Добірка наукової літератури з теми "Theaters – Stage-setting and scenery – Germany"

Strindberg’s Dramas on German Stages This article provides an overview of stage productions of Strindberg’s plays on German stages from 1890 to 2011, and discusses their importance for German directors. The first Strindberg performance to be staged in Germany was Otto Brahm’s The Father produced by the Freie Bühne in Berlin in 1890. The most suitable authors for the naturalistic aesthetic ideals of the Freie Bühne, however, were Hauptmann, Ibsen and Tolstoy. Strindberg was involved in several lawsuits during the 1890’s, making him a controversial figure. However, by the first decade of the 20th century, about twenty-five of his plays were being performed in Germany. In 1912 the so-called “Strindberg Boom” began; fifty Strindberg dramas were put on stage and the German expressionists even compared Strindberg to Shakespeare. Two theatres were of greater significance than the others. At the Deutsches Theater and the Kammerspiele Max Reinhardt – the first director able to fulfill Strindberg’s dramatic intentions in his late plays – made five legendary productions, beginning with The Dance of Death in 1912. At the Theater in Königgrätzer Straße in 1916, Rudolf Bernauer produced A Dream Play in a more idyllic and less experimental fashion than his contemporary, Reinhardt. By contrast, Reinhardt’s productions utilized lighting, sound effects and a gloomy milieu in order to emphasize the metaphysical anxiety of human beings in a world beyond their comprehension. The importance of the expressionists – and, eventually, of Strindberg himself – decreased after World War I. Given the Nazi party’s dislike of his work, Strindberg’s plays were not performed in Germany at all after 1933. The first important Strindberg production staged after World War II was Fritz Kortner’s The Father, first performed in Munich in 1949. In the 1950’s the influence of Kafka and Existentialism had revised Strindberg’s image. About ten of his plays had survived, and today, the most frequently performed of these is Miss Julie. During the 1960’s, when the German stage was dominated by political theatre, Strindberg was hardly performed at all. However, in the early 1970’s stage productions of The Dance of Death by Rudolf Noelte and The Ghost Sonata by Hans Neuenfels were the peaks of a new, ephemeral wave of interest in Strindberg. To this day, the final important German stage director possessed of a pronounced interest in Strindberg was Ernst Wendt. Wendt was, however, strongly criticized by literary scholars and translators for placing emphasis upon the destructive and depressive aspects of Strindberg’s work, and overlooking Strindberg’s role as a radical critic and an inquisitive inventor.

In 1830, a new theater building was opened in the Olomouc Upper square. The stable theatrical life enriched enormously the cultural life of the city and encouraged the development of publishing activities in the field of music journalism and publishing. The public debates on the artistic value of theater performances, on abilities of particular artists and on other subjects gained new quality after the 1860 October diploma because Czechs living in and around the traditional German town put pressure on theater directors and demanded Czech plays on the stage. The fights for the national repertoire on the stage of the Olomouc Provincial Theater are demonstrated in this essay in two contrary ways: at first, the introduction of Czech dramas into the German scene during the 1860s is discussed, then the intensive promotion of German operas during the 1880s and 1890s when internationally played Slavonic operas were performed in all theaters. The director Carl König (1862–1868) offered a contract to many artists who were able to speak both German and Czech, so he could open an independent subscription for the Czech public. The relatively tolerant atmosphere allowed König’s company to give performances in both languages and connect the Olomouc theatrical life to the Prague Provisional Theater. However, Czech nationalism was getting stronger during the 1870s and provoked competitive and unfriendly reactions on German side. The arguments for refusal of Smetana’s and Tchaikovsky’s operas by the directors of the Olomouc theaters are discussed on the basis of archival sources as well as articles published in contemporary periodicals.

