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Dissertations / Theses on the topic 'Theater, Open-air Theater, Open-air'
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Zhang, An. "Cantonese opera garden in Yung Shue Wan, Lamma Island /." View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B34612361.
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Kung, Sze-chung Charles. "Cinema park." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956206.
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Lewis, Heidi D. ?UNAUTHORIZED. ""Speaking out of the dust" : religious reenactments with the specific iconic identity of place /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1478.pdf.
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Zhang, An, and 張安. "Cantonese opera garden in Yung Shue Wan, Lamma Island." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45009740.
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Streeter, Joshua Aaron. "Greek Tragedy and Its American Choruses in Open Air Theaters from 1991 to 2014: The Cases of Gorilla Theatre Productions and The Classic Greek Theatre of Oregon." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu155534000939454.
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Koerner, Ethan. "Voicing an other utilizing puppetry and pageantry for community-based spectacle in America /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1219701727.
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Kung, Sze-chung Charles, and 龔詩宗. "Cinema park." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983388.
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Pugh, Ian Bradford Ngongotoha. "“Devoted & Disgruntled”: Improbable’s Devising, Eldership, and Open Space Technology." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366467614.
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Covington, James Harvey. "Implementing an open ocean theater in NPSNET." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 1994. http://handle.dtic.mil/100.2/ADA281038.
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Chourmouziadou, Kalliopi. "Ancient and contemporary use of open-air theatres : evolution and acoustic effect of scenery design." Thesis, University of Sheffield, 2007. http://etheses.whiterose.ac.uk/14905/.
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The subject of this research is the acoustic properties of ancient theatres, focusing on their contemporary use and the effect of scenery design. Performance style, material use and influence of architectural characteristics and evolution on acoustics are of interest. Generic scenery designs are investigated and guidelines for architects and scenery designers are provided. This dissertation is organised in twelve chapters. Chapter 1 is the introduction. The literature review is presented in Part 1. Chapter 2 examines the theory of sound in antiquity and today, currently used acoustic indices and commonly used acoustic software. Chapter 3 describes ancient performance spaces, in terms of layout, and forms of drama. Chapter 4 focuses on: stage building in antiquity, revival of ancient drama and scenery design categorisation. Part 2, the methodology, contains Chapters 5 and 6. The former examines appropriate parameters for acoustic software use, on-site measurements, absorption coefficient measurements and subjective evaluation. Chapter 6 investigates the phenomena of diffraction in ancient theatres, which can be accurately calculated by applying appropriate scattering coefficients. Part 3 presents the main analysis in four chapters. Chapter 7 examines theatre evolution in antiquity, revealing that the acoustic environment improved. Chapter 8 compares measurements, simulation and subjective evaluation for Epidaurus, Knossos and Philippi, and presents absorption coefficient measurements for porous stone. Chapters 9 and 10 acoustically investigate Mieza, Philippi and Dion in terms of ancienVpresent condition and restoration proposals with purposely-built stage enclosures, and effects of generic scenery categories respectively. Chapter 11 offers guidelines for ancient theatre and scenery design use, with applications to contemporary open-air theatres. Finally, Chapter 12 presents this study's conclusions, contribution to knowledge and further work. This study introduced and acoustically examined early theatre forms, emphasised on the acoustic improvements in theatre evolution, and demonstrated the usefulness of stage buildings/enclosures and scenery.
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Young, Michele Anne Odette. "Power relationships and open source theatre." Thesis, Goldsmiths College (University of London), 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.514402.
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Horowitz, Joshua R. "Cracking Open Peanuts: Exploring Jewish Identity and the Theatre of the Holocaust in Donald Margulies's Found a Peanut." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1438529955.
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Griff, Adam M. (Adam Michael) 1974. "Open space : theater and public life on the Central Artery." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29299.
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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2003.Includes bibliographical references (p. 89).
In the light of changes to the composition of society and the emergence of new technologies, conventional understandings of public space and inherited spatial forms no longer apply. Yet, for all the pessimism about whether these spaces will continue to exist, people still flock to places where they can be together. At the heart of this urge lies a crucial understanding of the modern city. Instead of being a closed community the modern city is cosmopolitan, a place for the gathering and living together of strangers. The city is the place where one goes to know people different from one self. Consequently, the city's reason for being is to socialize- for information, for business, for the development of the self. Like any place for socializing, it has its roots in pleasure. Located on the North End parcels of the central artery, my thesis project employs those programs that emerged right as this new understanding of the city dawned -- hotels, clubs, coffee shops, public promenades, restaurants, theaters, and pubs- to create spaces for socializing within the city. Social interaction is discursive, based on communicating, instead of being a visual relationship. The goal of the design is to create those moments where individuals can approach each other instead of being passive spectators to one another. Despite its lightheartedness, socializing and pleasure are serious because they set the terms on which different people can communicate and relate to one another, which ultimately is the basis for any democratic politics.
by Adam M. Griff.
M.Arch.
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Janečková, Kateřina. "Kulturně společenské centrum u brněnské přehrady - architektonická studie objektů pro kulturně společenské i sportovní akce." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2010. http://www.nusl.cz/ntk/nusl-215664.
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Proposal offer extending the use of the Brno Dam. The new way, which runs through the bridge which was built in the middle section passes through a summer theater. Open air theatre becoming the aim for visitors. I wanted to build a place that is attractive throughout the year, it‘s the reason why I propose also interior scenes. The theater will include the necessary functional spaces for permanent small theater scene, and fast food. The building is largely below ground. Its visible part consists roof, which is glued bond backed ETFE foil, which perfectly transmits light. These materials and travertine tiles were chosen on account of the place (I did not use steel, plastic, etc.). Building is ecological its location in the ground and south orientation.
