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.
Full textFriedlander, Lauren. ""Spending the day in front of the mirror"." Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1305644057.
Full textReadman, 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/.
Full textFantasia, 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.
Full textFantasia, 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.
Full text'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."
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.
Full textHillier, 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.
Full textCarlile, 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.
Full textAmato, 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.
Full textDavis, Cecil. "THE DESIGN PROCESS AS ASSISTANT ART DIRECTOR FOR THE FILM NATIONAL LAMPOON'S ROBODOC." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3637.
Full textM.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
O'Connor, Lorney Roland. "Directing and designing Shakespeare's The Tempest." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2581.
Full textFarris, Jennifer. "The Technical Direction Provided for the 2008 Kent State University School of Theatre and Dance Production of Three Sisters." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1236642190.
Full textTiwar, Aradhana. "The Anatomy of a Production: The Analysis of the Directorial Journey Mounting "Steel Magnolias" for the Stage." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3619.
Full textM.A.
Department of Theatre
Arts and Humanities
Theatre MA
Halvorson, Nathan Ron. "The production of Spring awakening." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2511.
Full textHotze, Robert George. "The Directing of Buried Child." University of Akron / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=akron1176258061.
Full textLyons, Lisa Lynn. "A performance in musical theatre: Singular sensations in Shakespeare and song." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1712.
Full textSchmookler, Aaron J. "The Trestle at Pope Lick Creek: A Play in Production." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/276/.
Full textHanna, Stephanie R. "The Assistant Director." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1619.
Full textMorrison, Nina Kelly. "Directing under the spiritual domination of the sea." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3147.
Full textMayo, Megan E. "Building a workable model for youth theatre an exploration into a courageous and complex field." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4798.
Full textID: 030646248; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 109).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Theatre for Young Audiences Track
Daniel, James Gray. "Technical director as problem solver West Virginia University Division of Theatre and Dance's production of A flea in her ear /." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5531.
Full textTitle from document title page. Document formatted into pages; contains iv, 61 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 23).
Petty, Laurel Ann. "Documentary Film: Accidental Shakespeare." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3628/.
Full textGehle, Hermione. "The absurd reality of satire in Neil LaBute's 'Fat Pig'." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1661.
Full textBeaufort, Philippe. "Le projet de l'action créatrice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25380.pdf.
Full textMellas, Michael John. "Constructing multiple realities on stage conceiving a magical realist production of José Rivera's Cloud tectonics /." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1218129542.
Full textSharp, Duncan A. "When the carnival is over : Peter Barnes' Red Noses and the theories of Mikhail Bakhtin." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/837.
Full textTao, Siu Tip. "An artistic director as an auteur in contexts: the case study of Dr. Joanna Chan of Hong Kong repertory theatre (1986-1990)." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/109.
Full textMellas, Michael John. "Constructing Multiple Realities on Stage: Conceiving a Magical Realist Production of Jose Rivera's Cloud Tectonics." Miami University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=miami1218129542.
Full textBrewster, Karen, and Melissa Shafer. "Fundamentals of Theatrical Design: A Guide to the Basics of Scenic, Costume, and Lighting Design." Digital Commons @ East Tennessee State University, 2011. http://amzn.com/1581158491.