Despite turning professional in the first decade of the 20th century,the material and practical capabilities of Estonian theatres initiallyremained modest. This hindered the development of stage design– a field dependent on the creative ideas of artists as well as ontechnical resources. The stage designs that used stock scenery, werestylistically uneven and often not suitable for a play’s material,received criticism from viewers-critics who were familiar with themodern developments in European and Russian theatre, especiallyfrom the members of the group Young Estonia.While Estonian artists were already familiar with the avantgardetrends in the European, and specifically German culturallife prior to WWI, in Estonian theatres expressionism appearedin the 1920s, both in terms of ideas, ideals and stylistic methods.Larger theatres were able to refresh their theatrical language withthe expressionist, stylised acting methods and new visual andscenographical solutions. The stage designer for Estonia Theatre’sinnovative productions was Peet Aren, who had already establishedhimself as an expressionist artist by the 1920s. On the stage, he alsorealised his unique artistic style: by luxated perspectives, deformedshapes, excessive colourfulness and playfulness.The ideological plane of expressionism was central in MorningTheatre (Hommikteater), active in Tallinn in 1921–1924. MorningTheatre’s troupe of amateurs under the direction of the visionaryAugust Bachmann brought out three plays which were expressionistin their message and style. Although in theatre history the stagedesigns of Morning Theatre have been associated with Peet Aren,the study of original sketches in the archive of the Estonian Theatreand Music Museum confirms that the author of Morning Theatre’sstage designs was artist Aleksander Möldroo, a representative ofthe more powerful and robust style of expressionism. With MorningTheatre’s laconic, stylised scenography, Estonian stage design madean important developmental leap from commonplace stage designtowards a theatrically conditional and artistic stage décor.

It has often been suggested that a renewed fascination with Verdi’s Don Carlos coincided with the advent of Regieoper (or radically revisionist staging) in Germany over the past few decades. However, Don Carlos already counted among the most frequently revived operas in German-language theatres during the first half of the twentieth century. This article argues that neglect of this rich performance tradition is linked both to a German-centred narrative of the history of operatic production, which constructs the 1930s and 1940s as a gap in the development of ‘avant-garde’ direction, and to an over-emphasis on the visual side in recent academic discourse on operatic staging. These attitudes are challenged by a close look at selected German productions of Don Carlos from the 1920s to 1940s. Treatment of the opera's most difficult scenes – the mystical elements of the auto-da-fé finale and the dénouement – reveals striking continuities between the Weimar and Nazi eras, as well as conceptual affinities to some of the most acclaimed recent stagings. These findings call for a more historically grounded approach to operatic production.

Goethe’s novel Wilhelm Meister’s Apprenticeship, published in 1795, provides a fictional account of a theatrical production of Shakespeare’s Hamlet. Its initiator is young Wilhelm, whose experiences with this project, in the context of the novel, mark a decisive stage in his education and personal development; as well as, on another level, in the formation of a German national theatre, the mapping out of a theatrical space peculiar to the German national character. To realize his project Wilhelm has to negotiate with his manager and his fellow-actors; these negotiations can be considered reflections of the cultural aspirations and constraints prevalent late 18th-century Germany: – The project itself, as represented by Wilhelm, appears to be informed by a cultural movement towards emancipation from French culture: The character of Hamlet was interpreted as representing a role model for young Germans. – Informed by a theatrical practice based on French conventions, the manager objects to the lack of dramaturgical coherence of the Shakespeare play. As a compromise, Wilhelm composes an adapted version in which references to Wittenberg, Poland, France and England as well as several minor characters are cut, but the Hamlet scenes and speeches are retained. – Wilhelm and his friends also take account of German audiences’ preferences and capacities.The Hamlet project in Wilhelm Meister can be considered a case study of cultural appropriation. Shakespeare becomes a cultural import, used to define and map a cultural space for the German middle class, which in the nineteenth century set store by the quality of its educational make-up.