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Bradford, Joshua. "Clockwork plums." Thesis, connect to online resource, 2004. http://www.unt.edu/theses/open/20041/bradford%5Fjoshua/index.htm.
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Thesis (M.M.)--University of North Texas, 2004.Musical, for 5 vocalists, flute/tenor sax, clarinet/baritone sax, violin, cello, piano, electric keyboard, electric guitar, electric bass, drum set, and percussion. Based on a story by Joshua Forehand (pseudonym of Bradford), with additional lyrics by Joshua Bradford. Includes analysis by composer (p. 1-37). Includes bibliographical references (p. 36-37).
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Schiele, Jinnie. "Post war theatre in Camden : a study of three theatre enterprises (the Bedford Theatre, the Open Space Theatre, the Round House), between 1949 and 1983." Thesis, London Metropolitan University, 1987. http://repository.londonmet.ac.uk/2943/.
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The thesis presents a study of three theatres in Camden: the Bedford Theatre, the Open Space Theatre, and the Round House. Each section contains details of the theatres' histories, their managements and their artistic achievements. The amount of detail varies according to the availability of material and in each case the emphasis is different. In all three sections particular periods have been discussed at length because they represent a significant achievement on the part of the management and artistic directors. At all times the author has stressed the importance of the repertoire which each organisation presented and casebook studies of key productions have been written to illustrate the use made of the available stage space.
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Hamman, Jeffrey P. "Theater air apportionment and allocation : application of dynamic algorithms for combat models /." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 1995. http://handle.dtic.mil/100.2/ADA306221.
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Prévot, Géraldine. "Alibis d’un autre monde ? : expériences théâtrales au-dehors à Paris et à New York : 1913- 1939." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100152.
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Les expériences théâtrales au-dehors sont multiples, à Paris et à New York entre 1913 et 1939, et plus largement dans l’ensemble du monde théâtral. Comment les interpréter, et les resituer dans l’histoire générale des formes théâtrales? Leur extrême diversité empêche tout discours homogène et invite à adopter une méthode d’analyse procédant par cas d’étude plutôt que par système. Cette thèse se propose de forger un concept opératoire, celui de « dehors », qui permettrait d’analyser ces formes et d’en restituer la polysémie. En se concentrant sur le contexte urbain et en faisant le choix d’une attitude comparatiste, cette étude vise à prendre en compte le spectacle des et dans les villes de Paris et New York, à un moment où les échanges entre les deux métropoles sont extrêmement féconds. Jacques Copeau, André Barsacq, le groupe Octobre, les représentations du Vray Mistère de la Passion dans les années 1930, les spectacles du Front Populaire, ou encore Jean-Richard Bloch sont quelques-unes des figures et des séances théâtrales sur lesquelles la partie française s’arrêtera. Pour le contexte américain, l’étude s’appuie notamment sur les expériences des Provincetown Players, sur la tradition des pageants et leur réorientation idéologique dans certains cas, sur les conceptions théâtrales de Percy MacKaye, sur les projects architecturaux de Friedrich Kiesler ou Norman Bel Geddes, mais aussi sur le Federal Theatre Project. L’objectif de cette thèse est ainsi d’analyser de quoi ces appropriations théâtrales diverses du dehors peuvent être le signe, au sein de quelle histoire théâtrale elles peuvent s’inscrire, et dans quelle mesure leur oubli relatif est révélateur, sur le plan tant esthétique que politiqueMany outdoor theatrical experiences could be observed in Paris and in New York, between 1913 and 1939 and, more broadly, in the whole theatrical world. How can we interpret them? And how can we insert them in the larger history of theatrical forms? Their extreme diversity prevents us from having a homogeneous discourse about them and calls for a method based on case studies more than on a systematic approach. This thesis aims at creating an operative concept, the « outdoor » concept (« dehors » in French), which will enable us to dig deeper into those theatrical forms and to restore their polysemy. By focusing on an urban context and by choosing a comparative approach, this thesis aspires to take into account the spectacle of the cities of Paris and New York and the spectacles in them, at a time when the exchanges between the two cities were very productive. Jacques Copeau, André Barsacq, the « groupe Octobre », the showings of the Vray Mistère de la Passion in the 1930s, the great shows during the Popular Front or Jean-Richard Bloch are some of the figures and theatrical events discussed in the first part of this work. The second part deals with the American context, it draws on experiences such as the Provincetown Players, the pageant tradition and its ideological shift, the theatrical vision of Percy MacKaye, the architectural projects of Friedrich Kiesler or Norman Bel Geddes, or the Federal Theatre Project. This thesis will hopefully help to understand these outdoor performances, what they indicate in terms of history and aesthetics and how their relatively cursory consideration can paradoxically be meaningful in several respects
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Ortega, Heidi Dawn. "Open your eyes...On impressing the important things." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1546.
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Open Your Eyes
On Impressing the Important Things is the documentation of my first semester as a Graduate Teaching Assistant. The purpose of this thesis is to document that journey to gain greater understanding of myself and my teaching. I embrace teaching as an artist. It is an opportunity to inspire and empower. As a teacher, I am attentive to the fact that learning is a complex process. It is individual, content and context specific. I believe that the goal of teaching is to empower students to take responsibility for their learning. Teaching is an art form that can be inspiring and can cultivate the courage to grow intellectually, to encourage the student's curiosity, and to provide opportunities to ignite action.
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Wang, Hua-Chung. "Development and implementation of air module algorithms for the Future Theater Level Model." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 1994. http://handle.dtic.mil/100.2/ADA280130.
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Clancy, Eoin M. "Factors affecting the environmental performance of a naturally ventilated lecture theatre." Thesis, De Montfort University, 2000. http://hdl.handle.net/2086/4206.
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Hicks, William L. "Social Discourse in the Savoy Theatre's Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/hicks%5Fwilliam/index.htm.
