riga Theatre and The Atelier of Unbearable Theatre characterize these processes, moreover indicating that the avant-garde directors of the time – Alvis Hermanis, Dž. Dž. Džilindžers, Viesturs Kairišs, Gatis Šmits and Regnārs Vaivars – were interested in a radical break with the past in terms of aesthetics of theatre, but they were not interested in politics. The comparison with the independent theatre scene in Estonia and Lithuania shows that the similar initial circumstances may lead to different outcomes.
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Mojžišová, Michaela. "Peter Konwitschny, Opera and Theatre Director Shaping the Profile of the Bratislava Opera of a New Millennium." Slovenske divadlo /The Slovak Theatre 65, no. 3 (September 1, 2017): 266–82. http://dx.doi.org/10.1515/sd-2017-0015.
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Abstract The paper examines the work of the acclaimed German opera and theatre director Peter Konwitschny at the Opera of the Slovak National Theatre. The authoress bases herself on an analysis of the productions of Eugen Onegin (2005) [Eugene Onegin], by Tchaikovsky, Puccini’s Madama Butterfly (2007) and Bohéma (2013) [La bohème], Janáček‘s Vec Makropulos (2015) [The Makropulos Affair], and Halévy‘s Židovka (2017) [La Juive], all of which, save for Janáček‘s opera, the Opera of the Slovak National Theatre has borrowed from foreign theatre scenes. The authoress makes a stocklist of the basic principles of Konwitschny’s direction signature and his contribution to theatre production, as well as to the artistic ensemble of the Bratislava Opera.
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Mark Gasper, Tekena. "Approaches to Play Directing in Contemporary Nigerian Theatre: A Study of Segun Adefila and Bolanle Austen-Peters." Journal of Contemporary Drama in English 7, no. 2 (November 7, 2019): 314–32. http://dx.doi.org/10.1515/jcde-2019-0022.
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Abstract Documentation remains one of the major challenges of the Nigerian theatre; as a result many theatrical performances have gone into oblivion. Studies have been conducted that have given birth to the many approaches to play production and theories of directing in the Nigerian theatre. However, most of these studies focused on directors in educational theatres, as many directors outside the academia seem not to have attracted much scholarly interest in terms of documentation. This research documents the directorial approaches of two Nigerian directors – Segun Adefila and Bolanle Austen-Peters – using four productions and will be of benefit to theatre scholarship and the industry. The study employs a qualitative method of research, and the findings reveal Segun Adefila as an anti-realistic director and Bolanle Austen-Peters as a realistic director. Also, both directors use film to support live drama in their productions. This study therefore recommends that directors embrace the use of film in live theatre, in line with technological trends around the world.
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Jones, Nesta. "Looking at Lear: the Voice Work and Direction of Cicely Berry." New Theatre Quarterly 35, no. 02 (April 15, 2019): 135–49. http://dx.doi.org/10.1017/s0266464x19000058.
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Since her death on 15 October 2018 at the age of 92 many tributes have been paid to Cicely Berry, and no doubt more will follow. Her legacy is assured, however, through the many actors, directors, and young people she encouraged, inspired, and transformed during her long and illustrious career as Director of Voice (and subsequently Advis ory Director) of the Royal Shakespeare Company, and other organizations where she shared her practice internationally, often with the assistance of translators in order to work in the language of the host communities. Moreover, her words and a myriad of examples of exercises on voice and text processes remain in print and on digital media for the benefit of future generations.1 In this article, Nesta Jones focuses on one specific piece of work and moment in time. Cicely Berry had directed a touring production of Hamlet for the Education Department at the National Theatre in 1986, with Tim McInnerny in the title role; then, two years later, came the production appraised in detail here – King Lear for the RSC, first staged at The Other Place in Stratford-upon-Avon in 1988, and at the Almeida Theatre, London, in 1989. Nesta Jones recently retired as Professor and Director of Research at Rose Bruford College ot Theatre and Performance, and was previously Reader in Theatre Arts at Goldsmiths, University of London.
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Lindovská, Nadežda. "Ján Jamnický’s Ten Days with Soviet Theatre." Slovenske divadlo /The Slovak Theatre 65, no. 2 (June 27, 2017): 121–41. http://dx.doi.org/10.1515/sd-2017-0008.
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Abstract Art was perceived in the Soviet Union as a part of ideology and propaganda aimed not only at the domestic environment but also at foreign countries. State cultural policy was presented through a series of magnificent meetings and shows, to which also participants from abroad were invited. In the 1930s Moscow was the venue of several theatre festivals, which were attended by Czechoslovak theatre makers. In 1936 it was also attended by Ján Jamnický, the novice theatre director of the Slovak National Theatre in Bratislava. The Slovak theatre maker saw a lot of inspiring productions and experienced the initial period of a campaign aimed at suppressing the freedom of artistic expression. He became a witness to the twilight of Russian theatre avant-garde. The present paper describes the theatre experiences of Ján Jamnický in the Soviet Union and their impact on his life, production and style of direction. It points to a series of overlooked facts which are necessary for a complete understanding of the historical and artistic context of Soviet theatre and Jamnický’s journey.
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Barnes Lipscomb, Valerie. "“The play’s the thing”: theatre as a scholarly meeting ground in age studies." International Journal of Ageing and Later Life 7, no. 2 (April 12, 2013): 117–41. http://dx.doi.org/10.3384/ijal.1652-8670.1272a6.
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Addressing three current critical turns in gerontology, this article proposes the theatre as a fertile ground for various theoretical angles in age studies - including the performative on and off stage, the narrative in the script and the critical questioning of age and ageism in the multiple realities of performance. Beginning from a shared site in the theatre, researchers may be able to establish greater common ground, resulting not only in multi-disciplinary efforts but also in truly interdisciplinary work. With a foundation in performance studies, this article suggests promising directions for age studies and theatre scholarship by examining three aspects of theatrical production: a play script, Jan de Hartog’s popular The Fourposter (1951); a collaborative development of a script and production, Jeanette Mathewes Stevens’ 2010 senior drama ElderSpeak; and a performance, a 2011 song-and-dance revue staged by an established senior theatre troupe, the Sarasota Senior Theater.
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Podmaková, Dagmar. "Alexander Dubček Twice – An (Un)Known Side of Him." Slovenske divadlo /The Slovak Theatre 66, no. 3 (September 1, 2018): 242–66. http://dx.doi.org/10.2478/sd-2018-0015.