ALL the world's a stage, as we know, and the concept of atheatrum mundiis a venerable one. So too is the specific idea of politics as theatre. As an idea it may not seem very remarkable. Politics lives off metaphor, after all, and theatrical metaphor might seem especially appropriate to describe political activity. Do we not refer naturally to the political stage, to politicians assuming roles, to dramatic political scenes? This very naturalness, derived from repeated usage, presents a challenge. For one of the tasks of the historian is to show how what has come to seem natural came to seem so: to restore the novelty of artefacts and institutions we take for granted, to recover the impact of ideas and metaphors worn smooth by repetition. I want to argue below that metaphors of politics as theatre can be more than just a figure of speech: that they had specific and revealing meanings in the period of German history from the revolutions of 1848 to the advent of National Socialism.

This article examines the musical, literary, and theatrical practice of a group of early German modernists — above all Richard Strauss and Frank Wedekind. All of them turn to dance, its unmediated physicality, and its erotic charge to articulate a response to Richard Wagner's theatrical project, specifically the concept of the total work of art. Although Wagner had included a few ballet numbers in his mature operas, he treated the form (and the number as such) as a threat to a specifically operatic plenitude of sensuous meaning—dance, he feared, threatened to dance music and drama right off the stage. I argue that this allowed certain post-Wagnerians to interrogate Wagner's aesthetic through the category of obscenity — the dancer who, by dint of her brute physicality, could disturb and misalign theatrical spectacle became an important figure in their art. After a planned collaboration on a number of ballets came to naught, Strauss and Wedekind each turned to their native media to stage and interrogate balletic forms: Strauss through the medium-scrambling Dance of the Seven Veils in Salomé, Wedekind by inserting his ballet drafts into a strange novella, Minehaha, Or on the Bodily Education of Young Girls. Strauss's collaboration with Hugo von Hofmannsthal, which was to prove far more consequential and productive than the one with Wedekind, likewise began with an abortive ballet draft, and again came to reflect on dance's role in other media (opera and theater, in this case). Their reflections on the role of dance in operatic and theatrical spectacle find their expression in Elektra's final dance, which turns on its head the mysterious persuasiveness that Wagner had feared in dance and that Wedekind and Strauss had used to such effect in Salomé: a dance so expressive no one is moved by it.

