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Relevant bibliographies by topics / Scenic Design; Set Design / Dissertations / Theses

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Dissertations / Theses on the topic 'Scenic Design; Set Design'

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Published: 4 June 2021

Last updated: 3 February 2022

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1

Reagan, Logan. "Ragtime: A Scenic Design." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1665.

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AN ABSTRACT OF THE THESIS OF Logan Thomas Reagan, for the Master of Fine Arts degree in Theater, presented on December 5, 2015, at Southern Illinois University. TITLE: RAGTIME: A SCENIC DESIGN MAJOR PROFESSOR: Dr. Ronald Naversen This document covers the process of scenic design for the Southern Illinois University Department of Theater production of Ragtime. The productions were held on the following dates: October 24-27, 2013. The first chapter provides an in depth analysis of the script. The second Chapter focuses on the design process leading into the third chapter which focuses on the build process. The final chapter focuses on an evaluation and reflection of the previous chapters processes. Included in the Appendices are further documentation used throughout the design and build processes. These include charts, research images, models, storyboards, draftings, paint elevations and production photos.

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Adkins, David A. "Scenic Design for Alan Ayckbourn's Taking Steps." Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/AdkinsDA2003.pdf.

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Hughes, Mary Katherine. "BEHIND THE CURTAIN: A SCENIC DESIGN OF RUPERT HOLMES' CURTAINS." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1666.

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AN ABSTRACT OF THE THESIS OF Mary Katherine Hughes, for the Masters of Fine Art degree in Theater, presented on March 30, 2015, at Southern Illinois University Carbondale. TITLE: BEHIND THE CURTAIN: A SCENIC DESIGN OF RUPERT HOLMES' CURTAINS MAJOR PROFESSOR: Wendi Zea This paper covers the design and production process of the musical Curtains as produced by Southern Illinois University in October of 2014. Chapter One is an initial analysis of the play and design goals. Chapter Two is a description of the design processes and incarnations of the play over the course of several months. Chapter Three is a description of the build process for the production. Chapter Four is an analysis of the entire design and build process and its factors with a conclusion based on this analysis. The subsequent appendices contain additional charts and images of and for the design and build processes.

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Kuhn, Lindsey LaRissa. "Character in cloth and concrete: a costume and scenic design portfolio." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6785.

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Alexander, Gary. "A SCENIC DESIGN FOR RICHARD O'BRIEN'S THE ROCKY HORROR SHOW." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2406.

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This thesis documents my process as Scenic Designer for Richard O'Brien's musical, The Rocky Horror Show, presented by the University of Central Florida Conservatory Theatre. This production premiered on the University of Central Florida's Mainstage Theatre 29 March 2007 and ran for fifteen performances, closing on 15 April 2007. This thesis includes my research and analysis of the published script and a production journal which documents my process for our specific production. In this document, I illustrate how my communication and meetings with the director and members of the design team moved from initial conversations into the research, development, and construction processes in order to create the realized production. I explain the challenges and obstacles I faced in the development and construction stages and how my communication with members of the design and production staff led to the final design. Throughout this document, I present figures displaying the preliminary sketches, renderings, construction process, and production photographs that illustrate how the production moved from an idea to a reality. I also present a self analysis of the process and final product through personal reflection and outside response.<br>M.F.A.<br>Department of Theatre<br>Arts and Humanities<br>Theatre MFA

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Johnson, Catherine. "MACBETH: FOR THE PURPOSE OF PROCESS." Master's thesis, Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/263575.

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Theater<br>M.F.A.<br>This thesis paper will explain my set design process for Temple University's 2014 production of Macbeth. I will cover the steps from receiving the assignment to opening night and evaluate its purpose in my education toward a Master's of Fine Arts.<br>Temple University--Theses

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Guzzone, Ian Paul. "THIS IS URINETOWN!" Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/199192.

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Theater<br>M.F.A.<br>Urinetown: The Musical is a meta-theatrical musical that addresses issues such as sustainability, corruption, and human intentions. For my design of Urinetown: The Musical, I sought to poetically represent the world of the play without interfering with the story telling. From start to end, this is my process.<br>Temple University--Theses

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St, John Kate. "Practice Makes Practice : 10,000 Hours Later and a Great Deal Wiser." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/542192.

