To see the other types of publications on this topic, follow the link: Theater photography.
Dissertations / Theses on the topic 'Theater photography'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 39 dissertations / theses for your research on the topic 'Theater photography.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Litvak, Violetta. "In the Theater of Subjectivity." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1392.
Full textAbstract:
This thesis tracks the formal and conceptual development of my work during the two years of graduate study at the VCU Photography and Film Department. It describes the influence of photography on my evolution as an artist and contextualizes my desire to expand the practice beyond the traditional limitations of the medium. It recounts my experimentations with assemblage, video and installation and their contribution to my understanding of spatial and temporal dimensions in the formal construction of my work.In part, the thesis is also a statement of my convictions about art making. It discusses theimportance of perception and subjective experience, as well as the role of personal history in my work.
2
Morais, Isabelle Freire de. "Fotografia e encenaÃÃo: cena expandida em fusÃes com o teatral." Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=14554.
Full textAbstract:
nÃo hÃLanÃamos-nos em um exercÃcio reflexivo buscando entender como a encenaÃÃo, esse gesto originÃrio do teatro, deixando de remeter incessantemente a ele, embora nÃo o exclua por completo, adquiriu sentido na linguagem fotogrÃfica. Para tanto, partimos do entendimento de encenaÃÃo como jogo, como uma operaÃÃo de invenÃÃes, como um gesto criativo que amplia o protocolo do fotografÃvel. Nossa abordagem busca, tambÃm, explorar atravessamentos, fusÃes e contaminaÃÃes que se instauram entre as linguagens fotogrÃfica e teatral e suas reverberaÃÃes na representaÃÃo imagÃtica do humano. AlÃm das reflexÃes de ordem teÃrica, este trabalho propÃe um exercÃcio de leitura de algumas imagens selecionadas da obra dos fotÃgrafos Duane Michals e Jorge Molder. Nossas questÃes sÃo inspiradas, principalmente, em dois pensadores: FranÃois Soulages com sua estÃtica do âisto foi encenadoâ e Andrà Rouillà com seu conceito de fotografia- expressÃo. Suas contribuiÃÃes se constituem nÃcleo de onde partem nossas reflexÃes que, contudo, se expandem e atingem outros autores a medida que realizamos nossa travessia investigativa.
Through a reflexive exercise we search to understand how the staging, this gesture originally from theater, not referring to it incessantly, though not completely excluding it, acquired meaning in photographic language. The starting point was the understanding of staging as a game, as an operation of inventions, as a creative gesture that extends the photographed protocol. Our approach also searches to explore crossings, mergers and contaminations established between the photographic and theatrical languages and their reverberations in the image representation of the human. In addition to reflexions of theoretical nature, this work proposes a reading exercise of some selected images from the work of photographers Duane Michals and Jorge Molder. These issues are mainly inspired in two thinkers: FranÃois Soulages and his aesthetic of "that was staged" and Andrà Rouillà with his concept of expression-photography. Their contributions constitute the core for our reflexions, which however, were expanded and reached other authors as we make our investigative journey.
3
Brown, Holly Beth. "Social Justice and Community-Based Art Education." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/193320.
Full textAbstract:
Both in and out of the classroom, critically discussing and exploring the issues of gender, race, power, equality, and social justice can be a social and emotional minefield for educators and students alike. In politically charged times, escaping pre-formulated reactions and creating real change and empathy can seem a nearly impossible task. Some educators have turned to the visual and creative arts to provide students with emotional connectedness, visceral responses, and modes of self-expression. In this study, I examine two education programs to understand the effectiveness of social justice pedagogical methods using phenomenological research. My focus is on the educators' experiences, influences, and personal pedagogies. I plan to highlight three successful programs to better understand how complex and emotional issues can be better explored through art and visual culture and how other educators can adapt these methods to their own classrooms.
4
Dean, Mary MacRorie. "Affective Intervention: Beyond Campus Rape Prevention." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429315783.
Full text
5
Jeff, List. "“From Hidden to (Over-)Exposed”: The Grotesque and Performing Bodies of World War II Nazi Concentration Camp Prisoners." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1191601326.
Full text
6
Rough, William W. "Walter Richard Sickert and the theatre c.1880-c.1940." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1962.
Full textAbstract:
Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity.
7
Wassersug, Yolana. ""My picture I enjoin thee to keep" : the function of portraits in English drama, 1558-1642." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5935/.