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Abstract The authoress, using two visual works, i.e. theatre production #dubček and film Dubček (both 2018), compares two different approaches to and forms of the work with the personality of Alexander Dubček against the backdrop of the reforms and political upheaval in Czecho-Slovakia1, in 1968. Theatre production #dubček (Aréna Theatre, Bratislava, direction Michal Skočovský) has three levels. The first one is acting game having the form of a rehearsal of a new text about the politician Alexander Dubček; its component part is the projection of period archival film shots. The second level involves the actors stepping out of characters and commenting on Dubček’s attitude and on historical events. The third level entails monologue scenes, in which actors reveal their personal attitudes via narrated stories at the time of normalization2 which had a negative impact on the lives of hundreds of thousands of people. In the film Dubček (Slovak-Czech co-production, direction Ladislav Halama), through Dubček’s reminiscing the past, political events interweave with the scenes from the life of Dubček’s family. Although both the works employ period image documentary material and fiction, they fail to create a dramatic conflict and they are illustrative for the bigger part.
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JACOBSHAGEN, ARNOLD. "Staging at the Opéra-Comique in nineteenth-century Paris: Auber's Fra Diavolo and the livrets de mise-en-scène." Cambridge Opera Journal 13, no. 3 (November 2001): 239–60. http://dx.doi.org/10.1017/s0954586701002397.
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Printed stage-direction books, so-called livrets de mise-en-scène, count among the most important sources for the history of staging of nineteenth-century French opera. Their function was to document the then-current condition of a Paris production, and to serve as a model for provincial or foreign theatres. In this essay, a comparison of two such livrets for Auber's Fra Diavolo from Paris, by Vieillard Duverger and Louis Palianti, shows that the staging of successful works underwent significant changes over time. One cannot, however, assume that a published stage manual indicates the chronological fixity of a production. Indeed, directors even in the nineteenth century did not aim at an ‘‘objective” reproduction of a staging, but rather at an innovative, lively, and ever-changing music theatre within the framework of contemporary operatic aesthetics.
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FitzPatrick Dean, Joan. "Hilton Edwards, Brecht and the Brechtian." Review of Irish Studies in Europe 4, no. 1 (June 14, 2021): 82–98. http://dx.doi.org/10.32803/rise.v4i1.2622.
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The Dublin Gate Theatre Company’s repertory of international, often experimental plays offers perhaps the clearest distinction between the Gate and the Abbey in the mid-twentieth century. A growing body of scholarship focuses on how Hilton Edwards and Micheál mac Liammóir deployed innovative, non-realistic staging techniques and brought to Ireland design elements associated with European artists. The Gate’s international remit can also be seen in its production of plays not merely authored by foreign playwrights, but focused on issues outside the conventional purview of Irish politics, including anti-Semitism and totalitarianism. Throughout his career, Hilton Edwards often sought out non-realistic dramaturgies to critique modern institutions. Some of the plays chosen by Edwards and mac Liammóir were so provocative, socially-conscious, and politically-charged that they challenged the prevailing ethos in Catholic Ireland and incurred the wrath of the Catholic Cinema and Theatre Patrons’ Association. Edwards’ exposure to Bertolt Brecht’s plays, theories, and the 1956 London performances by the Berliner Ensemble prompted not only his production of Mother Courage in 1959 and Saint Joan of the Stockyards two years later, but also his greater willingness to comment on theatre, for example on the radio and in his book The Mantle of Harlequin (1958). Edwards shared with Brecht an awareness of music as integral to performance and a vision of theatre unconstrained by realism and the proscenium arch. Although the Gate repertory of new productions in the post-Emergency era may appear unsurprising, that perspective is informed by the half century in which dramatists such as Arthur Miller and Brecht emerged canonical figures. Hilton Edwards’ direction of Mother Courage and Saint Joan of the Stockyards advanced the Gate’s internationalism and helped to reshape the political nature of Irish theatre. Keywords: Hilton Edwards, Dublin Gate Theatre, Bertolt Brecht, Irish theatre, theatre and politics, Brechtian
Dissertations / Theses on the topic "Theatre – Production and direction"
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Rawlings, Cara E. "The Civil War: A Collaboration in Direction and Choreography." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/751.
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This text is a partial record of the development of the Virginia Commonwealth University production of The Civil War: A Musical that opened on April 7, 2005 for a three-week run ending April 28, 2005. The greater part of the text is devoted to the evaluation of the underlying principles of direction and choreography applied in the creation of an artistically aid financially successful production of this size. Included in the evaluation of The Civil War: A Musical are analyses of the directors' --Patti D'Beck and David Leong --individual creative processes, aesthetics, and working styles. The result of this evaluation and analysis is a compilation of the fundamental principles of direction and choreography applied The Civil War: A Musical as a methodology for the creation of theatre. Further reflections on collaboration and artistry serve as the culmination of lessons inherent in both the creation of the Theatre VCU production of The Civil War: A Musical and in the author's three years of study in the VCU Master of Fine Arts program in Theatre Pedagogy with an emphasis in Movement Direction and Choreography.
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Friedlander, Lauren. ""Spending the day in front of the mirror"." Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1305644057.
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Readman, Geoffrey. "What does the Applied Theatre Director do? : directorial intervention in theatre-making for social change." Thesis, University of Northampton, 2013. http://nectar.northampton.ac.uk/7848/.
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This thesis critically interrogates the practice of artistic directors within applied theatre companies in the United Kingdom. ‘Applied theatre’ describes the process of theatre-making in which commitment to ethical, pedagogical, philosophical and social priorities are integral dimensions of theatre-making designed for specified participants, communities and locations. The research views the term director as encompassing any individuals with designated responsibility for the artistic coherence of theatre in both community and rehearsal room contexts. It argues that directorial processes in applied theatre have rarely been the focus of systematic research and that a theoretical framework to conceptualise practise will contribute new knowledge. The research design gathers evidence of directorial contributions, examining ‘why’ and ‘how’ interventions are constructed. The various theories, techniques and methods used by directors to shape and effect positive interventions are observed and interrogated, through a systematic research approach, in five director case studies. The case studies reflect discrete areas of theatre practice. Published research is sparse and literary evidence is occasionally drawn from historical, cultural and mainstream theatre contexts, from developments in Alternative and Political theatre and from Drama in Education praxis. The thesis concludes with a theoretical framework that articulates applied theatre directing as a process that shares some common ground with mainstream theatre directing, but which retains discrete alternative practices and philosophies that define an alternative directorial model.