Formulation of the problem. The opera “Siberia” by U. Giordano is one of the most interesting in his creative work. The composer is considered to be a bright representative of the verismo (“Mala Vita”, “Marina”, “Andrea Chenier”, “Theodora”); his later creativity is represented by comedies (in particular, “Madame Saint-Germaine”), the opera-novella (“The King»”), and the opera of the mature period called “Siberia” reflects the boundary tendencies. The main characters (Stephana, Gleby, her pimp, and Vassili, an officer who is in love with Stephana) also appear as ambiguous characters. The action is reinforced not only by the love triangle, but also by the unfolding of the tragedy of two people on the background of the tragedies of many (the scenes of the deporting of the convicts and the penal settlement) and against the background of the Easter holiday (by contrast). After the premiere the opera was performed in many theatres, that why it is interesting to consider the variants of its interpretation, in particular, in the Italian stage versions, and a look at this opera not only from the historical point of view, but also in the context of the Italian tradition and performing reception during its stage life. The purpose of the research is to present a comparative analysis of the interpretation of the image of Vassili from the opera “Siberia” by U. Giordano for the identification of its constant and mobile features, in the context of the author’s thought and the contemporary tendencies of performing art. Analysis of recent publications on the topic of the article. U. Giordano’s creative work is presented systematically in the study of M. Morini (1968), where he collected articles not only written by himself, but also by other researchers of the composer’s creative work. We have used the correspondence by the composer with his librettist L. Illika and the critical reviews (by A. Beloni, G. Cesari, A. Bruno, and R. Carugati) on the first performances of the opera in Italy and Paris. However, the analysis of the performance the opera material by U. Giordano is almost absent. The results of the study. While writing the opera, U. Giordano significantly reduced the libretto, changed the final and strengthened the volitional features of the character of Vassili. He longed for a “powerful explosion” from his hero in Act 3 (when he fallen in jealousy of Stephana), and, in general – drama, passion and emotionality. These features should be reflected in the staging. We have presented the comparative analysis of the Vassili’s image scenic embodiment in two Italian settings in Milan performed by Amedeo Zambon (1974) and Viacheslav Lesik (2014). The comparison has led to the following conclusions. A. Zambon is highly skilled in the vocal technique, has a clean, crystal timbre of the voice, in which the high frequencies prevails; his voice is perceived by the listener as light, flexible and full of optimism. The important feature of his performing is the rhythmic freedom. So, in the themes related to lyrics, feelings of love, the soloist holds the musical sounds longer than it is indicated in the composer text. In the themes associated with doom, drama, on the contrary, he reduces the duration of the notes. With equal lengths of notes, the soloist often makes a dotted line, and if a dotted line already wrote by composer, he further exacerbates, emphasizes it. In emotional episodes, the singer uses marcato accents and agogical deviations in almost every sound of the phrase, thus emphasizing the most sensitive states of the human soul. Therefore, the “theme of death” (Act 2) perceives in a special way, when the voice of the singer sounds here almost without a dynamic expression and in a rigidly rhythmic way, with an emphasis on each of notes. V. Lesik’s voice sounds more forced, has a vibrato with wide amplitude, the resounding “juicy” timbre, saturated with a wide spectrum of overtones. Compared with the performance by A. Zambon, the party of this soloist contains less the moments of overt emotional expression; he sings all of the phrases rhythmically and with a large “drag”, breadth. There are never changes in the rhythmic patterns, the soloist performs all the eighth and quaternary notes as it is provided by the composer and is indicated in the musical text. Strict observance of the instructions in the musical text is one of the characteristic features of V. Lesik’s performance. For example, he sings “the theme of love” from the First Act without the emphasizing of the three first notes, performing the half-lengths without delays, and on the rises to high notes almost does not make fermatas. The latter is, in our opinion, a rare phenomenon, since the vocal operatic tradition has developed in such a way that the soloists should be to demonstrate their skills and make a stop on the extreme notes of the range, giving the audience a chance to get the pleasure from this technical method. Conclusions. So, let us summarize. According to the traditions of verismo, the constant features of the interpretation of opera hero image are the loftiness of expression and high level of emotionality related to the great force of a voice and the virtuoso vocal technique. The distinctive (mobile) features of interpretation are, in one hand, the rhythmic freedom, free attitude to the text, vocalization of the recitatives, flexible phrase splitting (A. Zambon); in other hand, more disciplined, accurate observance of musical text with a smaller spectrum of tempo-dynamic varieties, gradations and the great importance of pauses (V. Lesik). As a result, there is the impression of greater youth and sensuality of the embodied character (A. Zambon) and his greater experience, equableness of mind, courage, in general, more vital reality of the personage (V. Lesik). The prospect of further study of the topic is associated with a steady interest in the late operas by U. Giordano, in particular – to the opera “Siberia”, due to that its performing analysis actualizes. The experience of comparing the performers with different cultures of singing, as well as the aspect of interaction the opera traditions and contemporary performing traits may be of interest. In general, owing to the performing interpretation, the meaningful senses of this most interesting opera from the creative work by U. Giordano deepen essentially.