Full textAbstract:
This thesis considers how visual art is expressed within English drama during the Elizabethan, Jacobean, and Caroline periods, through studying how portraits are used in performance and narrative. The first part of the thesis, consisting of Chapters One and Two, is concerned with the stage. It explores the range of different functions that a portrait could have in a play, and considers the challenges of bringing these objects onto the stage. The following three chapters make up the second part of the thesis; which shifts focus from the way portraits were used on stage as signifiers, to a consideration of what they signify. Chapter Three explores how characters use portraiture to promote their identity and advertise individuality. It argues for a re-thinking of the significance of ‘life-like’ painting, arguing that portraits can be markers of identity even without necessarily capturing likeness accurately. Chapter Four is about the functions that portraits have as love tokens and within courtship narratives, arguing that they expose the often-flimsy distinction between lust and love. The final chapter addresses the magical and metaphysical aspects of portraiture, and considers their role in witchcraft and murder narratives, but also their metaphorical potential to ‘hold’ the soul of the person that they depict, and therefore function as commemorative objects.
8
Parker, Herb. "Bark Like a Dog!: Outrageous Ideas for Actors." Digital Commons @ East Tennessee State University, 2013. http://amzn.com/0615866573.
Full textAbstract:
This book, a short and easy read with common sense coaching and easy to follow exercises, takes beginning acting students through techniques and improvisations that will help them overcome perhaps their greatest fear: making “The Big Choice.” Using sound examples from classical as well as contemporary plays, Herb Parker makes it easier for the theatrical neophyte by making the case that a play is “about human beings caught in an outrageous situation, caused by love.”
“Actor, director, teacher Herb Parker has given us a splendid new book about acting. He analyzes this ancient art in clear, precise, engaging prose while dispensing acute, methodical and perceptive advice. Brilliant actor that he is, Herb understands the craft, the exceptional director gently leads the actor toward a fully realized performance and the thoughtful, caring teacher explains it all to the reader (student). This is the book of acting you need and one you will cherish.”https://dc.etsu.edu/etsu_books/1052/thumbnail.jpg
9
Santos, Daniele Queiroz dos. "Entre montagens e constelações: um estudo sobre a mobilidade das imagens." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16132/tde-12122017-154113/.
Full textAbstract:
Este trabalho apresenta um estudo sobre as representações e o imaginário da arquitetura e do espaço construído pelo viés da mobilidade das imagens, a partir da análise e interpretação de três obras cinematográficas que se constituem como os objetos de estudo: Alice nas Cidades (1974), Dogville (2003) e Solaris (1972). Os filmes são abordados quanto à característica de apresentação do espaço de cada obra: tem-se então a cidade real (Alice nas Cidades), a cidade sugerida (Dogville) e a cidade imaginada (Solaris). Ao longo do texto são percorridos caminhos teóricos que partem das conexões entre cinema e arquitetura, cinema e imaginário e chegam na técnica da montagem, mostrando como esta pode servir não somente à narrativa fílmica, mas também como processo formativo de construção de imagens e significados através da justaposição de imagens e do processo de colisão entre elas. Ao transformar frames das obras cinematográficas em reproduções fotográficas, é convocado o Atlas Mnemosyne, painéis de imagens da autoria do historiador alemão Aby Warburg, como guia na construção de constelações de imagens. Entendendo o processo de feitura da Mnemosyne como uma técnica da montagem, as reproduções fotográficas vão sendo transformadas em narrativas outras por meio das constelações e galáxias de imagens, trabalhando com os conceitos de escala, dimensionamento, intervalo, aproximações e saltos das imagens; movimentos esses que encontram paralelo não somente no cinema - closes, travelling, saltos no tempo e no espaço -, como também no percurso dentro do espaço construído e nas representações da arquitetura.This research presents a study about architecture\'s representations and imaginary, and its constructed space through the point of view of the mobility of images, from analysing and interpreting three cinematographic works that constitute the objects of study: Alice in the Cities (1974), Dogville (2003) and Solaris (1972). Each film is approached as to its characteristic presentation of space: the real (Alice in the Cities), the suggested (Dogville) and the imagined city (Solaris). Throughout the text, theoretical paths are drawn from connections between cinema and architecture, cinema and imaginary, and lead us to the technique of montage, showing how it can serve not only to the film narrative but also as a formative process of constructing images and meanings through the juxtaposition of pictures and the process of collision between them. By transforming frames of the cinematographic works into photographic reproductions, the Atlas Mnemosyne, panels of images by the German historian Aby Warburg, is called as a guide in the construction of constellations of images. Understanding the Mnemosyne process as a montage technique, photographic reproductions are transformed into other narratives through the constellations and galaxies of images, working with the concepts of scale, sizing, interval, approximations and jumps of images; movements that find parallel not only in cinema - closes, travelling, jumps in time and space - but also in the course within constructed space and in representations of architecture.