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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." Thesis, The University of Sydney, 1996. http://hdl.handle.net/2123/1617.
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'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." University of Sydney, 1996. http://hdl.handle.net/2123/1617.
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Doctor of Philosophy'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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au, S. Tampalini@murdoch edu, and Sergio Tampalini. "Affective space (looking back)." Murdoch University, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20071116.144247.
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You cant be a rationalist in an irrational world. It isnt rational Joe Orton 1
It may be argued that a historically accepted model of an academic career begins with having completed a PhD and in so doing identifying a body of theory that will inform and constitute ones practical academic work. While it may be an accepted model it does not necessarily take precedence as the only model. The relationship between theory and practice is symbiotic and as such it is possible, and indeed at times desirable, that practice inform theory. It is not advisable to be solely operating from a position of theory when making creative work; the risk is far too great.
The gravitational force of theory can all too easily disturb the fragile innocence of creativity. Pulled and constrained by the logic of theory the work risks becoming too didactic and its creativity sacrificed for the sake of rationalism
a symptom almost diagnostic of our culture.
I appreciate that the term creative is open to a plethora of readings, each with their own cogent claim to usage. When I employ the term I am referring to a particular type of decision-making process involved in the solution of problems. I will argue that a creative decision differs from other types of decisions [such as, practical or scientific] in the way the resultant solution of the problem remains open to a greater number of potential readings. I will also argue that it is precisely in those heuristic moments of potential impasse, often associated with a problems resolution, where creativity hangs out.
In any creative venture, I have always been guided by the importance and significance of doing2
in the doing is the theory. This is not meant to dismiss theory but simply to see it in much the same way as when we see objects in our peripheral vision. Just as objects in our peripheral vision do not take their place in our visual field3, theory [for me] participates in creative processes by subconsciously serving as an early guiding system that helps monitor the work. In this age of information we are no longer innocent of theory -it is ineluctable. What is crucial is that we have a command of theory in order that we may go through it and regain our creative innocence. If we do not, we only achieve an artificial innocence born of enthusiasm, exuberance and imprecision. Creative innocence is re-found in doing. This assertion conceives of theory as participating as part of a creative subconscious and goes someway towards explaining the sudden epiphany of understanding that is frequently associated with prolonged and intense work, or the immense pleasure at retrospectively recognising the theory that seemed to have informed ones work without being conscious of it -as if the theoretical component had always been there. This phenomenon is of fundamental concern to my thesis, especially when considering the theatre productions that constitute my creative oeuvre. Upon close inspection, my works ultimately reveal that the defining distance between a visceral creative decision [one whose manifestation is immediately felt as apposite] and one that is conceptualised as the illustration of a theory, is not that great
I just happen to begin working outside of the brackets of theoretical narration.
Throughout my thesis I will refer to all visuals as images but I will argue that there are specific types of images, namely signs, symbols and metaphors.
In language the term image can imply more than a verbal description of a purely visual experience; it can also mean the metaphoric, ornamental, rhetorical figurative use of language as opposed to its literal use. 4
For the surrealists image meant more than the representation5 of an external thing in the material world, it also meant the revelation of an internal mental state, a psychological verity occluded from consciousness.
Images [of this kind] were incandescent flashes linking two elements belonging to categories that are so far removed from each other that reason would fail to connect them and that require a momentary suspension of the critical attitude in order for them to be brought together. 6
Having already built a body of practical work [spanning thirty years] the challenge was to see if it was possible to identify a coherent theory that consistently functioned as the catalyst of the work - albeit disparate in its nature. The analytical process proved to be the reverse of that which may be observed in the historically accepted model of academic discourse
where the process is cumulative. In this instance the process was deductive -a forensic assignment akin to tracing the diverse creative elements to their creative source or motivation. The venture proved illuminating in much the same way as when one is asked to crystallise a complex theoretical argument; you have to reinvent the argument in a way that helps to simplify its complexity without attenuating its integrity -a complexity that is well known to you but that eludes the uninitiated reader.
Whenever I try and think about my theatre practice I am vexed -particularly when I filter my own experiences and try and extract the meanings that seem genuinely inherent in them. At first glance it is satisfying because of a sense of coherence or pattern in a whole host of discrete events. However a closer inspection quickly reveals the fractal complexity of the pattern and demands a reappraisal of how we see and decipher it. Any attempt to understand its disparate nature by investigating one part in isolation from the whole proves initially unsatisfying and finally futile, for each part seems to be informed by and refer to other parts, as if participating in a greater organising principle; a principle that resists traditional cartography; one that is best seen as one sees the earth from outer space.7 When the earth is seen from outer space one becomes aware of the greater organising principle [the universe] within which it functions. Similarly it is only when the topology of my work is seen from a distance that its coherence is apparent
the further away one is, the more clearly one recognises its constituent parts.
Despite our desire to lose ourselves in the living depths of a work, we are constrained to distance ourselves from it in order to speak of it. Why, then not deliberately establish a distance that will reveal to us, in a panoramic perspective, the surroundings with which the work is organically linked? 8
When I am in the middle of a theatre production, I have only the slightest idea of how it will end; I trust in the doing, and at the end I am always surprised by what I have created. Ambiguity and paradox and consequently indeterminacy ultimately emerge as the common features of my work; they appear as sign posts that mark a way of finally mapping it. Each individual piece of work remains coherently intact despite its seemingly obscure coalescence with others, but it is when the works intersect at these points of commonality that one may observe the greater organising matrix.
The phenomenological world is not a pure being, but the sense which is revealed where the paths of my various experiences intersect, and also where my own and other peoples intersect and engage each other like gears. 9
If the most unrelated things share a place, time, or odd similarity, there develop wonderful unities and peculiar relationships and one thing reminds us of everything. Novalis 10
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Hillier, Fleur Jane School of Public Health & 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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Carlile, Solfa. "Characterisation in contemporary opera and music theatre." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:dd3468ba-dba6-49c2-88d4-82c2bb23af5c.