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Theater<br>M.F.A.<br>This paper is a in depth review of a designer’s process over the course of three years of graduate school, culminating in a scenic design for Side Show. A narrative account of a design from early stages through final evaluation, this essay hardly resembles a thesis paper at all. With Side Show as a framework through which the author traces improvement in craft skills, design thinking, and critical evaluation, she offers supporting evidence in the form of drawings, draftings, models, and research. In addition to these relevant design materials, the designer presents proofs of her own personal growth, both as a student and as a designer.<br>Temple University--Theses

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Loeffler, Kevin. "An exploration in design." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2570.

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Lawrence, Jonas Dale. "Set Design for the High School: A Creative Approach Using Limited Resources." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1436740522.

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Hayes, Philip Avery. "Creating a Realistic Set Design for Doubt: A Parable." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1324.

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This thesis is a narrative describing the set design for the Richmond premiere of Doubt: A Parable by John Patrick Shanley. The project was a creation of a set to be used by the Barksdale Theatre in Richmond, Virginia. The performance was held in February 15, 2008 through March 22, 2008 at the Barksdale Theatre in Richmond, Virginia. The production was a cooperation between the Virginia Commonwealth University Theatre Department and the Barksdale Theatre Inc.

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Quinlan, Joshua Mortimer. "Reduce, Reuse, Recycle – Research: Sustainable Scene Design for a Production of Henrik Ibsen’s An Enemy Of The People." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461084681.

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Brown, Kieran Pearse. "BUILDING A "DRUM SET": DESIGNING THE SCENERY FOR SAM SHEPARD'S FOOL FOR LOVE." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1529.

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I designed the set for Fool For Love by Sam Shepard in the McLeod Theater, Fall Semester 2013 for my thesis production. Fool For Love Is a short and intense hyper-realistic play about two lovers with a dark past. The entire play takes place in one extended scene in a motel room on the edge of the desert. Eddie tries to win May back, while she tries to free herself from her need to go back to him. The Old Man is a figure outside of reality that intrudes on the play, the father they share and the source of the shame in their relationship. A suitor, Martin, appears to set this combustible mixture off. I designed a cramped and derelict space which pushed the auditory surrealism of the play and made the experience as intimate and intense as I could for the audience. Chapter 1 contains me research and initial response to both the script and the thesis process. Chapter 2 walks through the process of designing and building the show. Chapter 3 reflects on my performance overall. Chapter 4 is a deeper look into design communication, a weakness this process revealed in my work.

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Gianuca, Lindsay Tarouco. "O oceano cênico de Zoé Degani : por uma cenografia plural." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/77888.

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A presente pesquisa investiga o espaço cênico, este espaço-tempo que é condição do acontecimento teatral. Delimitada a partir da análise da obra para o espaço cênico da artista-plástica e cenógrafa Zoé Degani, entre os anos de 1993 e 2012, propõe-se uma navegação conceitual sobre esta prática cenográfica. Em busca do conceito implícito marcado pela plasticidade de cada objeto/quadro destacado, investiga-se como o trabalho da artista intervém na cena teatral: compondo com os demais elementos cênicos a cada nova montagem, a partir da dramaturgia ou para supri-la do que não pode dizer; na dança: sendo outra linguagem inserida na efemeridade do feito cênico, ou ampliando as possibilidades de leitura e vivência das encenações. Para tal, o estudo apoia-se sobre as considerações de Tadeusz Kantor, Antonin Artaud e Gilles Deleuze, além de outras contribuições sobre o espaço das artes cênicas, a semiologia teatral, a qualidade autoral e os processos de criação em arte; contempla ainda depoimentos da artista pesquisada bem como de alguns de seus pares. Observa-se de que forma a qualidade plástica pode incidir em determinadas cenas, procurando entender como a manipulação do espaço cênico e dos signos visuais que o habitam pode alterar o destino de uma obra. As relações significantes e sensíveis estão ressaltadas, o foco volta-se para a cenografia das encenações a partir de uma prática que acopla vida e obra, de cenários que pluralizam as possibilidades do exercício cênico.<br>This research aims to investigate the scenic area, this space-time which is the condition of the theatrical event. Delimited since Zoe Degani’s practice to the scenic space, who is a fine artist and set designer, the analyses focus on the year 1993 until 2012, proposing a conceptual navigation throw this scenographic work. In search of the underlying concept marked by the plasticity of each object/frame highlighted, the investigation wants to show how the artist’s work intervenes in the theater scene: composing with other elements each new assembly, from the play-writing or to fill it of what it can’t say; in dance: being another language immersed in the ephemeral scene, or expanding the possibilities of reading and living the stage. To this end, this study is supported by considerations of Tadeusz Kantor, Antonin Artaud and Gilles Deleuze, besides other contributions about space in performing arts, theatrical semiology, quality authorial and creation processes in art; it still brings testimonials from the artist in researching as well as some of her peers. We observe how the plastic quality may incise in certain scenes, trying to understand how the manipulation of scenic space and visual signs that inhabit it can change the destiny of a work. The significant and sensitive relations are emphasized, the focus turns to the scenography of the plays since a practice that couples life and work, a scenic exercises pluralized by set designs.