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Garrett, Yanis. "Offer, Accept, Block, Yield: the poetics of open scene additive improvisation." Faculty of Education and Social Work, 2006. http://hdl.handle.net/2123/1901.
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Master of PhilosophyThis single case study examines the way that Johnstone’s (1981) Impro ‘Poetics’ are being used in the contemporary practice of Open Scene Additive Improvisation (OSAI). Johnstone’s Poetics have become a ubiquitous part of contemporary drama improvisation parlance, yet they have never themselves been the subject of any academic examination. This study attempts to fill that void by looking at their use in Open Scene Impro, the purest form of theatre improvisation (since OSAI relies on no structures other than the audience suggestion around which to improvise a ‘Scene’.) To do this, the research analysed seven OSAI Scenes performed by 3 undergraduate student improvisers at the University of Sydney in July 2003, and looked at the ways in which the actions that Johnstone’s Poetics describe are actually being used. Looking closely at Scene segments, the study identifies a number of features: the ways that Offers are used to initiate, re-initiate, confirm or redirect meaning across five identified fields; the ways that Accepts temper these meanings; the productive use of Blocking in a Scene; and many other functions. It was also found that in-Scene negotiations about definition of situation became a subtextually enmeshed part of the Scene’s meaning (often in Phases of improvisers’ conflicting Endowments), while the predictive and framing control of narrative-indexing Offers ensured that character roles became defined early on in all Scenes. Overall, the study’s analysis dissects each of the Poetics to show that improvisers use them for a number of major purposes crucial for the reality, forward-movement and coherence of a Scene to obtain. The study concludes by elucidating how the nine main Poetics (Offer, Endow, Justify, Advance, Extend, Reincorporate, Accept, Block and Yield) serve these purposes. These purposes are then abstracted into the TOE Model, which in turn forms the basis of a proposed dynamic and holistic model for understanding OSAI at each moment of its (re-)creation. The ultimate aim, beyond the reach of the present study, is to be able to understand an Open Scene’s every moment, and each moment’s reference historically backwards, and, to some degree, predictively forwards in time. To this end, the fundamental dynamic of contextualised giving and receiving in OSAI is morphed into a Taoist energetic model, a “Tao of Impro”, along with the notion, derived from Mandelbrot, of ‘cybernetic semantic iteration’, by which information seems to get processed in Open Scenes. The educational implications of these models are then sketched, and future directions for research in OSAI pointed to.
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Seichter, Stephan. "The Fast Theater Model (FATHM) : optimization of air-to-ground engagements as a defender-attacker model /." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2005. http://library.nps.navy.mil/uhtbin/hyperion/05Dec%5FSeichter.pdf.
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Thesis (M.S. in Operations Research)--Naval Postgraduate School, December 2005.Thesis Advisor(s): Robert F. Dell, Gerald G. Brown. Includes bibliographical references (p. 57). Also available online.
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Botham, Paola A. "Redefining political theatre in post Cold-War Britain (1990-2005) : an analysis of contemporary British political plays." Thesis, Coventry University, 2009. http://curve.coventry.ac.uk/open/items/f87298f3-39f6-86d2-9d5f-618aeb1e9eb8/1.
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After the end of the Cold War had signalled for many the demise of political theatre, a re-emergence of British political plays since the turn of the century has become an acknowledged phenomenon. Customary definitions of this cultural practice, however, have become historically and theoretically obsolete. An alternative philosophical framework is needed which breaks with both the unrealistic expectations of the traditional Left and the defeatist limitations of postmodernist positions. This thesis aims to provide a revised definition of political theatre based on the ideas of Jürgen Habermas. The development of his philosophical project is described together with its refinement as the result of interjections by other thinkers from within the neo-Marxist tradition of Critical Theory, in particular feminist contributors. In addition to exploring key concepts such as the reconstruction of historical materialism, the paradigm of discourse ethics and the model of post avant-garde political art, greater focus is placed on the notion of the public sphere, which has special relevance when examining the contemporary dynamics of political theatre.
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Ellis, Joanne. "Indoor air quality in lecture theatres and large enclosed public spaces." Thesis, University of Brighton, 2010. https://research.brighton.ac.uk/en/studentTheses/fe5d0da7-d2eb-49f2-920d-699989ca980d.
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Outdoor air quality in the UK is widely governed by existing regulations. This is in contrast to the quality of air indoors which is managed by prescribing ventilation rates recommended by stakeholders from the building industry. This ventilation approach stems from the 1930s, when Yaglou first raised the importance of minimum building ventilation rates to remove body odour from rooms. The minimum ventilation rates approach may deliver acceptable indoor air quality (IAQ) for standard sized rooms, however, when considering large spaces this approach is insufficient.
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Seong, Rok. "An Urban Park Pavilion as a Sense of Place: A Community Theater and Water Taxi Terminal at the Foot of King Street." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/71283.
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My thesis is regarding the regeneration of identity and a sense of place on the unappealing nature of public open space, in terms of its urban context and architecture.
A sense of place is related to the quality and character of making a place unique or special. It could be described as the established atmosphere or character of an individuals relationship with a place. So a good sense of place becomes a place that people would like to be a part of and enhances a human's positive emotional attachment making people feel connected to a place. So creating a sense of place should be based on understanding the cultural identity, social activity, physical environment and heritage of a place.
Shown on the left are two images captured from the movie "Lost in Translation"an American comedy-drama film directed and written by Sofia Coppola in 2003. The film revolves around an aging actor, Bob Harris, and a recent college graduate actress, Charlotte. These two Americans develop empathy after meeting by chance at their hotel bar in Tokyo. The movie explores themes of loneliness, insomnia, existential boredom and culture shock against the surroundings of a modern Japanese city. Both images from the movie show an unbalanced scale of the environment around the actor. These images reminded me of the first impression of disconnected or disappointed that I had of the atmosphere at the end of King Street in Alexandria, Virginia. The place was not comfortable to be in with its own character and the access to the water was hard to be sense visually. The first impression of this place still occupied my mind rather than any other attractive aspects within the area. This unpleasant experience arose from my own individual relationship with the place but later I figured out that it had already been seen as a public issue. These circumstances motivated me to think about how to regenerate a strong local sense of place in the area.