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This doctoral research comprises a practitioner-based reflective enquiry to bridge the gap between theory and practice and enhance my compositional output. In tandem with the composition of my chamber opera, The Exile, I have undertaken research into characterisation within the context of opera and musical theatre, with a focus on both the delineation of individual characters and the context in which they appear. Parameters of the work are discussed in comparison with canonic works of both opera and music theatre. Contemporary uses of leitmotif, representation of speech and folk music within operatic works are acknowledged and their influence on the composition is presented along with musical examples. The conventional composer-librettist partnership is discussed, along with suggestions for how respective roles for composer and librettist have evolved in recent times. An insight into the collaborative compositional process is presented in the final chapter, as my work with librettist Gillian Pencavel is discussed. The Exile is an original work informed by this research and is a contribution to the repertoire as well as an investigation into many compositional techniques presented in this thesis.
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Amato, William J. III. "The Technical Direction of the 2009 Kent State University School of Theatre and Dance Production of Twelfth Night." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1241188098.
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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.
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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
Books on the topic "Theatre – Production and direction"
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Direction: Readings in theatre practice. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2012.
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Emmet, Long Robert, ed. Producing and the theatre business: Working in the theatre. New York: Continuum, 2007.
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André, Helbo, ed. Approaching theatre. Bloomington: Indiana University Press, 1991.
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Making people's theatre. Johannesburg: Witwatersrand University Press, 1997.
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Staging Shakespearean theatre. Cincinnati, Ohio: Betterway Books, 2000.
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The American musical theatre: A complete musical theatre course. 2nd ed. U.S.A: Phantom Publications in association with Players Press, 1997.
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Lee, Robert L. Everything about theatre!: The guidebook of theatre fundamentals. Colorado Springs, Colo: Meriwether Pub., 1996.
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Bradby, David. Directors' theatre. New York, NY: St. Martin's Press, 1988.
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Talking theatre: Interviews with theatre people. London: Nick Hern Books, 2009.
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Fingerhut, Arden. Theatre: Choice in action. New York: HarperCollins College Publishers, 1995.
Find full textBook chapters on the topic "Theatre – Production and direction"
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Pavis, Patrice. "Production and Reception in the Theatre." In New Directions in Theatre, 25–71. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-22750-1_3.
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Moody, James L., and Jeff Ravitz. "Theatre Production." In Lighting for Televised Live Events, 150–52. First edition. | New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429288982-23.
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Gillett, Cary, and Jay Sheehan. "Theatre." In The Production Manager's Toolkit, 125–36. 2nd ed. New York: Routledge, 2023. http://dx.doi.org/10.4324/9780367808174-14.
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Cummings, Scott T. "A cloud of direction." In The Theatre of Les Waters, 222. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003170808-55.
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Koski, Pirkko, and Kayleigh Töyrä. "The creators of artistic direction." In Finland's National Theatre 1974–1991, 38–52. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003047667-5.
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Stribling, Zachary, and John Holloway. "Theatre Rigging." In Illustrated Theatre Production Guide, 61–74. Fourth edition. | New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003034575-10.
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Cummings, Scott T. "Some productions I saw that made me the director I am." In The Theatre of Les Waters, 82–85. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003170808-21.
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Rodriguez, Jacob P., Steven R. Loomis, and Joseph G. Weeres. "Establishing Direction in Education Production." In The Cost of Institutions, 61–78. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230604797_4.
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Cohen, Robert. "The Production Stage." In Working Together in Theatre, 118–74. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-1-137-29451-7_6.
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Stribling, Zachary, and John Holloway. "The Production Process." In Illustrated Theatre Production Guide, 17–22. Fourth edition. | New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003034575-3.
Full textConference papers on the topic "Theatre – Production and direction"
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Chronopoulou, Anna. "Music in the service of the directorial vision: The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis)." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.
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Someone could claim that a well prepared, contemporary theatrical production consists of a thorough planning, a period of rehearsals and the final presentation of the work before the audience. Whether we talk about a collective theatrical organization or a hierarchical one, we should agree upon the fact that the directorial vision could be considered as the motivating gear of a theatrical performance. It is the director’s or the team’s directorial vision – in the cases of alternative, collective theatrical productions – which guides those who participate in a theatrical performance and, therefore, it is commonly accepted by actors and actresses that one should follow instructions, find his path and “build” his role as part of a team which serves a certain objective. Because of the diversity and complexity of modern productions as well as the increasing need for high quality, original performances – in terms of mise-en-scène, acting, stage and costume design, lightning and music – certain professional collaborates are called to participate in the stage of the preparation and contribute to the final aesthetics of a production. In the case of preparing the theatrical performance of an ancient Greek Comedy, the musician plays a significant role, as the choruses of ancient comedy are an integral part of this genre. The performance of the ancient Greek Comedy Acharnes in 1976 by the theatrical group of Greek Art Theatre (Theatro Technis), under the directorial guidance of Karolos Koun and the music which Christos Leontis composed for its needs, is a case study for the current thesis, the analysis of which intends to reveal the way the composer collaborated with the director and the members of the theatre company. The play, written by Aristophanes, was first taught and presented to the ancient Athenian audience in 425 B.C. The choral parts, accompanied by music and sang by the members of the chorus, have since antiquity been considered to be of significant importance for this ancient theatrical genre. It is, therefore, quite intriguing to thoroughly and methodologically examine the way the music composed for the needs of a specific performance contributed to the overall outgrowth of a contemporary attempt to present the ideas and the beliefs of an ancient Greek poet to the modern Greek theatrical audience. Did the composer follow the instructions of the director? Did he serve the directorial vision? Did he interact with the director and the members of the Greek Art Theatre? In what ways and up to what extent was music co-responsible for the commonly accepted success of this particular performance? It will be attempted to answer the above questions with the help of the composer’s personal testimony, his kind contribution of archival material from his personal files, accompanied by the simultaneous, cross-examined analysis of the performance which was filmed in 1976.
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Dining, Anna, and Joe Geigel. "Farewell to Dawn: A Virtual Theatre Production." In 2020 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). IEEE, 2020. http://dx.doi.org/10.1109/vrw50115.2020.00283.
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Liu, Chin-Li, and Yen-Ting Chang. "An interactive e-book application in musical production of university theatre department." In 2015 International Conference on Interactive Collaborative Learning (ICL). IEEE, 2015. http://dx.doi.org/10.1109/icl.2015.7318143.