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Breuer, Holly M. "Scene Design for Spring Awakening: A Post-Modern Approach." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366650805.

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Wilson, Nicholas. "Theatre Scenic Design." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/4805.

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This document will journal the theatre scenic design work of Nicholas Wilson at the University of Iowa from August 2014 through the spring of 2017. Largely, the images included will be production photos of realized productions put on at the University of Iowa. Both large scale mainstage shows as well as smaller, low budget productions will be showcased as well as digital renderings and scale models to illuminate the design process.

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Köpsell, Linn. "MAGISKA RUM : om scenografins roll i scenkonstverk för barn och unga." Thesis, Linköpings universitet, Kultur, samhälle, mediegestaltning, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-97293.

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This thesis investigates the communicative role of scenography in the performing arts for children, with an aim to make the readers understand the ways in which a set design can be optimized so that a young audience can be able to interpret the play and its message. The art of scenography is complex and includes many elements. The research questions can therefore be grouped into three clusters: one artistic oriented (How does the scenographic process work and what is its relation to the scenic piece at large? In which ways may scenography be used to support the desiderate interpretation?), one audience oriented (Which work processes enhances the chances of creating dramatic art that is perceived as meaningful to the audience? On what premises can the semiotics of theatre be used in the performing arts for a young audience?) and last a cluster that focuses on Den magiska cirkeln (The Magic Circle) by ung scen/öst (What is told in the show and how is this portrayed in the scenography? Who is in the target group, and does the audience get the feeling of the performance as intended?). Den magiska cirkeln is used as a case study in the thesis in order to reflect the theoretical material. Methods in the case study includes performance analysis, a survey completed by 178 people in the audience and an interview with scenographer Anna Dolata. 14 performing analyzes of Swedish children’s theatre shows have been made in addition to the case study. The thesis analyses and compares two work logics; the internal logic and the external logic, and it is shown that meaningful interpretations are likelier to happen with an external logical point of view. But the result is not unequivocal; a performance without any internal logic is likely to fall flat as the performance needs to be extracted from the creators’ full conviction. As shown in the thesis, scenography can be used to amplify the readings and intents with usage of the semiotics of theatre. It is important not to overlook the great potential of scenography in order to enhance the experience. The thesis also shows that the intentions that ung scen/öst had with Den magiska cirkeln went past many in the audience. Many felt that the show was confusing, and expressed frustration at not having solved the performance’s message. A high level of knowledge about the audience, and a willingness to listen and absorb its opinions, increases the chances of creating meaningful performances. Key words: scenography, stage design, set design, stage art, performing arts, theatre, children’s theatre, theatre semiotics, ung scen/öst<br>I denna uppsats studeras scenografi inom scenkonst för barn och unga. Syftet är att utreda vilken roll scenografin har för förmedlingen av det som berättas för publiken. Detta syftar i sin tur till att läsarna av denna uppsats ska förstå på vilka sätt en scenografi kan utformas på bästa sätt för att en ung publik ska kunna ta till sig föreställningen och dess budskap. Scenografi är en komplex konstart som innehåller många moment. För att uppnå syftet ställs frågeställningar som kan indelas i tre kluster; ett konstnärligt, scenografiskt orienterat (Hur ser den scenografiska