The site of the project is an entire block from the Old Dominion Boat Club at the King Street Park to the Waterfront Park on Prince Street along the Potomac River in Old Town, Alexandria, Virginia. The main access to the site is at the end of King Street. King Street has been the dominant connection to the water and the main corridor, carrying most of the entertainments in Old Town. Currently though, it lacks designated routes to the water at the end of the street.
This project, an urban park pavilion, is composed of four different programs: the roof park, plaza, community performance Theater and boat taxi terminal which will be treated as equal value by a juxtaposed arrangement and interconnected street grids. My thesis will narrates how to develop a sense of place through the interaction of quality of architecture, infrastructure, cultural identities, social activities and the environment.Master of Architecture
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Whitley, Craig Henry. "Cavalry of the clouds : aspects of the air war in the eastern theatre, 1914-1918." Thesis, University of Canterbury. History, 1997. http://hdl.handle.net/10092/2085.
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Savage, David M. "A comparative analysis of U. S. Army Air Defense Artillery strategies using the Joint Theater Level Simulation model." Thesis, Monterey, California : Naval Postgraduate School, 1990. http://handle.dtic.mil/100.2/ADA241037.
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Thesis (M.S. in Operations Research)--Naval Postgraduate School, September 1990.Thesis Advisor(s): Parry, Samuel H. Second Reader: Caldwell, William J. "September 1990." Description based on title screen as viewed on December 18, 2009. DTIC Descriptor(s): Air Defense, Artillery, Simulation, Warfare, Theater Level Operations, Aircraft, Strategy, Defense Systems, Point Defense, Loads(Forces), Attack, Theses, Missions, Army, ADA Programming Language, Bombing, USSR, Computerized Simulation, Models. DTIC Identifier(s): Belt Defense. Author(s) subject terms: JTLS, ADA strategy, point defense, belt defense. Includes bibliographical references (p. 56). Also available in print.
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Kammann, Richard W. "Computer model and simulation of a theater ballistic missile (TBM) counterforce plan involving a lethal unmanned air vehicle (UAV)." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 1995. http://handle.dtic.mil/100.2/ADA305347.
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Van, Niekerk Dion. "Theatre and science, with specific reference to Shelagh Stephenson's An experiment with an air pump (1999)." Thesis, Rhodes University, 2002. http://hdl.handle.net/10962/d1004270.
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Science has featured intermittently as the subject of theatrical texts since Thomas Shadwell first represented the Renaissance scientist in The Virtuoso (1676). The late twentieth century, however, saw an incremental growth in theatre's interest in scientific exploration, a growth concommitant with the vast impact that science has had on technology, warfare and the machinations of political power. The tensions generated by the disjuncture between the rationality of science and the unpredictability of human society have provided a rich source of material for theatrical investigation into the human experience. The purpose of this thesis is twofold: to reveal some of the thematic concerns that emerge in this genre, and to examine the interplay between theatre and science. Shelagh Stephenson's An Experiment with an Air Pump (1999) provides a useful point of focus for this inquiry. By parallelling two time periods, exposing the scientific objectification of women and, in addition, opening up contemporary ethics for negotiation with the audience, Stephenson calls into question the objectivity and certainty of history, gender and ethical conduct. These she presents as dynamic and evolving fields of discourse that contribute to, but do not solely constitute, knowledge and understanding of the world. An Experiment with an Air Pump also displays an awareness, through its metatheatricality, of theatre itself as an imaginative, subjective discourse which parallels the more intuitive and personal aspects of scientific exploration. The play functions as a microscope, bringing into focus a contemporary world in which traditional systems of understanding and knowledge need to be reassessed and reinvented.
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Beaudoin, Antoine. "Theâtre et architecture sous le Troisième Reich : les scènes de plein air au service de la propagande de masse." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100133/document.
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Le mouvement de construction de théâtres en plein air sous le Troisième Reich ou Thingbewegung est un aspect relativement méconnu de la politique culturelle national-socialiste. Ce théâtre de propagande devait réunir plusieurs milliers de spectateurs dans des lieux excentrés, des espaces construits spécialement par le régime afin de célébrer la communauté du peuple dégagée de toute différenciation sociale ou, pour reprendre la terminologie nazie, la Volksgemeinschaft. L’aspect central reste la volonté du régime de faire coïncider, à une échelle considérable, une nouvelle forme d’architecture et de spectacle théâtral de masse. L’objectif, exprimé clairement dès le début du mouvement en 1933, était l’élaboration de 400 scènes sur l’ensemble du territoire. Dès 1934, vingt étaient effectivement en construction et en 1939, au début de la Seconde Guerre mondiale, elles étaient environ au nombre de trente. Ce projet de recherche part de l’hypothèse qu’une meilleure compréhension du phénomène devient possible lorsque ce dernier est restitué dans la tradition historique double du théâtre et de l’architecture. Cette démarche, à la fois synchronique et diachronique, fondée sur une approche pluridisciplinaire, vise à mettre au jour les formes spécifiques de création de ces lieux scéniques tout en soulignant l’appartenance à la politique idéologique totalitaire du national-socialismeThe open-air theatre construction movement under the Third Reich or Thingbewegung is a relatively unknown aspect of National Socialist cultural policy. This propaganda theatre was to gather several thousand spectators in outlying places, spaces specially built by the regime to celebrate the community of the people free of any social differentiation or, to use Nazi terminology, the Volksgemeinschaft. The central aspect remains the regime’s desire to bring together, on a considerable scale, a new form of architecture and mass theatrical performance. The objective, clearly expressed from the beginning of the movement in 1933, was to develop 400 stages throughout the country. By 1934, twenty were actually under construction and, at the beginning of the Second World War in 1939, there were about thirty of them. This research project is based on the hypothesis that a better understanding of the phenomenon becomes possible when it is replaced within the dual historical tradition of theatre and architecture. This approach, both synchronic and diachronic, based on a multidisciplinary approach, aims to uncover the specific forms of creation of these scenic places while emphasizing the association with the totalitarian ideological policy of National Socialism
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Toole, Michael T. "TELEMETRY IN THEATER MISSILE DEFENSE DEVELOPMENT." International Foundation for Telemetering, 1994. http://hdl.handle.net/10150/608551.