The dramatic legacy of Mykola Chyrskyi is scarce and consists of several texts, among which the most famous are the plays “Otaman Pisnya” (1936), “Andriy Karabut” (1936) and “Drunken Raid” (1938). The author neglected publication of his other dramatic texts, thus after his death those texts were lost, which created lacuna in academic perception of the Ukrainian playwright. The paper tackles theatre studies articles and accidentally found dramatic miniature “The Way from Kruty” both authored by Chyrskyi. The purpose of the study is to consider the playwright's views on the theatre in the context of “Visnyk” literary movement (1920–1930), to analyse the poetics of Chyrskyi’s work, to identify the peculiarities of his dramatic style and individual poetics, in particular, expressionist elements and details in the text of the found dramatic miniature. Chirsky’s ideological and aesthetic priorities were formed in the cultural environment of the participants of “Visnyk” movement that had a tremendous impact on his dramas and his understanding of the tasks of modern theatre. The playwright insisted on the organic connection of modern theatre art with the creative achievements of the 19th century, encouraging theatres to actively implement the national ideal. To achieve this goal, Chyrskyi proposed a form of modern theatre that has been tested in practice. “Teatr Nastupu” (The Onslaught Theater) was designed to have an appropriate repertoire — a kind of genre mosaic of dramatic scenes with heroic themes, declamations, grotesque dramatisations, “film etudes”, dances, songs. The Onslaught Theater was supposed to meet the demands of the times with a “stage language”, to synthesise the achievements of various arts, to raise vital issues that worried the Ukrainian public. The writer advocated the polishing of stage skills, its constant improvement through a network of theater schools, courses, studying literature on the theory and practice of the theatrical piece. Not the last place was given to the study of achievements of foreign theatres, training of highly qualified personnel of the theatrical stage. Drama “The Way from Kruty” was published in 1944 in the newspaper “Ukrainskyi Visnyk” (Berlin). By genre, it is a dramatic miniature, the topic and content of which fully corresponded to the author's understanding of the purpose of theatrical art. Thematically, “The Way from Kruty” referred to one of the most tragic battles of the defense of the Ukrainian State against the Bolshevik horde — the battle near Kruty in January 1918. The idea of the play is the spiritual awakening of ordinary Ukrainians, replenishment of the ranks of fighters for a liberated Ukraine with people of various social strata. The search for techniques that would effectively appeal to the viewer's consciousness prompted Chyrskyi to use dramatic means indicative of early German expressionist plays. It is less about the philosophical basis of German expressionism but rather about the expressionistic elements of the poetics of German drama of the beginning of the 20th century. In the analysed paper, the main expressionist elements are an idealistic depiction of reality; replacing the proper names of the characters with generalised names; creation of an atmosphere close to a dream-delusion; the presence of a symbol, a mystical element and visual effects that gave the stage setting a sense of mystery; minimalist props with elements of whimsy, unfolding of the main action in the form of passionate dialogue, etc. The main task of the dramatic dialogue, which was based on a heroic episode of Ukrainian history of the 20th century and was successful on the Prague stage, was to elevate the spirit of the audience, to inspire them with specific heroics and to encourage them to further fight for the Ukrainian State.

The purpose of the work is to describe and highlight the artistic and creative activities of the Meiningen Theatre and the professional skill and creativity of Ludwig Kroneck's directing mechanisms. The research methodology is to apply the art historical method for a comprehensive study and understanding of all components of the nature of stage creativity and directorial activity of the Meiningen theatre of the corresponding period, its artistic and aesthetic value. The structural method and a systematic approach in combination with the historical method are used for a thorough study of the creative experience of the Meiningen theatre and its directing, analysis of the characteristic differences in artistic activity. The functional method helped to analyse the essentially practical component of the imaginative and creative process, pragmatic characteristics of the theatre ensemble and director's explications of the German Meiningen Theatre of the second half of the nineteenth century. The analytical method was applied for considering the essence of the techniques and means of practical implementation of an artistic work, its transformation into a stage reality with the help of special professional methods and means of ideological and emotional expression. The scientific novelty of the study lies in a comprehensive analysis of Ludwig Kroneck's creative skills, the creativity of his theatre directing mechanisms and the significance of the master's professional experience for the stage professional process of contemporary theatre. Conclusions. The PR experience of L. Kronek, director and manager of the Meiningen Theatre in the second half of the nineteenth century, impresses today with its expediency in the theatrical process of stage creativity, namely: the master’s innovations in solving mass scenes of productions, performing role material by each performer with the help of all means and skills of high artistry The integrity of all methods of building a synthetic artistic and figurative stage canvas was achieved by the artist due to the complex skills of the director's ideas – light, scenery, mise-en-scene and performance of the acting ensemble. Modern theatre directing, as always, is in a constant process of inventing the latest original solutions for creating a stage form, figurative, and associative disclosure of a dramatic work as an artistic form of theatre. In their aspirations, the artists of the Melpomene stage should not forget the fruitful experience of their predecessors, who stood at the origins of the profession of directing as the main creator of visual and entertainment performance. Key words: directing activity, Ludwig Kroneck, Meiningen Theatre, director, actor, theatre.