10
Anderson, Joel. "Theatre and performance photography : documentation and the unlive." Thesis, Queen Mary, University of London, 2008. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1415.
Full textAbstract:
Although theatre and performance photographs often illustrate scholarly works on theatre and performance, and despite recent interest in links between theatre and the still image from both theatre practitioners and theorists, there remains relatively little critical work on theatre photography. This thesis examines theatre photography, implementing approaches that are a departure from habitual conceptions of the photograph as document. Taking the intersection of theatre and photography as a vantage point, this thesis considers how photography might shape theatre rather than recording it, and how this might challenge notions of theatre's constitution, summoning theatre's own stillness, its citation, and its spectrality. This consideration takes place via analysis of a series of instances of theatre photography, interrogating the specific operation of photography and photographs in each. Following the introduction, Chapter 1 gives an overview of existing writing about theatre photography, from questions of archiving to reflection on 'performance documentation'. Chapter 2 concerns photographic studies of the corporeal mime of Etienne Decroux, examining how photographic stillness relates to mime practice. Chapter 3 concerns the theatre photographs of Josef Koudelka, and considers how this work documents disappearance. Chapter 4 focuses on Martine Franck, photographer at the Theatre du Soleil, and examines how theatre photographs correspond to the photographer's other work. The work of this same company is the subject of Chapter 5, where I consider Sophie Moscoso's use of photography as part of a working process, and the ways in which images affect stage practice. Chapter 6 concerns the work of New York performance photographer Dona Ann McAdams, and considers the how photographs perform. The conclusion considers the wider implications of this work, and signals future research that might draw on my findings.
11
Kaufman, Sarah K. "Moments of Absorption." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1133.
Full textAbstract:
Moments of Absorption explores the conceptual and visual themes that are presented in my MFA thesis exhibition. The research looks into the absorption of the nude subject, the gestures that communicate this absorption, and the domestic space as a stage for the presentation of these gestures. This work investigates a tension between the theatrical and the natural as represented by images.
12
Hayes, S. "Building community : a sociology of theatre audiences." Thesis, University of Salford, 2006. http://usir.salford.ac.uk/2034/.
Full textAbstract:
This thesis is an ethnographic study of theatre audiences and the ways in which they experience community. It is positioned within current debates on the mediatization and globalization of society, and the ongoing discussion as to whether social change has an adverse effect on community experience. Methodologically it emphasizes the investigation of audience contexts and collaborative practices among actors and theatregoers and between researcher and respondents. Audiences’ own terminology is considered vital to understanding what community means to them. The thesis examines community experience across the whole trajectory of the theatregoing event, from theatregoers’ backgrounds, through interactions at theatre performances, to discussion outside the auditorium and in their everyday lives. It argues that while theatre audiences conform to the perception that they tend to be middle aged and predominantly female, there are modifications to Bourdieu’s findings that cultural consumption is closely related to social class gradations. In particular, mainstream theatregoers extend across the spectrum of the middle class and their tastes in theatre are eclectic. Similarly, the research finds that there are other ways than through habitus that theatregoers acquire cultural tastes and practices. A close consideration of interactions at theatre performances, and the physical contexts in which they take place, identifies features of interaction and auditoria that encourage or discourage community, and relates them to interaction in everyday life. An investigation of why theatregoers prefer live to mediatized performance, and an examination of changes in audience perception and how much they are shared with others, contribute to an assessment of the transformative power of theatre and of how far face-to-face community is perennial in society.
13
Souza, Maurício Augusto Perussi de. "Fotógrafo-encenador, encenador-fotógrafo: a imagem teatral a partir da fotografia." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-07022014-145403/.