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International Telemetering Conference Proceedings / October 17-20, 1994 / Town & Country Hotel and Conference Center, San Diego, CaliforniaSince the Gulf War, there has been significant interest in Theater Missile Defense (TMD) resulting in funding growth from tens of millions of dollars at the time of the Gulf War to $1.7 Billion in 1994. The Ballistic Missile Defense Organization (BMDO) has developed a Theater Missile Defense test and evaluation program that will assess technological feasibility and the degree to which system functionality and performance meet technical and operational requirements. The complexity of the TMD program necessitates a comprehensive test program which includes flight testing, ground testing, and modeling and simulation. This article will provide and overview the requirements and capabilities needed to satisfy these requirements. The data processing, and telemetry communities will play a major role in providing the expertise to support the development of the nation’s future Theater Missile Defense capabilities.
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Greenwood, Chris. "'An incident in the continuity of things ... the location of Henry James's drama ... a record of movements in the air'." Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310911.
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Jeffery, Robert. "'Re-writing' Shakespeare in Africa : creating musical relevance for a contemporary South African audience; with special reference to Geoffrey Hyland's production of Twelfth Night, or What You Will, staged at Maynardville Open-Air Theatre in 2006." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8255.
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Includes abstract.Includes bibliographical references (leaves 140-147).
This thesis explores the use of current music genres in a postcolonial, and more specifically South African, theatrical context to replace the lost value of audience's musical recognition that was an integral part of performances of Shakespeare's, and other playwrights', plays in Elizabethan England. It makes special reference to a performance of William Shakespeare's Twelfth Night or What You Will (1601) which took place at Cape Town's Maynardville Open-Air Theatre in 2006 in celebration of the 50th anniversary of Shakespeare at Maynardville. The thesis is accompanied by a copy of the CD of the production's music performed by The Illyrian Players, the ensemble who performed the music live for the duration of the show's run. The creation of the music was an experiential learning process, and the thesis constitutes an analysis and reflection on that process with reference to current literary theory. Postmodern ideas of the 'text' and the 'reader' are applied to the theatrical performance and assessed as a method of interpretation of events. The process was thoroughly researched and collaborative, but in addition to this, it was undertaken in a spirit of postmodern playfulness. TheΓÇó song settings for the production made use of the earliest settings available that have a legitimate association with the play, and are arranged in diverse musical styles to suit the production's particular character.
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Freeman, Jennie R. "An Actor's Method to Creating the Roles of Harriet and Kate In Shelagh Stephenson's An Experiment With an Air Pump." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1311.
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This thesis is documentation of my efforts to define my process as actor in creating the roles of Harriet and Kate in An Experiment With an Air Pump. The document includes research, character analysis, development of the roles, rehearsal journal, and an evaluation of my performance. An Experiment With an Air Pump was produced by the University of New Orleans Department of Film, Theatre, and Communication Arts. The play was performed in the Robert E. Nims Theatre of the Performing Arts Center at 7:30 pm on November 4 through 6 and November 11 through 13, and at 2:30 pm on November 14. The play was also submitted as the University of New Orleans entry in the Kennedy Center American College Theatre Festival. It was performed at the Louisiana State Theatre Festival on November 17 at 1 p.m.
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Buckley, Thea Anandam. ""In the spicèd Indian air by night" : performing Shakespeare's Macbeth in Postmillennial Kerala." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7148/.
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This thesis examines the twenty-first-century intercultural performance of Shakespeare in Kerala, India. The thesis highlights Shakespeare’s function in invigorating local performing arts traditions that navigate tensions between paradigms of former feudalism, post-Independence democracy and capitalist globalisation. Throughout, individual artistic perspectives in interview illustrate local productions of \(Macbeth\) for indigenous Keralan performing art forms, ranging from the two-thousand-year old kutiyattam to contemporary postmodern Malayalam-language drama. My introduction contextualises these hybrid productions in their global, national, and local historiography, exploring intersections of the sacred, supernatural, and secular; postmodernism and rasa theory; intercultural Shakespeares and Keralan performing arts; and Shakespearean works with Indian literary and theatrical traditions from the colonial to the postmillennial era. Chapter One highlights cultural translation, focusing on kutiyattam artist Margi Madhu’s 2011 \(Macbeth\); Chapter Two discusses cultural collaboration, studying kathakali artist Ettumanoor P. Kannan’s \(Macbeth\) \(Cholliyattam\), 2013; Chapter Three considers cultural fusion, profiling Abhinaya Theatre’s experimental local-language production of \(Macbeth\), 2011. In closing, the thesis underscores the importance of giving a voice to Keralan theatre artists on Shakespeare, recognising the hitherto critically unexamined potential for the meeting point of two great dramatic cultural traditions as a forum, underpinned by residual colonial and Communist legacies, for intercultural discourse.
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Skipper, Barbara Anne. "The Relationship between Desired Results and the Marketing Tools Used in Recreation Programming." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc278932/.