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Zhanguzhinova, Meruyert, Bagdat Akylbekova, Sabit Kurmanbekov, Nazerke Kumargaliyeva, and Nazerke Kairbekkyzy. "Innovative Trends in Ethno-Costumology in the Modern Theater Process." In 15th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2022. http://dx.doi.org/10.22616/reep.2022.15.023.
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This article examines the topicality of ethno-costumes in the context of the modern theatrical process. The aim of the study is to conduct a theoretical and methodological study of the problems of ethno-costumeology in the context of the modern theatrical process. The scientific and theoretical methodology of the research include the theoretical foundations of ethno-costumes, concepts of the modern theatrical process, methodological aspects of ethno-costumes, innovative directions of ethno-costumes, artistic principles of creating an ethnocostume. Scientific and theoretical methods were used: socio-cultural, historical, semiotic, ethnographic, formal-stylistic analysis, ekphrasis, attribution of an ethnic costume, observation, interpretation of an ethnic costume in the theatrical process. The practical methods: research of innovative technologies in the design of ethnic costume in the context of the modern theatrical process, which make up various types of 3D modelling and visualization. The result of the study is: the application of the obtained scientifically grounded methodological foundations in the method of designing an ethnic costume in the production process of the Kazakh Drama Theater named after S. Seifullin in the city of Karaganda. The significance of the results is in the study and identification of methodological aspects in innovative areas of ethno-costumology within the framework of the modern theatrical process.
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Yale, D. P., M. K. Strubhar, and A. W. El Rabaa. "Determination of Hydraulic Fracture Direction, San Juan Basin, New Mexico." In SPE Production Operations Symposium. Society of Petroleum Engineers, 1993. http://dx.doi.org/10.2118/25466-ms.
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Chen, Xilin, and Tao Xi. "Cross-Cultural Management of Chinese Traditional Theatre Industry Based on Broadway Operation Model." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001860.
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Broadway, as one of the leading commercial show districts in the West, has a mature commercial experience and operation model. The theatre industry on Broadway is different from other places, and its production and marketing methods have also proven to be highly successful. This paper analyses the business model, artistic concept, communication strategy, and user research of Western theatre based on Broadway at the academic level. At the practical level, the paper investigates the cross-cultural management and communication model of the Chinese theatre industry. The Broadway theatre management that operates separately for theatres and productions, together with the art form that focuses on scenery, stage art, and sound effects, is applied to the management and communication of the traditional Chinese theatre industry. The paper aims at promoting traditional culture and making traditional theatre more suitable for modern aesthetic needs and market demands. The contribution of the paper is to improve traditional Chinese theatre into a creator-centered theatre performance consisting of music, song, dance, and dialogue in a cross-cultural context, based on the Broadway operation model. A modern marketing campaign is used to promote exposure and sustainability. As a result, a framework for Chinese traditional theatre products based on cross-culture is constructed.
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Цетлин, Ю. Б. "HISTORICAL-AND-EVOLUTIONAL DIRECTION OF POTTERY PRODUCTION INVESTIGATION." In Вестник "История керамики". Crossref, 2020. http://dx.doi.org/10.25681/iaras.2020.978-5-94375-316-9.33-52.
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В статье на основании этнографических, археологических и экспериментальных данных обобщены современные представления об эволюции некоторых сторон гончарного производства: 1 – форм сосудов, 2 – декора сосудов, 3 – глинистого сырья, 4 – составов формовочной массы, 5 – технологии конструирования сосудов, 6 – функций гончарного круга, 7 – приемов обжига сосудов и 8 – теплотехнических устройств для их обжига. Выделены закономерности этих процессов на уровне макроэволюции, мезоэволюции и микроэволюции. In the article the author regards modern data on the evolution of vessel shapes, their decoration, main plastic raw material, pottery paste, techniques of vessel construction, potter’s wheel functions, ways of pottery firing and devices for firing. The development of these sides of pottery can be seen on three qualitatively different levels: macroevolution, mesoevolution, and microevolution. The abovedescribed patterns of evolution in pottery production clearly demonstrate that its development is a complicated systematically organized process in the history of mankind. This doesn’t conflict with multiple specific pottery traditions of different nations in different epochs. On the contrary, through their variety trends and patterns in this sphere of human culture were revealed.
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Warner, Natasha, Allard Jongman, and Doris Mücke. "Variability in direction of dorsal movement during production of /l/." In 7th International Conference on Spoken Language Processing (ICSLP 2002). ISCA: ISCA, 2002. http://dx.doi.org/10.21437/icslp.2002-362.
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Marinich, Mihail. "SELECTION EVALUATION OF THE SOURCE MATERIAL OF FESTUCA RUBRA L. OF THE LAWN DIRECTION." In Multifunctional adaptive fodder production 26 (74). ru: Federal Williams Research Center of Forage Production and Agroecology, 2021. http://dx.doi.org/10.33814/mak-2021-26-74-51-59.
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The aim of the research was to assess the breeding value of the source material of F. rubra of the lawn direction obtained under conditions of various ecotopes of the south of the Central Russian Upland with a predominance of carbonate substrate. In total, 106 numbers of red fescue of various genetic and geological-geographical origin were evaluated in the experiment: 4 varieties and 102 breeding samples. Tests of the breeding value of the collection numbers were carried out in comparison with the zoned varieties of domestic selection (‘Veselka’, ‘Gostenka’, ‘Iskrinka’) and foreign selection (‘Gondolin’). The forms of F. rubra have been identified, approaching erect in shape, having a high shoot-forming ability, pronounced antocian color of inflorescences, whitish bloom on the leaves, which increases the overall decorative effect of lawn herbage. According to a number of important traits for breeding for seed productivity, the forms selected in natural habitats with a predominance of carbonate substrate have wide limits of variation and can serve as genetic sources of individual breeding traits for obtaining new varieties of lawn management with high seed productivity and decorativeness.
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Cerci, Deniz Sunar. "Jet production in the very forward direction at 13 TeV with CMS." In TURKISH PHYSICAL SOCIETY 32ND INTERNATIONAL PHYSICS CONGRESS (TPS32). Author(s), 2017. http://dx.doi.org/10.1063/1.4976417.
Full textReports on the topic "Theatre – Production and direction"
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Jones, Charles. The Shape of Production Function and the Direction of Technical Change. Cambridge, MA: National Bureau of Economic Research, May 2004. http://dx.doi.org/10.3386/w10457.