arbetsprocessen ut och i vilken relation står den till det stora allkonstverket? Hur kan scenografi användas för att stödja och förstärka det som önskas förmedlas på scenen?), ett publikorienterat (Vilka arbetsmetoder ökar chansen för att skapa scenkonst som upplevs som meningsskapande av mottagaren? På vilka sätt kan teatersemiotiska överenskommelser användas i scenkonst för en ung publik?) och ett kluster som fokuserar på ung scen/östs föreställning Den magiska cirkeln (Vad berättas i föreställningen Den magiska cirkeln, och hur gestaltas detta i scenografin? Vem/vilka berättas det för, och får publiken den känsla av föreställningen som avsändaren har avsett?). Den magiska cirkeln används som fallstudie i uppsatsen med syfte att reflektera det teoretiska materialet mot ett verkligt studieobjekt. I fallstudien ingår föreställningsanalyser, en enkätundersökning med 178 personer i publiken samt en intervju med scenografen Anna Dolata. Förutom fallstudien har även föreställningsanalyser gjorts av 14 föreställningar som visats på Sveriges barnteaterscener 2012-2013. I uppsatsen analyseras och jämförs internlogisk arbetsmetod med externlogisk, och den visar att chansen för meningsskapande upplevelser hos publiken är större med externlogiska referenspunkter. Men det är inte helt svart eller vitt; utan internlogiska drag riskerar föreställningen att falla platt, eftersom det är viktigt att föreställningen utvinns ur upphovsmakarnas fulla övertygelse. Denna uppsats visar att scenografi kan användas för att förstärka bakomliggande läsart och intentioner med hjälp av teaterns semiotiska teckenvärld. Det är viktigt att inte förbise scenografins stora potential för att förstärka visuell och kroppslig erfarenhet av alla de teman som upphovsmakarna önskar förmedla. Uppsatsen visar även att ung scen/östs intentioner med Den magiska cirkeln gick många åskådare förbi. Flera ansåg att föreställningen var förvirrande, och uttryckte frustration över att inte ha knäckt föreställningens budskap. En hög kännedom om sin publik, samt en vilja att lyssna och ta till sig av dess åsikter, ökar chanserna för att skapa meningsfulla gestaltningar.

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Nelsen, Andrew Charles. "Scenic and lighting design." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2592.

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Pettegrew, Dustin. "Guys and Dolls: Scenic Design." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/508649.

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Theater<br>M.F.A.<br>This thesis will document the design process and execution of the scenery for Temple University's Fall 2017 production of Guys and Dolls. We will discuss the production process through analysis, research and communication of the design.<br>Temple University--Theses

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Ortiz, Sergio Ricardo Lessa. "Do espaço vazio ao circulo aberto: rumo à cenografia e indumentária sagradas de Peter Brook." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-10022014-110825/.

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Do espaço vazio ao círculo aberto: rumo à cenografia e indumentária sagradas de Peter Brook identifica e expõe o processo de criação do espaço teatral, dos cenários e dos trajes de cena, nos espetáculos Marat-Sade, Sonho de uma Noite de Verão, Mahabharata, Qui est lá e A Tragédia de Hamlet, realizados pelo grande encenador do século XX. Reflete, documenta e identifica os princípios que orientam os projetos de concepção dos elementos visuais das peças, durante a concepção do espetáculo e, a partir da análise destes documentos, aponta para a evolução de seu teatro rumo ao que Brook define como teatro sagrado.<br>From the empty space to the open circle: towards Peter Brook\'s holy set and costumes design identifies and explains the process of creating theatrical space, the sets and the costumes of Marat-Sade, Midsummer Night Dream, Mahabharata, Who is there and The Tragedy of Hamlet, performed by the great director of the twentieth century. Reflects, documents and identifies the principles that guided the design projects of the visual elements of those plays during their conception, and from the analysis of these documents, points to the evolution of his theatre towards what Brook defines as holy theatre.