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The purpose of this study was to compare two types of flyers used in the promotion of a recreational special event by a nonprofit agency. Informational and persuasive flyers were developed for an audience participation murder mystery play presented at Carswell Air Force Base near Fort Worth, Texas. Flyers were distributed throughout this military community. Only those individuals interested in attending a theatrical production registered for this program. A pretest and posttest were administered. Data were analyzed using Chi square goodness of fit tests, tests of proportions, and t-tests. Findings were: (a) persuasive flyers were more effective than the informational type in attracting potential patrons to register for an audience participation murder mystery play, (b) persuasive flyers were also more effective in attracting potential patrons to actually attend a murder mystery production, (c) however, persuasive flyers were not more effective in influencing the expectation or satisfaction of the patrons with the murder mystery production, and (d) neither type of flyer attracted patrons with any different demographic profiles who registered for or who attended this murder mystery production. In view of the findings of this study, the following recommendations for further study appear to be warranted: (a) further research on the use of flyers for advertising and marketing of recreational and leisure activities, programs and special events might be beneficial; (b) further research is also needed to validate that persuasive flyers are more effective in enticing the potential patron to register for and attend a recreation activity; and (c) more study is also required to see whether it is possible for flyers to influence patron expectation and satisfaction with a recreational program.
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Fenton, David Raymond. "Unstable acts : a practitioner's case study of the poetics of postdramatic theatre and intermediality." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16527/.
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This practice-led research enquiry examines the form and experience of postdramatic theatre and intermediality. Through three practice-led enquiry cycles, the performance, Unstable Acts, was created. The study was designed to introduce the practitioner to a new process of practice within a postmodern aesthetic and to investigate the theory and practice of intermedial performance. Accordingly, Unstable Acts generated moments of praxis concerning postdramatic theatre and intermediality. By analysing this praxis an increasingly complex understanding of de-representational performance, the liminal experience, percipience, reflection and intermediality in postdramatic theatre was developed. In responding to Unstable Acts, the study proposes a working model for the poetics of postdramatic theatre which places intermediality as a formal recurrence of the postdramatic form. The model also proposes that the postdramaturgical strategy of de-representational performance is a central stylistic quality of postdramatic form, and that the liminal experience is central to the postdramatic theatre experience. Connecting de-representation and liminality through queer theory, the model contends that reflection is an important aspect of both the form and experience of postdramatic theatre. In so doing, the study provides a clearer understanding for theorists and practitioners of the poetics of postdramatic theatre and the position of intermediality in postdramatic practice.
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Švub, Oldřich. "Systémy techniky prostředí pro udržitelnou výstavbu." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2014. http://www.nusl.cz/ntk/nusl-226867.
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Diploma thesis deals with relationship between the sustainability of buildings and indoor climate. The aim of the diploma thesis was to design the air conditioning system for operating theaters. In the experimental part the aim was to provide total microorganisms counts and total count of micromycetes on samples taken from filters. The work is divided into three parts: theoretical, design and experiment.
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Esswein, Lance C. "Genetic algorithm design and testing of a random element 3-D 2.4 GHZ phased array transmit antenna constructed of commercial RF microchips." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2003. http://library.nps.navy.mil/uhtbin/hyperion-image/03Jun%5FEsswein.pdf.
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Thesis (M.S. in Physics)--Naval Postgraduate School, June 2003.Thesis advisor(s): Michael Melich, David Jenn, Rodney Johnson. Includes bibliographical references (p. 113-115). Also available online.
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Lenhart, Marek. "Optimalizace větrání divadelní haly." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2018. http://www.nusl.cz/ntk/nusl-371999.
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Joubé, Poreau Martine. "Biographie d'un artiste dramatique oublié : romuald Joubé (1876-1949)." Thesis, Pau, 2014. http://www.theses.fr/2014PAUU1005.
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Ce projet a vu le jour afin de tirer de l'oubli un artiste dramatique nommé Romuald Joubé, né en 1876 et décédé en 1949. Cet homme était mon ancêtre, c'est l'oubli familial et collectif dont il a été victime qui a suscité la réalisation de ce travail. Il a eu la particularité de devenir un acteur reconnu au théâtre et au cinéma muet, en traversant deux guerres mondiales. Cette biographie s'attache à faire découvrir l'évolution du jeune comédien et celle du milieu théâtral et cinématographique de la première moitié du XXe siècle. Son parcours le mène de Saint-Gaudens à Paris, de l'Odéon à la Comédie-Française, des tournées européennes aux tournées internationales où il côtoie les grands noms du théâtre et du cinéma tels qu'André Antoine, Sarah Bernhardt, Abel Gance. Devenu une vedette il ne renie jamais sa région pyrénéenne où il crée un théâtre de verdure et défend ardemment le théâtre de plein air jusqu'à la fin de sa vie. Son éclectisme lui permet d'interpréter différents répertoires. Aussi remet-il en cause certaines idées reçues sur l'histoire du monde théâtral, par exemple le clivage entre Théâtre commercial et Théâtre littéraire. Acteur du cinéma muet, il est aussi intéressé par la radiophonie en 1936 et plus tard il fera une expérience au cinéma parlant avec Sacha Guitry. Homme entre tradition et modernité, Joubé révèle les ambiguïtés du monde artistique en temps de guerre. Cet homme aux multiples dons, à la fois acteur, dessinateur, peintre, spécialiste de la langue gasconne, se battra jusqu'à sa mort pour défendre l'art de qualité pour tous, sans jamais oublier sa famille et ses racinesThis project has been conceived to get out of oblivion Romuald Joubé (1876-1949). He was a professional dramatic artist and an ancestor of mine. Because of this familial and collective forgetting of the great works of Joubé, the main goal of this thesis is to reveal his biography. He became a famous and talented theatre and silent movie actor by crossing two world wars.This biography presents the evolution of Joubé as a young stage actor as well as the evolution of theatre and cinema during the first part of the twentieth century. From Saint-Gaudens (France) to Paris, and from Odéon to the Comédie-Française, Joubé met some of the great actors such as André Antoine, Sarah Bernhardt or Abel Gance. Even if he became famous at Paris, he did not forget his native region: Southwest of France and the Pyrénées. He created an open-air theater in this region. Until the end of his life, he promoted the open-air theatre. Joubé could play many different roles. He was also a silent film actor. Then in 1936, he got interested in radio. He accepted then sound films with Sacha Guitry. Tradition and modernity characterize this major and forgotten actor of the twentieth century. The biography of Joubé also brings us into the lives of artists of this period. Finally, Joubé, as an actor but also as a painter, a draughtsman and a defender of Gascon language. He will fight up to his dead to defend the quality art for all, without over forgetting his family and his region
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Bauer, Robert B. "Resisting the Resistance: The Emancipation of Students from the Hidden Curriculum of Commodified Resistant Narratives in Young Adult Dystopian Film Through Open Pedagogical Space and Culture-Jamming." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5621.