During the span of thirty years from 1968 - 1997 the Western Australian Opera Company grew from its infancy into a major regional performance group. Its significant contribution to the local entertainment industry is not solely the presentation of opera but also its support and fostering of technical theatre training in Western Australia.

This creative project focuses on the research, planning, design and field-testing of a kit of basic architectural elements that can be used to build simple spaces and small constructions. These elements are reusable, easy to handle, and allow for a nearly infinite number of configurations.The environment in which the system was developed is a setting of an improvisational outdoor theatre, called 'Live-Action-Role-playing-Games'- (LARP). Therefore the system does not provide a high quality indoor space, but rather focuses on the critical requirements of theatrical stages, such as flexibility, ease of erection and variety. Additionally, the system dealt with the pragmatic issues of affordability and cost-effectiveness.The design process commenced with great attention being paid to the very special requirements of LARP and attempting to test initial assumptions. It included two surveys of LARP participants and use of charrettes to incorporate users input into the design process. Prototype elements were then constructed and field-tested during a full-scale replication of an actual LARP-event over afour-day testing period.Following this an evaluation was made, lessons were learned, and the information gained was incorporated in to the final design.This document then records the entire design process and concludes with extensive documentation of the system.
Department of Architecture

This study provides an examination and application of heterotopic dérive, a concept that combines spatial theories originated by Foucault and psychogeographical methods advocated by the Situationists, as enacted within theatrical performance spaces. The first chapter reviews theories related to space, place, and heterotopias, as well as the psychogeographical methods of the Situationists, particularly the dérive. The literature review is augmented with accounts of my experiences of serendipitous heterotopic dérive over a period of several years as a cast member in, or a technical director for, theatrical productions in the Department of Communication Studies Black Box Theatre. Based on the review, I postulate that heterotopic dérive is a potentially valuable phenomenon that performance studies scholar/artists can utilize consciously in the rehearsal process for mounting theatrical performances. To test this proposition, I worked collaboratively with a theatrical cast to craft a devised performance, Desire Lines, with a conscious effort to engender heterotopic dérive in the process of creating the performance. This performance served as the basis for the second chapter of the study, which analyzes and discusses of the results of that investigation. This project enhances understanding of the significance of the places and spaces in which performers practice their craft, and argues for the potential of recognizing and utilizing the agency of heterotopic spaces such as the Black Box.

This thesis represents the written portion of the Degree Requirements of the Master of Fine Arts in Theatre Design. The Thesis production of HAMLET, by Wm. Shakespeare (edited by Brian C. Parkinson), was the University of Lethbridge Department of Theatre and Dramatic Arts third show of the 2011 – 2012 Mainstage Theatre season, running February 14 – 18, 2012, performed at the University Theatre in the University of Lethbridge Centre for the Arts, Lethbridge, Alberta. HAMLET was directed by Brian C. Parkinson, with the assistant direction of L. Jay Whitehead and Yvonne Mandel. Contained within this written portion of the thesis is a discussion of the design concepts for this production, along with photographic records of models, technical drawings, and other pertinent information.
viii, 176 leaves : col. ill. ; 29 cm

The purpose of this project is to assess the production level one person can achieve when directing, designing, and managing all aspects of a major theatrical production. It will identify strategies and techniques which are crucial for success in the areas of theatrical design and management.