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Bożek, Małgorzata. FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11112.
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The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.
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Tyson, Paul. Orchestrated Irrationality: Why It Exists and How It Might Be Resisted. Mέta | Centre for Postcapitalist Civilisation, May 2022. http://dx.doi.org/10.55405/mwp13en.
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Orchestrated irrationality in our public discourse is produced by technologically enhanced and commercially purposed atomization and tribalism. Public discourse now leans away from a humane, free, and reasoned political rationality and towards self-interested, calculative, herd conformism. The bulls and bears of consumer society have largely displaced the civic logic of the liberal democratic pursuit of the common good. The power interests that govern global consumerism are enhanced by subordinating the common good ends of genuinely political life to the self-interested and profit driven dynamics of the market. Orchestrated irrationality in our public discourse makes politics into a meaningless theatre of incommensurate tribal interest narratives, which is a convenient distraction from the collaborative consolidation of market power and state control. This orchestrated irrationality can only be combatted by seeking to de-atomize citizens and de-tribalize the public square in order to recover the priority of political life over market and authoritarian power in our public discourse. That is, a postcapitalist civilization that is oriented to a genuinely political and universally moral rationality must replace the present global order. Once we can identify the problem and the direction of cure for orchestrated irrationality, we can then take steps towards a different civilizational life-world.
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TERENTIEV, S., O. GRUNINA, and L. PONOMAREVA. FEATURES OF THE PRODUCTION OF DOUGH SEMI-FINISHED PRODUCT PRODUCED USING LENTIL FLOUR. Science and Innovation Center Publishing House, 2022. http://dx.doi.org/10.12731/2070-7568-2022-11-2-4-15-22.
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Bread consumption has a stable increase in the territory of Russia and in particular in the Ulyanovsk and Samara regions. Bread, as a fairly low-priced product, is in high demand among consumers, but this product is not biologically saturated with useful substances, therefore, in modern production, a number of techniques are used to increase the nutritional and biological value of these types of products. In our work, one of these methods will be considered - the introduction of lentil flour into dough preparations. The problem is that the state policy regarding import substitution, aimed at replacing food additives produced abroad, necessitates the use of food additives or raw materials of natural origin produced in the territory of the Russian Federation, and the lack of development of regulatory and technological documentation in this direction is a significant problem for public enterprises. nutrition. Purpose - to carry out the development of a recipe for a test semi-finished product produced with the addition of lentil flour, as a product with a preventive purpose Results: based on the results of the study, a recipe for a test semi-finished product was developed, produced with the addition of lentil flour, as a product with a preventive purpose.
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Nenci, Silvia, and Francesco Quatraro. Innovation and Competitiveness in Mining Value Chains in Latin America. Inter-American Development Bank, December 2021. http://dx.doi.org/10.18235/0003805.
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This paper provides an international overview of the mining global value chain (GVC) and its most recent transformations and trends, focusing on Argentina, Brazil, and Peru. The study uses international trade data and patent and scientific publications data. By using trade in value added, we first investigate the role of those countries in the international mining trade, and their specialization, participation, and position in the mining GVC for the period 2005-15. The analysis is carried out for both mining products and mining-related services, and also looks at the contribution of services to mining exports. Second, we analyze the evolution of innovative activity and the direction of technological change in the mining sector over the past 40 years by looking at patent applications, both internationally and with attention to the three target countries. We also provide an overview of, and some insights on, knowledge flow in the mining sector based on scientific production.
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Fromm, Hillel, Paul Michael Hasegawa, and Aaron Fait. Calcium-regulated Transcription Factors Mediating Carbon Metabolism in Response to Drought. United States Department of Agriculture, June 2013. http://dx.doi.org/10.32747/2013.7699847.bard.
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Original objectives: The long-term goal of the proposed research is to elucidate the transcription factors, genes and metabolic networks involved in carbon metabolism and partitioning in response to water deficit. The proposed research focuses on the GTLcalcium/calmodulinbindingTFs and the gene and metabolic networks modulated by these TFs in Arabidopsis thaliana. The specific objectives are as follows. Objective-1 (USA): Physiological analyses of GTL1 loss- and gain-of-function plants under water sufficient and drought stress conditions Objective 2 (USA / Israel-TAU): Characterizion of GTL target genes and bioinformatic analysis of data to eulcidate gene-network topology. Objective-3 (Israel-TAU): Regulation of GTLmediated transcription by Ca²⁺/calmodulin: mechanism and biological significance. Objective-4 (Israel-BGU): Metabolic networks and carbon partitioning in response to drought. Additional direction: In the course of the project we added another direction, which was reported in the 2nd annual report, to elucidate genes controlling drought avoidance. The TAU team has isolated a few unhydrotropic (hyd) mutants and are in the process of mapping these mutations (of hyd13 and hyd15; see last year's report for a description of these mutants under salt stress) in the Arabidopsis genome by map-based cloning and deep sequencing. For this purpose, each hyd mutant was crossed with a wild type plant of the Landsberg ecotype, and at the F2 stage, 500-700 seedlings showing the unhydrotropic phenotype were collected separately and pooled DNA samples were subkected to the Illumina deep sequencing technology. Bioinformatics were used to identify the exact genomic positions of the mutations (based on a comparison of the genomic sequences of the two Arabidopsis thaliana ecotypes (Columbia and Landsberg). Background: To feed the 9 billion people or more, expected to live on Earth by the mid 21st century, the production of high-quality food must increase substantially. Based on a 2009 Declaration of the World Summit on Food Security, a target of 70% more global food production by the year 2050 was marked, an unprecedented food-production growth rate. Importantly, due to the larger areas of low-yielding land globally, low-yielding environments offer the greatest opportunity for substantial increases in global food production. Nowadays, 70% of the global available water is used by agriculture, and 40% of the world food is produced from irrigated soils. Therefore, much needs to be done towards improving the efficiency of water use by plants, accompanied by increased crop yield production under water-limiting conditions. Major conclusions, solutions and achievements: We established that AtGTL1 (Arabidopsis thaliana GT-2 LIKE1) is a focal determinant in water deficit (drought) signaling and tolerance, and water use efficiency (WUE). The GTL1 transcription factor is an upstream regulator of stomatal development as a transrepressor of AtSDD1, which encodes a subtilisin protease that activates a MAP kinase pathway that negatively regulates stomatal lineage and density. GTL1 binds to the core GT3 cis-element in the SDD1 promoter and transrepresses its expression under water-sufficient conditions. GTL1 loss-of-function mutants have reduced stomatal number and transpiration, and enhanced drought tolerance and WUE. In this case, higher WUE under water sufficient conditions occurs without reduction in absolute biomass accumulation or carbon assimilation, indicating that gtl1-mediated effects on stomatal conductance and transpiration do not substantially affect CO₂ uptake. These results are proof-of-concept that fine-tuned regulation of stomatal density can result in drought tolerance and higher WUE with maintenance of yield stability. Implications: Accomplishments during the IS-4243-09R project provide unique tools for continued discovery research to enhance plant drought tolerance and WUE.