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Young Adult Dystopian Film exercises an influence over young people of which they are not aware. As part of a structure of domination these films teach students to participate in their own oppression by the capitalist system. The film industry maintains a hidden curriculum like that utilized in school classrooms to conceal the oppression from the masses. One particularly effective means is the portrayal of resistance against oppression in the narratives of the YA Dystopian Film. Young people are drawn to that narrative and end up supporting the structure of domination financially and ideologically. Modes of resistance to this oppression can be found in Media Literacy Education and Public Pedagogy (e.g. culture-jamming). Teachers can incorporate Media Literacy and culture–jamming into a form of radical pedagogy to emancipate students from that oppressive relationship.This thesis investigates the usage of this radical pedagogy though an action research project in a high school drama class in the intermountain west. The students learned the theories, critically reflected on the situation, and created a live culture-jamming performance. The results of the action research show the affordances and limitations of this approach and offer suggestions for instigating its usage by media literacy educators.
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Klein, Paula Maria Garulo y. "Cia. São Jorge de variedades. As bastianas." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-01122010-100111/.
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Este trabalho busca relatar e analisar as relações entre ensino, aprendizagem e expressão da linguagem teatral vivenciadas pelos sujeitos envolvidos no processo de montagem e apresentação do espetáculo As Bastianas, realizada pela Cia. São Jorge de Variedades em convívio com os usuários dos Albergues Municipais Projeto.Oficina.Boracéa e Canindé - Núcleo de Cidadania, durante o período de 2002 a 2004. A partir da documentação fotográfica, vídeográfica e escrita disponível, esta pesquisadora pôde narrar toda trajetória do espetáculo teatral desde as primeiras garatujas sobre o texto de Gero Camilo ainda no Teatro de Arena Eugenio Kusnet, até sua estréia e temporada no Canindé e no Projeto.Boracéa.This work aims at reporting and analyzing the relationships between teaching, learning and expression in theatrical language experienced by individuals involved in the process of creating and presenting the play As Bastianas, which was developed by the theater group Cia. São Jorge de Variedades in two different municipal homeless shelters in São Paulo from 2002 to 2004, in daily acquaintance with its inhabitants. From the available written, photographic and videographic documentation the author relates the trajectory of the play, since the first raw sketches from the text by Gero Camilo, when the group was still based in the famous and tiny Teatro de Arena Eugenio Kusnet, until its premiere and season in both shelters.
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Cho, Kyoung-Hee. "Le « Cinéma ouvert » de Jang Sun-Woo." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA063.
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Notre travail se consacre à l’étude exhaustive de l’œuvre cinématographique et théorique du cinéaste coréen contemporain Jang Sun-woo. Celui-ci fut d’abord un critique et un théoricien du cinéma, son concept de « Cinéma ouvert » (1982) vise à introduire et à penser un « nouveau cinéma ». Jang Sun-woo souligne le besoin d’une critique, d’une invention formelle et aussi d’une théorie pour le cinéma coréen saisie dans la logique de son Histoire. En particulier, le cinéaste coréen s’y positionne pour réaliser un cinéma en vue de l’harmonie entre l’individu et la communauté.Le « Cinéma ouvert » est un concept qui fusionne le cinéma et le théâtre. Il est influencé, d’une part par le Madanggeuk, le théâtre moderne coréen composé de plusieurs unités plus ou moins indépendantes de la narration, et d’autre part, par la théorie du montage d’Eisenstein travaillant sur la dialectique entre la continuité et la discontinuité. Pour Jang Sun-woo, l’œuvre reste ouverte, c’est-à-dire non close sur elle-même, au sens où elle ne s’achève qu’au moment de la réception par le spectateur. Les films intègrent explicitement l’expérience du spectateur, proposent le dialogue avec celui-ci et créent des initiatives en matière d’interpellation. Pour ce faire, ils emploient la répétition, la métamorphose, l’analogie, l’allégorie, l’abstraction et certaines formes d’hybridation. Notre monographie observe l’évolution de l’œuvre de Jang Sun-woo dans son ensemble (critiques, films, publications), en approfondissant les questions essentielles et spécifiques que celle-ci soulève : comment les notions de Minjung (peuple), de masse, de spectateur évoluent-elles ? L’esthétique de l’ouverture peut-elle permettre d’émanciper le spectateur et à quel type de changement aspire-t-elle ? Enfin, quel rituel Jang Sun-woo organise-t-il en vue de réaliser l’Utopie ?This thesis devotes itself to the analysis of the film and the theoretical work of Korean contemporary director Jang Sun-woo. He was initially a critic and a film theorist, his concept of "Open Cinema" (1982) aims to introduce about "the new cinema" which accentuates the need of the critics, the formal invention and also a theory for the Korean cinema with the consideration about its historical context. In particular, Jang Sun-woo insists on making a movie with the harmony between the individual and the community.The "Open Cinema" is a concept that combines the aesthetic of the film and the theater. Firstly, it is influenced by the Madanggeuk, the modern Korean theater is composed with several acts more or less independent of the narrative. Secondly, it is inspired by Eisenstein’s theory of editing which is based on the dialectic form between the continuity and the discontinuity. For Jang Sun-woo, the film remains open in a sense that it finds its conclusion in the interpretation of the audience. In his idea, the film incorporates the experience of the audience and creates his interpellation. To realize that, Jang Sun-woo proposes several rhetorics of image like repetition, metamorphosis, analogy, allegory, abstraction, and certain forms of hybridization.Our monograph observes the evolution of Jang Sun-woo’s whole work (critics, films, publications) which raises the essential and specific questions: how the concepts of the Minjung (people), the mass and the audience were developed? Can the aesthetics of openness allow the audience to be emancipated and what kind of change it implies? Finally, what sort of ceremonial Jang Sun-woo organizes for performing Utopia?