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

Né en 1727 à Briançon, Jean-Antoine Morand a 14 ans lorsqu’il se lance, suite à la mort de son père, dans une carrière artistique. C’est à Lyon qu’il s’installe et fonde, en 1748, un atelier de peinture. Il reçoit des commandes officielles et privées, travaille régulièrement pour la Comédie, se spécialise dans la peinture en trompe-l’œil et la scénographie, y compris les machines de théâtre. À la fin des années 1750, encouragé par Soufflot, il se tourne vers l’architecture et l’embellissement, ainsi que l’y disposent différents aspects de sa première carrière.Architecte autodidacte, Morand souffre d’un déficit de légitimité et tente d’y remédier en recherchant la reconnaissance publique. Mais ses succès, en particulier la construction à titre privé d’un pont sur le Rhône, n’y suffisent pas. La carrière de Morand est tiraillée entre fierté entrepreneuriale et appétence institutionnelle. Son image pâtit de l’opposition entre spéculation foncière et promotion du bien public. Cela concerne en particulier son grand œuvre, un projet d’agrandissement de Lyon sur la rive gauche du Rhône, compris dans un plan général donnant à la ville la forme circulaire.Morand a peu construit et il ne subsiste presque rien de son œuvre pictural. On dispose en revanche d’un fonds d’archives privé d’une grande richesse, sur lequel s’appuie cette thèse, afin de mettre au jour les intentions, les relations et la psychologie d’un architecte autrement méconnu
Born in 1727, Jean-Antoine Morand is 14 years old when he embraces an artistic career, following his father’s death. Having settled down in Lyon, he establishes his own painter’s workshop in 1748. Receiving public and private commissions and working for the theatre on a regular basis, he specializes in trompe l’œil painting and stage-setting, including machinery. In the late 1750s, spurred on by Soufflot, he turns to architecture and city-planning, as various aspects of his previous career could have prompted him to.As an autodidactic architect, Morand suffers from a lack of legitimacy against which he pursues public recognition. But his successes, which include the building of a privately-owned bridge across the Rhône, aren’t enough. Morand’s career is torn between entrepreneurial pride and his longing for tenure. His public image is marred by the alleged opposition between land speculation and the defense of public good. This concerns mostly his great work, a project for the extension of Lyon on the left bank of the Rhône, included in a circular general city plan.Morand hasn’t built much and very little remains of his pictorial work. This thesis is based on an extensive private archive that allows us to explore this otherwise unsung architect’s intentions, relations and psychology

Thesis (MTech. degree in Performing Arts) -- Tshwane University of Technology. 2010.
The training of students for the technical side of the Entertainment Industry in South Africa is not something that has been with us for many years. It is only for the last 33 years that an institution, the then Technikon Pretoria, started a course that trains Scenic Artists in South Africa. Not many institutions are training Scenic Artists in South Africa, and the current Department of Entertainment Technology has always been the leader in this field. In the United Kingdom, training students as Scenic Artists has been part of their programmes for the last ninety years. One finds that there is a demand for training Scenic Artists in the United Kingdom, because of the size and complexity of the Entertainment Industry there. During the Apartheid era, South Africa was excluded from the International scene, so the demand did not really exist here for a number of years. Lately, the Entertainment Industry in South Africa has picked up momentum and expanded its borders immensely, and this has created a great demand for trained Scenic Artists in South Africa. Today one can proudly say that one is part of an industry that trains people as Scenic Artists in South Africa that contributes to the global Entertainment Industry. The Scenic Artists who completed their studies at TUT are employed nationally and internationally, and deliver a very high standard of work on the most impressive projects. During the research that was done between the Tshwane University of Technology in South Africa and the Rose Bruford College and Guildhall School of Drama and Music, both in the United Kingdom in London, one can see that there are no major differences between the three institutions. Each institution has its own methodology, but at the end, all are working towards one goal, and that is to train the best Scenic Artists possible. The differences that present it are in the course structure, available facilities and the amount of staff allocated to do the training.