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Hecker, Connie. "SCENIC DESIGN AND PROJECTION DESIGN FOR RAGTIME, THE MUSICAL." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334848506.

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Carlson, Brad M. "The scenic design for "Noises Off" /." Available to subscribers only, 2007. http://proquest.umi.com/pqdweb?did=1328054861&sid=27&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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Gadomski, Christopher. "Scenic design for Robinson Jeffers' Medea." Morgantown, W. Va. : [West Virginia University Libraries], 2002. http://etd.wvu.edu/templates/showETD.cfm?recnum=2399.

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Thesis (M.F.A.)--West Virginia University, 2002.<br>Title from document title page. Document formatted into pages; contains v, 63 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 16).

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Sugarbaker, Sarah. "Scenic design for the musical Godspell." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243614306.

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Foil, Jeremy W. "Marisol by Jose Rivera scenic design /." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8452.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2008.<br>Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Marek, Terry. "Scenic Design for Dancing at Lughnasa." ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/523.

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This thesis examines the process of designing the set for the fall 2006 production of Brian Friel.s Dancing at Lughnasa at the University of New Orleans. This production was chosen for me by the graduate committee in partial completion of my Master of Fine Arts degree in scenic design. I will examine the process I went through from initial introduction to the project, the interpretation, communication and execution of the design as well as the response to this design. The text of this thesis will be accompanied by copies of all research, renderings, draftings as well as all supporting materials relevant to the design process.

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Daigneault, Marie-Noelle. "The physicists by Friedrich Durrenmatt - scenic design." College Park, Md.: University of Maryland, 2007. http://hdl.handle.net/1903/7797.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2007.<br>Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Mesich, Jonathan Thomas. "A Midsummer Night's Dream: A Scenic Design." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/598477.

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Theater<br>M.F.A.<br>My thesis is about my experience designing the set for fall 2018 production of A Midsummer Night’s Dream in Randall Theater, Tomlinson in Temple University. It will explain how I started with the design from reading the script to the final step of the production. Being deaf helped me to visualize the concept of the scenic design for the play. I learned so much about communication with the director and creative team. The chapter one explains the production meeting with the director, where we shared our ideas for the design of the scenic. Chapter two explains my research and inspiration, progressing from rough sketches to final color model set. Chapter three explains how we started to build and paint the set from drafting and paint elevations. It also outlines the progress of building and painting in the black box theatre. It will also briefly explain how we created props such as the flower, and the technical rehearsals. Chapter 4 explains about my evaluation of the set such as what it would need to work on or fix and how proud I was with my work. Chapter 5 is a reflection on this production and my experience in the graduate program. Appendices include research pictures for inspiration, drafting, production pictures, renderings, white model, color models, resume, headshot, technical rehearsal notes, director’s concept and previous productions I designed from first 2 years.<br>Temple University--Theses

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Shonk, Victor Eric. "Scenic Design for Tennessee William's Summer and Smoke." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274414875.

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Miller, Justin Aaron. "A Scenic Design Process for Jose Rivera’s Marisol." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523913889008044.

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Palmer, Sarah Corinne. "Divine Words: Scenic Design from Conception to Execution." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/84282.

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Theater<br>M.F.A.<br>This thesis is a study and description of the process of designing the scenic elements of Saying Grace by Robert Smythe, an adaptation and translation of the play Divinas Palabras by Ramón María del Valle-Inclán written for Temple University Theater. The body outlines the process the author took in researching and developing the concept for the play, finalizing the design with the director of the piece, and completing the actual drafting and artwork necessary to realize said design. It also details the actual construction of the scenery, properties, and puppet elements, discusses the final product and offers self-evaluation. Plates of the drawing and drafting, and photographs of the scale model and final production accompany this work.<br>Temple University--Theses

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McIlvaine, Colin Joseph. "PURPLE OCTOBER: A SCENIC DESIGN FOR SPRING AWAKENING." Master's thesis, Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/237914.