Full textAbstract:
A dissertação investiga a ação do diretor de teatro no âmbito da criação de imagens, e procura definir um conceito de imagem teatral tendo como modelo artístico e teórico, a fotografia. Em que medida a imagem teatral pode ser pensada a partir da imagem fotográfica? Como diferenciar cena e imagem no teatro? Visando responder a tais perguntas, o trabalho realiza um estudo conceitual das relações entre a fotografia e o teatro, recorrendo à literatura teórica das duas áreas, bem como, a textos psicanalíticos, dando especial atenção à estética da imagem construída, e à presença da encenação na produção fotográfica contemporânea. Além disso, examina o processo criativo de O problema do carteiro chinês, com o objetivo de discorrer e ponderar sobre os procedimentos de criação de uma peça totalmente baseada em imagens fotográficas, bem como, das relações entre teatro e fotografia observadas na prática. A partir do trânsito entre teoria e prática, realiza-se uma reflexão sobre o componente visual do espetáculo teatral na contemporaneidade.This Master´s dissertation investigates the action of theater director within the scope of image creation, and seeks to define a concept of theatrical image based on the theoretical and artistic model of photography. To what extent the theatrical image can be considered from the photographic image? How to differentiate scene and image in the theater? In order to answer these questions, the work makes a conceptual study of the relationship between photography and theater, using the theoretical literature from both areas, as well as the psychoanalytic texts, giving special attention to the aesthetics of constructed image and the presence of the staging in contemporary photographic production. Furthermore, it examines the creative process of O problema do carteiro chinês (The chinese postman´s problem) in order to discuss and ponder the procedures for creating a play based entirely on photographic images, as well as the relationship between theater and photography observed in practice. From the transit between theory and practice, we reflect on the visual component of the contemporary theatrical spectacle.
14
Chao, Yu-ling. "Dance, culture and nationalism : the socio-cultural significance of Cloud Gate Dance Theatre in Taiwanese society." Thesis, City University London, 2000. http://openaccess.city.ac.uk/11875/.
Full textAbstract:
The socio-cultural significance of Cloud Gate Dance Theatre (est. 1973) in Taiwan is manifested in the interconnection of political nationalism and the representation of a diasporic postcolonialist cultural nationalism in its dance creations. The hybrid nature of Taiwanese society and its struggle between Chinese and Taiwanese nationalism are reflected in the motive behind the creation of the company, the evolution of its repertoire and changes in its nationalist stance. The creation of Cloud Gate, the first Taiwanese contemporary dance company, was stimulated by its founder Lin Hwaimin's enthusiasm for Taiwan Chinese nationalism. The name Cloud Gate Dance Theatre not only relates to Chinese dance history and the formation of Chinese mythological nationalism, but also indicates the hybrid nature of Taiwanese society. In brief, Cloud Gate's multi-cultural dance creation is generated by diasporic Chinese for diasporic Chinese. In the light of intensifying Taiwanese nationalism on the island the evolution of the Cloud Gate repertoire (between 1973-1997), which began by juxtaposing Chinese and Western dance elements before integrating Chinese, Western, Taiwanese, Taiwanese indigenous and various Asian dance elements, reflects the company and Taiwanese society's search for a Taiwanese cultural and political identity. Among the Cloud Gate repertoire, Legacy (1978) and Nine Songs (1993) are considered to exemplify most this distinct socio-cultural phenomenon-the interaction and interconnection between dance, culture and nationalism in the context of the formation of Taiwan as a postcolonial society in opposition to Chinese nationalist hegemony. A research methodology for the socio-cultural analysis of dance is developed, with specific relevance to the Cloud Gate repertoire, which incorporates methods originating in sociology of dance and choreological studies. This is supported by a documentary research method which draws on theories and analytical methods of sociology and dance history. Zelinger's (1979) theory of semiotics of theatre dance is applied to bring together sociological and choreological methods. The examination of Thomas' (1986) sociological analysis of dance, Adshead's (1988) and Sanchez-Colberg's (1992) dance structural analysis leads to the development of a new method of analysis. Geertz's (1973) concept of `Thick description' provides the theoretical ground for the interpretation of data collected through the analysis of extrinsic and intrinsic features of cultural phenomena. Consequently the significance of the dance in question can be addressed in terms of the complex network of interpretations of it within its socio-cultural context.
15
Mercer, Randy Houston. "A Life In Words, Thoughts, Ideas, Images and Movement." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/995.