Full texthttps://dc.etsu.edu/etsu_books/1005/thumbnail.jpg
Melo, Elderson Melo de. "Teatro de grupo no Estado do Acre = trajetória, prática e a inserção do estilo regional (1970-2010)." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284958.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação apresenta uma reflexão sobre a formação e caracterização de modelos de grupos de teatro organizados no Estado do Acre, bem como um panorama das circunstâncias de produção de espetáculos teatrais por esses grupos, com um recorte mais específico nas produções de estilo temático regional, integrante de alguns espetáculos apresentados por parte desses grupos. A pesquisa desenvolvida analisa alguns modelos de grupalidades que fizeram parte da trajetória do teatro de grupo no Acre, bem como as características dos grupos que ainda encontram-se atuantes no Estado, em especial os que fazem parte dos principais pólos urbanos, a saber, Vale do Acre, Vale do Juruá e Vale do Purus, tentando entender, de forma mais ampla, como está atualmente estruturada a prática de criação de cenas teatrais. Além disso, visa, especialmente, entender de que maneira o discurso sobre identidades regionais vem sendo utilizado como componente de criação em espetáculos criados no Estado. Para tanto, fez-se uma análise de questionário, por meio da análise do conteúdo, que foi aplicado em grupos vinculados à Federação de Teatro Amador do Acre - FETAC e, também, uma análise particular de um espetáculo teatral com estilo temático regional, a saber, o espetáculo ?Manuela e o Boto?. Assim, as perguntas a serem respondidas são: De que forma e com que características os grupos de teatro se estruturaram, e estão estruturados atualmente, no Estado do Acre? Existe uma relação dos espetáculos apresentados hoje com o regionalismo acriano ou com os mitos fundadores do Acre? Como essa relação está estabelecida em parte dos elementos da cena espetacular? Pensar a produção artística local, sobretudo no que diz respeito ao teatro e aos grupos de teatro do Acre, é um desafio, mas ao mesmo tempo uma necessidade. Esse trabalho nasce da preocupação de entender essa produção artística, sobretudo no que tange ao teatro de grupo e as composições e contradições que vez por outra aparecem manifestas no discurso e prática dos sujeitos fazedores de teatro da região
Abstract: The present dissertation analyses the formation and characterisation of the instances of theatre groups organised in the state of Acre, as well as a panorama of the circumstances of production of the theatrical spectacles by these groups, with a more specific ambit concerning the productions of the regional thematic style, integrating some of the spectacles held by part of such groups.The inquiry carried out analyses some models of groupness which made up part of the trajectory of the group theatre in Acre, as well as characteristics of groups that still find themselves active in the state, in particular those which comprised the main urban hubs - namely Vale do Acre, Vale do Juruá and Vale do Purus, aiming at understanding, in a more encompassing fashion, where exactly the exercise of the creation of theatrical scenes presently is at. Moreover, it particularly strives for understanding in exactly which way the discourse about regional identities has been put to use as a component of creation in spectacles created in the state. In order to achieve that, a survey analysis was conducted - through the analysis of its content, which was applied to groups pertaining to the Federação de Teatro Amador do Acre [Amateur Theatre Federation of Acre] and, furthermore, an analyses of a theatre spectacle in particular, with a regional thematic style - namely 'Manuela e o Boto'. Therefore, the questions to be answered are: in which way and with what characteristics were the theatre groups constituted, and in which way are they currently constituted in the state of Acre? Is there a relation between the spectacles presented nowadays and the Acraniano regionalism or the founding myths of Acre? How exactly is this relation stablished in part of the elements of the spectacular scene? Pondering over the local artistic production, especially regarding what concerns theatre and theatre groups in Acre, is a challenge, but at the same time a necessity. This work is born from the effort to understand this artistic production, especially concerning group theatre and the compositions and contradictions which sometimes arise manifest in the discourse and praxis of the individuals who shape the theatre in the region
Mestrado
Artes Cenicas
Mestre em Artes
Handall, Monique Elizabeth. "Translating Spanish language plays into English: A focus on the translation and production of Xavier Robles' Rojo amanecer." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2958.
Full textTabor, Stephen G. "COVID-EVERLASTING: DIRECTING A UNIVERSITY PRODUCTION OF TUCK EVERLASTING: THE MUSICAL DURING THE COVID-19 PANDEMIC." OpenSIUC, 2021. https://opensiuc.lib.siu.edu/theses/2851.
Full textRosewell, Susan Tilden. "Examination of Narrative Point of View Through Production by Two Media." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500621/.
Full textTuffin, Zoe. "Claiming Shakespeare for our own: An investigation into directing Shakespeare in Australia in the 21st century." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1285.
Full textWilder, Nicole Marie. "“Set Me Free At Once”: Exploring Feminism and Freedom in the Text, Performance, and Production of Lanie Robertson’s The Insanity of Mary Girard." Miami University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=miami1217004796.