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Theater<br>M.F.A.<br>This thesis examines, details, and evaluates the process used while executing the scenic design for a production of Spring Awakening, produced by Temple University's Department of Theater. I will discuss each part of the design process as well as the technical rehearsal process and evaluate the choices made.<br>Temple University--Theses

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Hassan, Dennis Lane. "Blood wedding: a set design." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1327600377.

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Gonzalez, Natalia. "The Bacchae 2.1 set design." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/52705.

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This paper is a report of the process of the set design by Natalia María González Ruíz, for the play The Baccahe 2.1, which was produced by The University of British Columbia at the Frederic Wood Theatre in January 2015. The set design was the thesis project of Natalia González for the MFA Design for Theatre program at The University of British Columbia.<br>Arts, Faculty of<br>Theatre and Film, Department of<br>Graduate

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Patton, Michael Graham. "The house of Atreus : set design and costume design." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/7630.

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The purpose of this paper is to describe the creation and implementation of the set and costume design for The University of British Columbia’s production of The House of Atreus at the Fredric Wood Theatre in September of 2005. These designs were the thesis project for my Master of Fine Arts Degree. The House of Atreus is John Lewin’s adaptation of Aeschylus’ The Oresteia. New York based director KJ Sanchez directed the play, and the lighting design was created by Gillian Wolpert. Annabell Woods assisted with the costume design and Ian Giles assisted with the set design. The scenic carpenters were Don Griffiths and Jason MacLean, and the Scene Shop Assistant was Michelle Nelson. Head of costume construction was Jean Driscoll-Bell, and costume builders were Lexa Naicu, Heather Keith, Tsz Ling Schum and Marijka Brusse. The props team consisted of Janet Bickford and Lynn Burton. Lauchlin Johnston and Michelle Nelson also built properties. This paper will describe the events and design process prior to rehearsals as well as the methods used to create the design during the rehearsal process. Focus will be given to designing a set that evolves as the company develops its presentation. Images and photos of designs are included to show the conception and realization of the designs.

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Loomis, Elinore Elizabeth. "Scenic design for a production of Sophie Treadwell's Machinal." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243534545.

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Casillas, Alexandra Rose. "Impetus and Execution: A Lighting and Scenic Design Portfolio." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/4803.

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We are currently living in a society in which interactivity is at an all-time low. People are glued to their cell phones, tablets and computers, preferring to communicate with pixels and images than other human beings. It often leads to one feeling alone, even amongst a sea of people. This is also true outside of interpersonal relationships. There is a growing lack of engagement in narrative and the design of that narrative. We see Rocky: The Musical, Amelie: The Musical and Shrek: The Musical. There are playwrights re-hashing the living room drama over and over again, afraid to venture into new material, becoming obsessed with perfecting an unattainable formula. In a constant cycle of re-hashing previously successful franchises and tropes into different mediums, designers lose the opportunity to grow. However, with the rise of smash hits like Hamilton, Dear Evan Hansen and Then She Fell, designers find a place to dazzle spectators with raw, enthralling artwork that creates a sense new audiences are missing more than anything: Wonder. To continue the creation of relevant, diverse and genre-defying theatre, designers must be trained to hold authority over the elements of design. These include the concepts of line, shape, color, texture and scale. A designer must know when to trust their instincts and when to rely on time-proven techniques. A designer cannot be afraid of building something new. In addition to this, a growing emphasis is being placed on a designer’s mastery of multiple disciplines. By having a more-well rounded education, a designer is more of an asset on the team.

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Loomis, Elinore Elizabeth. "Scenic Design for a Production of Sophie Treadwell’s Machinal." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243534545.

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Savolskis, Martin A. "Scenic Design for The Last days of Judas Iscariot." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338398969.