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Hýl, Petr. "Slovinské národní divadlo v Lublani." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2009. http://www.nusl.cz/ntk/nusl-215582.
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Yeh, Ying-Feng, and 葉英鋒. "A Study of the Space Mode about Theater-An Example of Taichung City Open-air Theater and Concert Hall." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/24hmnk.
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碩士朝陽科技大學
建築及都市設計研究所
92
The purpose for this thesis is to develop an appropriate method to design and the rule for plan about open-air theater and concert hall. Also expect to provide designer and policymaker to evaluate research method’s construction and layout analysis. This research adopts the method of documents-review、case study and computer modeling to build the rule for plan about open-air theater and concert hall, to achieve the great architectural acoustical circumstances. The main content for this thesis is to confer the character and the accounts about architectural acoustical plan. To go a step further, can make use for open-air theater and concert hall design. The structure is including all related papers’ discussion, to build up the research method and application, and compose the character and design example operate in open-air theater. The major related contents are including: 1.Question definition. 2.History backs review and analyze. 3.Structure the design thesis. 4.Open-air theater and concert hall design proposal explanation. 5.Design open-air theater and concert hall. 6.Computer modeling for acoustics. 7.Self-criticism and conclusion. The thesis is by the method of history review collects the open-air theater and concert hall related documents, comprehend the basic contain and develop of open-air theater. In order to provide recreational and plan design consult. Coordination architectural acoustical related history documents and acoustics modeling experiment to supply open-air theater and concert hall an impersonal evaluation and design regulation method.
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Sutherland, Richard. "Theatre Under the Stars : the Hilker years." Thesis, 1993. http://hdl.handle.net/2429/1479.
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For nearly a quarter-century, from 1940 through 1963, Vancouver’s Theatre Under the Stars (TUTS) mounted annual summer seasons of musical theatre in Malkin Bowl, a converted bandshell in Stanley Park. By the early 1950s, TUTS, now a fully-professional company, had become an enormous popular and financial success, attracting crowds of up to 25,000 per week. For various reasons, the company closed down in 1963, yet so ingrained in Vancouver's cultural fabric had TUTS become, that in 1980 an amateur organization re-appropriated the name for its own summer musical productions in Malkin Bowl. Despite its acknowledged importance in Canadian theatre history, very little research has been devoted to this remarkable company. The purpose of this study, therefore, is to document the early history of TUTS, in particular the years 1940 through 1949 when TUTS was directly funded by the Vancouver Board of Parks and Recreation and dominated by the colourful, if somewhat erratic, personality of its general manager, Gordon Hilker. Material for the thesis was obtained primarily through sources located at the City of Vancouver Archives, supplemented by newspaper clippings and by personal interviews. Archival matter included programs, handbills, photographs, and Park Board records, especially minute books and correspondence files. This study will examine the circumstances leading to the creation and subsequent development of TUTS as a civic enterprise. Although the work is designed to be comprehensive, certain topics receive special attention: the nature of the programming; the evolution and training of Canadian talent; the development of a professional company; political factionalism in the elected Park Board; and the relationship between Hilker and the Park Board which varied from mutual admiration to mutual loathing. Particularly analyzed are the pivotal events of 1949 that resulted in a complete change of ownership and management.
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CHU, HSIEN-HSIEN, and 朱賢賢. "On the Influences of Proscenium Stage and Open Stage of Theatre toward Dance Performances – Taking Da-Guan Dance Theater for an Example." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/9e5ue9.
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碩士國立臺灣藝術大學
戲劇學系
107
Nowadays, there are plenty of choices for the venues of performing arts, including theaters. Yet the form of theaters could be various under different circumstances. The purpose of the study was to explore how the differences of venues influence the representation of works of arts. In the program "Splendor of Taiwan" of "Taiwanese American Heritage Week＆Asian Heritage Month in Canada" performance tour in 2017, there were eleven dance pieces performing in different venues in particular. It was noticed that the atmosphere, the use of props, and the final representation of the pieces could be influenced in different theaters or venues. The objects of the study are based on the proscenium arch stage and the thrust stage. By applying the two types of stages as a start, the relationship of all these factors would be analyzed. After the research, it is discovered that there is not a definite answer to which kind of the venue is the best for dance performances. It only shows that different dance pieces have their own requirements when it comes to the selection of venues. Everything has to be complementary by enhancing the knowledge of all types of theaters, and there is no wrong of right to using different venues. The most important thing is to achieve the better quality of performances by integrate all the elements together well. As a result, it is best to understand all the details of different venues thoroughly in order to apply to any kind of situation in the future.