Full textShaw, Jene Rebbin. "The Paradox Within Us: The Archetypal Struggle in How I Learned to Drive." Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1155230874.
Full textSchebetta, Dennis Christian. "From Darkness to Light: Examining the Role of Playwright/Director on Obscura." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1428.
Full textOdzimkowska, Mariola. "La réception du théâtre polonais en France de 1989 à nos jours." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040137.
Full textThis study represents an attempt to identify the Polish theater brought to France since 1989 and to analyse the role it currently plays in contemporary theatre in France as well as in the broader cultural context. Its very presence depends on several factors: historical and cultural relations between the two countries, related institutional and individual activity, as well as the French theatrical life itself and its components.Jerzy Grotowski and Tadeusz Kantor continue to maintain their iconic status in the French theater community. There is a well-rooted understanding of the Polish theater as an experimental space (by French theatergoers and critics alike and accomplished precisely through Kantor's and Grotowski's impact), where bearing witness to on-stage action is a sacred. Krystian Lupa's and Krzysztof Warlikowski's art theater appears to be the latest to date of artistic discoveries. Their works are seen as primarily dealing with complexities of human nature. What follows are internships, joint projects with collaborating French artists and opera productions (Warlikowski). Simultaneously these very same stage directors rarely bring their own adaptations of Polish drama repertoire to France.However, Polish playwrights in general do generate interest. This is particularly true for Witold Gombrowicz, Stanisław Witkiewicz, Sławomir Mrożek, but tends to happen another way through French translated and staged versions.Understanding the other through theater is often assumed to be an incomplete reading, as the reader does not have the same baggage of lived history as the object of his or her perception. Yet despite this obvious bias, this reading sheds a new light on the Polish theater
Mallett-Koch, Rosemary Ann. "How to direct a comedy with high school thespians." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/866.
Full textHenrique, Marina Gomes 1974. "Marias." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285288.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho é fruto do processo de transcriação do poema de Bertold Brecht "A infanticida Marie Farrar" em uma peça de teatro e um roteiro de curta metragem. Para isso outras fontes literárias e o filme documentário "Camelos também choram" foram fundamentais no processo criativo, assim como os ensaios constantes da peça "Marias". O processo empírico da criação revelou em primeiro plano as histórias a serem contadas no teatro e no cinema
Abstract: This work is a result of the recreation of Bertold Brecht's poem "The infanticide Marie Farrar" in a theater play and a short film. Other sources for this literary and movie-documentary "The story of the weeping camel" were crucial in the creative process as well as the rehearsal for the play "Marias". The empirical process of creation revealed in the foreground the stories to be told in the play and in the movie
Mestrado
Multimeios
Mestra em Multimeios
Brown, Reginald C. "Fire and Cloud: An Adaptation of Richard Wright's Short Story to the Stage." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/34.
Full textGriffith, Mary Peyton. "Power and Relationships in the Plays of Neil LaBute: Directing and Performing in Some Girl(s)." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/112.
Full textShapiro, Bruce G. "Iconicity : the presence of imagery in the principles and practice of dramatic performance." Thesis, Queensland University of Technology, 1997.
Find full textGRAY, FRED ALLEN. "CHILDREN'S MUSICALS, 1973-1985: ANNOTATIONS WITH SOURCEBOOK FOR PRODUCTION (DRAMA, ELEMENTARY, HISTORY, VOICE, CHORAL)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188089.
Full textSkordis, Ranza (Ranza Nora-J). "Improvisation and playmaking : a look at some improvisation techniques and their applications during the directing process." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53461.