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Chen, Jing Ph D. Massachusetts Institute of Technology. "Mechanism design with set-theoretic beliefs." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/78444.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2012.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 65-66).<br>In settings of incomplete information, we put forward: (1) a very conservative - indeed, purely set-theoretic- model of the beliefs (including totally wrong ones) that each player may have about the payoff types of his opponents, and (2) a new and robust solution concept, based on mutual belief of rationality, capable of leveraging such conservative beliefs. We exemplify the applicability of our new approach for single-good auctions. In particular we show that, under our solution concept, there exists a simple normal-form mechanism, which always sells the good, always has non-negative revenue, and guarantees (up to an arbitrarily small, additive constant) a revenue benchmark that is always greater than or equal to the second-highest valuation, and sometimes much greater. By contrast, we also prove that the same benchmark cannot even be approximated within any positive factor, under classical solution concepts.<br>by Jing Chen.<br>Ph.D.

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Brewster, 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.

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Script analysis for designers -- The objectives of theatrical design -- Researching the design -- Collaboration -- Design elements -- Design principles and visual composition -- Scenic design -- Costume design -- Lighting design -- Building a career in theater design. With clear and concise examples and hands-on exercises, Fundamentals of Theatrical Design illustrates the way in which the three major areas of theatrical design--scenery, costumes, and lighting--are intrinsically linked. Veteran theater designers Karen Brewster and Melissa Shafer have consulted with a broad range of seasoned theater industry professionals--playwrights, actors, directors, producers, stage managers--to provide an exhaustive guide full of sound advice and insightful approaches to design. Form beginning designers just starting out to experienced directors looking to gain exposure and advance their careers, anyone with an interest in theatrical design is sure to appreciate this book's unique approach.<br>https://dc.etsu.edu/etsu_books/1005/thumbnail.jpg

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Lau, Hoi Man. "Digital video scenography : scenic design for Dead Man's Cell Phone." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/38085.

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Dead Man’s Cell Phone by Sarah Ruhl was presented as part of the 2010/ 2011 University of British Columbia theatre season at the Telus Studio Theatre from January 20th to 29th, 2011. The show was directed by Chris McGregor and stage managed by Collette Brown. The design team included Steffi Lai (Costume), Wladimiro Woyno (Lighting), Nathan Shapiro (Sound) and myself (Set/ Projection). This report examines the creative journey of designing the set and projections for Dead Man’s Cell Phone and the technical process that went into realizing the design and staging the production. Emphasis is placed on the use of digital video projection as the primary scenic element and alternative lighting strategy.

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Koo, Siu-fung, and 古兆奉. "Vitalization of Bowen Road landscape design for a scenic path." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B3198065X.

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Koo, Siu-fung. "Vitalization of Bowen Road landscape design for a scenic path." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25950952.

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Thesis (M.L.A.)--University of Hong Kong, 1997.<br>Includes special study report entitled: Aesthetics of paving for areas intended primarily for pedestrian use in Hong Kong. Includes bibliographical references.

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Cook, Jessica Diane. "Scenic Design for an Original Script: Dinner With The Louminauts." ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/607.

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This thesis examines the process for the scene design for the production of Dinner with the Louminauts by Jason Cutler. The University of New Orleans produced the show in the Fall of 2006. My graduate committee chose this project for me as partial fulfillment of my Masters of Fine Arts degree. This paper will serve as a record of the process, execution, and response of the scene design for this production. The text will be accompanied by all of my research, renderings, draftings, and other supporting materials that are applicable to the design process.

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Porter, Corinne Allyce. "A Scenic Design Process for a Production of Noises Off." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243601318.

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Steinmetz, Brad Eugene. "Scenic design for a production of Djerassi and Hoffmann's Oxygen." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382706591.

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Bean, Trenton William. "Scenic Design for a Production of John Dempsey's and Dana P. Rowe’s Zombie Prom." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397649999.

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Tsang, Jonathan. "Scenography : set and lighting design for Macbeth." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44334.

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Macbeth by William Shakespeare, adapted by Patrick New, was presented as a part of the 2011/2012 Theatre at UBC season at the Frederic Wood Theatre in March 2012. The show was directed by Patrick New and stage managed by Belle Cheung. The design team included Vanessa Imeson (Costume Designer) and Hayley Peterson (Sound Designer) along with myself (Lighting and Set Designer). This report examines the methodology and design for the integration of both set and lighting design in a scenographic manner, and also examines the collaborative relationship between designer and director.

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Lewis, Karen Strout. "A set design for W.S. Gilbert's Engaged." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300210524.

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