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Lundgren, Jonathan, Moshe Coll, and James Harwood. Biological control of cereal aphids in wheat: Implications of alternative foods and intraguild predation. United States Department of Agriculture, October 2014. http://dx.doi.org/10.32747/2014.7699858.bard.
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The overall objective of this proposal is to understand how realistic strategies for incorporating alternative foods into wheat fields affect the intraguild (IG) interactions of omnivorous and carnivorous predators and their efficacy as biological control agents. Cereal aphids are a primary pest of wheat throughout much of the world. Naturally occurring predator communities consume large quantities of cereal aphids in wheat, and are partitioned into aphid specialists and omnivores. Within wheat fields, the relative abilities of omnivorous and carnivorous predators to reduce cereal aphids depend heavily on the availability, distribution and type of alternative foods (alternative prey, sugar, and pollen), and on the intensity and direction of IG predation events within this community. A series of eight synergistic experiments, carefully crafted to accomplish objectives while accounting for regional production practices, will be conducted to explore how cover crops (US, where large fields preclude effective use of field margins) and field margins (IS, where cover crops are not feasible) as sources of alternative foods affect the IG interactions of predators and their efficacy as biological control agents. These objectives are: 1. Determine the mechanisms whereby the availability of alternative prey and plant-provided resources affect pest suppression by omnivorous and carnivorous generalist predators; 2. Characterize the intensity of IGP within generalist predator communities of wheat systems and assess the impact of these interactions on cereal aphid predation; and 3. Evaluate how spatial patterns in the availability of non-prey resources and IGP affect predation on cereal aphids by generalist predator communities. To accomplish these goals, novel tools, including molecular and biochemical gut content analysis and geospatial analysis, will be coupled with traditional techniques used to monitor and manipulate insect populations and predator efficacy. Our approach will manipulate key alternative foods and IG prey to determine how these individual interactions contribute to the ability of predators to suppress cereal aphids within systems where cover crop and field margin management strategies are evaluated in production scale plots. Using these strategies, the proposed project will not only provide cost-effective and realistic solutions for pest management issues faced by IS and US producers, but also will provide a better understanding of how spatial dispersion, IG predation, and the availability of alternative foods contribute to biological control by omnivores and carnivores within agroecosystems. By reducing the reliance of wheat producers on insecticides, this proposal will address the BARD priorities of increasing the efficiency of agricultural production and protecting plants against biotic sources of stress in an environmentally friendly and sustainable manner.
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Kimhi, Ayal, Barry Goodwin, Ashok Mishra, Avner Ahituv, and Yoav Kislev. The dynamics of off-farm employment, farm size, and farm structure. United States Department of Agriculture, September 2006. http://dx.doi.org/10.32747/2006.7695877.bard.
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Objectives: (1) Preparing panel data sets for both the United States and Israel that contain a rich set of farm attributes, such as size, specialization, and output composition, and farmers’ characteristics such as off-farm employment status, education, and family composition. (2) Developing an empirical framework for the joint analysis of all the endogenous variables of interest in a dynamic setting. (3) Estimating simultaneous equations of the endogenous variables using the panel data sets from both countries. (4) Analyzing, using the empirical results, the possible effects of economic policies and institutional changes on the dynamics of the farm sector. An added objective is analyzing structural changes in farm sectors in additional countries. Background: Farm sectors in developed countries, including the U.S. and Israel, have experienced a sharp decline in their size and importance during the second half of the 20th century. The overall trend is towards fewer and larger farms that rely less on family labor. These structural changes have been a reaction to changes in technology, in government policies, and in market conditions: decreasing terms of trade, increasing alternative opportunities, and urbanization pressures. As these factors continue to change, so does the structure of the agricultural sector. Conclusions: We have shown that all major dimensions of structural changes in agriculture are closely interlinked. These include farm efficiency, farm scale, farm scope (diversification), and off-farm labor. We have also shown that these conclusions hold and perhaps even become stronger whenever dynamic aspects of structural adjustments are explicitly modeled using longitudinal data. While the results vary somewhat in the different applications, several common features are observed for both the U.S. and Israel. First, the trend towards the concentration of farm production in a smaller number of larger farm enterprises is likely to continue. Second, at the micro level, increased farm size is negatively associated with increased off-farm labor, with the causality going both ways. Third, the increase in farm size is mostly achieved by diversifying farm production into additional activities (crops or livestock). All these imply that the farm sector converges towards a bi-modal farm distribution, with some farms becoming commercial while the remaining farm households either exit farming altogether or continue producing but rely heavily on off-farm income. Implications: The primary scientific implication of this project is that one should not analyze a specific farm attribute in isolation. We have shown that controlling for the joint determination of the various farm and household attributes is crucial for obtaining meaningful empirical results. The policy implications are to some extent general but could be different in the two countries. The general implication is that farm policy is an important determinant of structural changes in the farm sector. For the U.S., we have shown the different effects of coupled and decoupled (direct) farm payments on the various farm attributes, and also shown that it is important to take into account the joint farm-household decisions in order to conduct a meaningful policy analysis. Only this kind of analysis explains the indirect effect of direct farm payments on farm production decisions. For Israel, we concluded that farm policy (or lack of farm policy) has contributed to the fast structural changes we observed over the last 25 years. The sharp change of direction in farm policy that started in the early 1980s has accelerated structural changes that could have been smoother otherwise. These accelerated structural changes most likely lead to welfare losses in rural areas.
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Horwitz, Benjamin, and Barbara Gillian Turgeon. Secondary Metabolites, Stress, and Signaling: Roles and Regulation of Peptides Produced by Non-ribosomal Peptide Synthetases. United States Department of Agriculture, 2005. http://dx.doi.org/10.32747/2005.7696522.bard.