Full textENGLISH ABSTRACT: In this thesis the author investigates aspects of the use of improvisation and improvisational methods, techniques and exercises by modem practitioners. The study commences with a look at the beginnings of modem improvisation in the nineteenth century, when improvisation was used only tentatively by performers as a preproduction aid to the exploration of character and personal response. In more recent times the process has become one of collaboration and research; as a means of selfdiscovery, as a means of text creation and as a vehicle for finding a 'voice' for the silent majority within a particular community or society. This study also traces the use of improvisation in South Africa where the improvisational process has been incorporated into democratic and collaborative forms like workshop theatre and workers' theatre, and serves as a useful method of political investigation and conscientisation. The study will also briefly touch what on is now termed 'theatre-fordevelopment', since its practitioners make extensive use of improvisational techniques, and its techniques are allied to those of workers' and workshop theatre. The final chapter provides an application of the theories discussed in the bulk of the study in a brief discussion of the author's own attempts at utilising improvisation as a directing and scriptwriting tool in a student production.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek die outeur die gebruik van improvisasie en die verskillende metodes, tegnieke en praktiese toepassings daarvan deur moderne praktisyns. Die tesis begin deur te kyk na die oorsprong van moderne improvisasie in die 1ge eeu toe imporvisasie slegs tentatief deur akteurs gebruik is om vóór die produksiefase as 'n hulpmiddel te dien om 'n karakter en persoonlike reaksies te ondersoek. Die proses het onlangs tot een van samewerking en navorsing verander; as 'n methode tot selfontdekking, 'n hulpmiddel by teks-skepping en as 'n medium om 'n "stem te vind" vir die 'stille meerderheid' binne 'n gegewe gemeenskap of samelewing. Hierdie studie ondersoek ook die gebruik van improvisasie in Suid Afrika waar die improvisasieproses in demokratiese en spanwerk vorme soos bv. werkswinkelteater en werkersteater geïnkorporeer is, waar hulle as uiters nuttige vorme van politieke ondersoek en -bewusmaking dien. Die studie raak ook vlugtig aan 'teater-virontwikkeling', aangesien die praktisyns daarvan grootliks gebruik maak van improvisasie-tegnieke en die tegnieke wat hulle gebruik redelike ooreenstem met dié van werkswinkelteater en werkersteater. Die finale hoofstuk verskaf 'n toepassing van die verskeie teorieë wat in die hoofgedeelte van die tesis bespreek word, in 'n kort bespreking van die outeur se eie pogings om improvisasie as 'n regie- en teksskeppingsinstrument in 'n studenteproduksie, te gebruik.
Ruane, Richard T. "Performing "Camp, Vamp & Femme Fatale": Revisiting, Reinventing & Retelling the Lives of Post-Death, Retro-Gothic Women." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2239/.
Full textGiroux, Claude A. "Unidentified Human Remains And The True Nature Of Love: An Exploration on the Art of Directing." Fogler Library, University of Maine, 1998. http://www.library.umaine.edu/theses/pdf/GirouxCA1998.pdf.
Full textBallieux, Nathalie. "Macbeth, de l'autre côté du miroir, les différentes étapes d'adaptation d'un texte shakespearien : réécriture, mise en scène et réception du public." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ61327.pdf.
Full textDavis, Nona Lee. "The anatomy of a fight scene characterization through stage combat and movement." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4932.
Full textID: 029810107; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Appendices A-E are interviews with Jeanine Henry, Claire Eye, Tim Bell, Vicki Phillips, Bobby Talbert respectively.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 93-94).
M.A.
Masters
Theatre
Arts and Humanities
Stourna, Athéna-Hélène. "La cuisine et la scène : représentations et convivialités au théâtre, du début du 20e siècle à aujourd'hui." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030069.
Full textSince ancient times, theatre has been characterised by a bond between food, drink and the spectacle. This study provides an account of this relationship from the beginnings of theatre direction in late 19th century France up until the present. Our departure and reference point is France, a country that witnessed and fostered the most important innovations in theatre and gastronomy. Progressively, our area of geographical focus is enlarged to include other European countries (Russia, United Kingdom, Sweden, Germany, Switzerland, Italy, Spain, and Greece) as well as countries from South America (Venezuela, Colombia) and the United States. We have collected and analysed a series of plays, stagings, and performances in which food and drink consumption, cuisine and the kitchen are featured prominently. Four axes in theatre practice have been followed: dramaturgy, theatre direction, scenography and acting