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Fungal pathogens of plants produce a diverse array of small molecules. Often referred to as secondary metabolites because they were thought to be dispensable for basic functions, they may indeed have central roles as signals for the fungal cell, and in interactions with the host. We have identified more than a dozen genes encoding nonribosomal peptide synthetases (NPS) in Cochliobolusheterostrophus, the agent of southern corn leaf blight. The aim of this project was to identify roles of these genes in stress responses and signaling. The first objective was to test a complete collection of C. heterostrophus nonribosomal peptide synthetase (NRPS)-encoding gene deletion mutant and wildtype (WT) strains for sensitivity to various agents of oxidative (ROS) and nitrosative (RNOS) stress, in vitro. The second objective and next step in this part of the project was to study the relevance of sensitivity to ROS and RNOS in the host pathogen interaction, by measuring the production of ROS and RNOS in planta, when plants are inoculated with wild type and mutant strains. A third objective was to study expression of any genes shown to be involved in sensitivity to ROS or RNOS, in vitro and in planta. Another objective was to determine if any of the genes involved in oxidative or nitrosative stress responses are regulated by components of signal transduction pathways (STP) that we have identified and to determine where mechanisms overlap. Study of the collection of nps mutants identified phenotypes relevant for virulence, development and oxidative stress resistance for two of the genes, NPS2 and NPS6. Mutants in genes related to RNOS stress have no virulence phenotypes, while some of those related to ROS stress have reduced virulence as well as developmental phenotypes, so we focused primarily on ROS stress pathways. Furthermore, the identification of NPS2 and NPS6 as encoding for NRPS responsible for siderophore biosynthesis lent a new focus to the project, regulation by Fe. We have not yet developed good methods to image ROS in planta and work in this direction is continuing. We found that NPS6 expression is repressed by Fe, responding over the physiological Fe concentration range. Studying our collection of mutants, we found that conserved MAPK and G protein signal transduction pathways are dispensable for Fe regulation of NPS6, and initiated work to identify other pathways. The transcription factor SreA is one candidate, and is responsible for part, but not all, of the control of NPS6 expression. The results of this project show that the pathogen contends with oxidative stress through several signaling pathways. Loss of the siderophore produced by Nps6 makes the fungus sensitive to oxidative stress, and decreases virulence, suggesting a central role of the ability to sequester and take up extracellular iron in the host-pathogen interaction. Siderophores, and manipulation of Fe levels, could be targets for new strategies to deal with fungal pathogens of maize and other plants.
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Banin, Amos, Joseph Stucki, and Joel Kostka. Redox Processes in Soils Irrigated with Reclaimed Sewage Effluents: Field Cycles and Basic Mechanism. United States Department of Agriculture, July 2004. http://dx.doi.org/10.32747/2004.7695870.bard.
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The overall objectives of the project were: (a) To measure and study in situ the effect of irrigation with reclaimed sewage effluents on redox processes and related chemical dynamics in soil profiles of agricultural fields. (b) To study under controlled conditions the kinetics and equilibrium states of selected processes that affect redox conditions in field soils or that are effected by them. Specifically, these include the effects on heavy metals sorption and desorption, and the effect on pesticide degradation. On the basis of the initial results from the field study, increased effort was devoted to clarifying and quantifying the effects of plants and water regime on the soil's redox potential while the study of heavy metals sorption was limited. The use of reclaimed sewage effluents as agricultural irrigation water is increasing at a significant rate. The relatively high levels of suspended and, especially, dissolved organic matter and nitrogen in effluents may affect the redox regime in field soils irrigated with them. In turn, the changes in redox regime may affect, among other parameters, the organic matter and nitrogen dynamics of the root zone and trace organic decomposition processes. Detailed data of the redox potential regime in field plots is lacking, and the detailed mechanisms of its control are obscure and not quantified. The study established the feasibility of long-term, non-disturbing monitoring of redox potential regime in field soils. This may enable to manage soil redox under conditions of continued inputs of wastewater. The importance of controlling the degree of wastewater treatment, particularly of adding ultrafiltration steps and/or tertiary treatment, may be assessed based on these and similar results. Low redox potential was measured in a field site (Site A, KibutzGivat Brenner), that has been irrigated with effluents for 30 years and was used for 15 years for continuous commercial sod production. A permanently reduced horizon (Time weighted averaged pe= 0.33±3.0) was found in this site at the 15 cm depth throughout the measurement period of 10 months. A drastic cultivation intervention, involving prolonged drying and deep plowing operations may be required to reclaim such soils. Site B, characterized by a loamy texture, irrigated with tap water for about 20 years was oxidized (Time weighted average pe=8.1±1.0) throughout the measurement period. Iron in the solid phases of the Givat Brenner soils is chemically-reduced by irrigation. Reduced Fe in these soils causes a change in reactivity toward the pesticide oxamyl, which has been determined to be both cytotoxic and genotoxic to mammalian cells. Reaction of oxamyl with reduced-Fe clay minerals dramatically decreases its cytotoxicity and genotoxicity to mammalian cells. Some other pesticides are affected in the same manner, whereas others are affected in the opposite direction (become more cyto- and genotoxic). Iron-reducing bacteria (FeRB) are abundant in the Givat Brenner soils. FeRB are capable of coupling the oxidation of small molecular weight carbon compounds (fermentation products) to the respiration of iron under anoxic conditions, such as those that occur under flooded soil conditions. FeRB from these soils utilize a variety of Fe forms, including Fe-containing clay minerals, as the sole electron acceptor. Daily cycles of the soil redox potential were discovered and documented in controlled-conditions lysimeter experiments. In the oxic range (pe=12-8) soil redox potential cycling is attributed to the effect of the daily temperature cycle on the equilibrium constant of the oxygenation reaction of H⁺ to form H₂O, and is observed under both effluent and freshwater irrigation. The presence of plants affects considerably the redox potential regime of soils. Redox potential cycling coupled to the irrigation cycles is observed when the soil becomes anoxic and the redox potential is controlled by the Fe(III)/Fe(II) redox couple. This is particularly seen when plants are grown. Re-oxidation of the soil after soil drying at the end of an irrigation cycle is affected to some degree by the water quality. Surprisingly, the results suggest that under certain conditions recovery is less pronounced in the freshwater irrigated soils.