Full textAbstract:
I know it is my core, my purest nature to incessantly question myself and everything around me; as we pertain to the universe. As Robert Wilson suggests "I will always ask 'What is it?' before telling you what it is." My goal is to present you with some tools with which to approach your craft, your life, your uncertainties. And though I may not always be the best example, I still wish to encourage all that read this or spend time with me to see this craft/business and indeed your life as a great, happy adventure; guided by love. Because this will always lead to good and positive experiences, whatever path you find yourself on.In what I am doing now I am preparing to transition from a career in makeup into my next interest/phase/period with energy and excitement. Not disappointment, regret or rejection as I have seen over the years when this business is done with someone. And I think my timing is just about right, as I have done it while I am still in demand, while my phone is still ringing, while I am still at the top of my game, my craft.If this collection of thoughts is perceived a success or is widely read, discussed, or deliberated, because I have aimed it at, geared it toward or written it for success or sensationalism, then I have failed, and this amounts to little more than advertising or cheap unsatisfying tabloid television. But if this in any way grabs, challenges, informs, suspends you, makes you question or dream then like theatre when it is at its truest, most profound, rawest, absolutely undecorated, it serves its purpose: To move us forward to new debate, to new exploration of this/our condition.
16
Martin, David Nicholas. "Photography, Visual Culture, and the (Re)Definition/Queering of the Male Gaze." UKnowledge, 2019. https://uknowledge.uky.edu/art_etds/17.
Full textAbstract:
The traditional notion of the Male Gaze, first conceptualized by feminist film critic Laura Mulvey in 1975, focused on the objectification of women through depictions structured to gratify a male heterosexual perspective. In this chapter we will revisit this concept and investigate how that gaze may have shifted away from a primarily heterosexual perspective to a socially dominant male perspective (maleness here referring to dominance rather than specific gender, just as “whiteness” might refer to privilege rather than race). With gender roles in an increasingly global and mobile society becoming more fluid and complex, opening up visibility to LGBTQ communities, along with a substantial post-feminist backlash, we will consider how the male gaze is shifting and how subsets of objectifying “gazes” might overlap.
I will explore whether the traditional heterosexual male gaze has shifted due to power backlashes and other developments. New gaze developments may take the form of the “bromance” as well as athletics and advertising. Included in an investigation of this “dominant gaze” will be an exploration into the possibility of a lesbian and transgender gaze – does each subculture have the propensity to fall into this pattern of objectified looking and if so, where is the evidence and what are the implications? That evidence will be explored through photography, film, dance, and other visual media as this subject is expanded through the emergence of variant sexualities and gender identities.
17
Koumaridou, Olympia. "Light Evoking Emotions: The Element of Surprise in theatre and photography conveyed through the medium of light.Parallels and applications in Architecture." Thesis, KTH, Ljusdesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280072.
Full textAbstract:
The aim of this dissertation is to research the way light is used as a tool to reveal emotions, focusing on The Element of Surprise. Light is a powerful medium that could instantly change the perception of space in terms of mood and atmosphere that is created by it. By observing the way light is used to reveal ‘Surprise’ in contemporary Theatrical Performances and contemporary painting techniques such as Light Photography Painting paradigms, we can find parallels and apply similar techniques of thought, into the creation of architectural indoor and outdoor public spaces.The feeling of surprise is an extremely intense emotion happening instantly and has an important impact on human brain and psychology. The main characteristic of this feeling is that whatever causes surprise is unforgettable. People feel this emotion as the result of an unexpected event and surprise happens when expectations mismatch reality, regardless of the fact that it can be something positive or negative.This Thesis starts by observing light within a contemporary Greek theatrical performance called “The Experiment”, which took place on April 2019 in “Megaron” Athens Concert Hall, trying to identify the way that light is used to evoke the feeling of surprise, while at the same time examining the work of a Slavak photographer Jozef Sedlak, who uses light as a painting tool in his contemporary ‘Painting Photographs’ οften creating surrealistic pictures that provoke the feeling of surprise to the viewers. More specifically, the dissertation focuses on dynamic and static 3D and 2D representations of light used to reveal surprise in order to draw conclusions for architectural 3D space that can be experienced dynamically (move through) or statically (sit/stand and contemplate one specific perspective) by comparing the above mentioned contemporary theatrical performance with interiors of Hilton Tokyo and Midland Square Tokyo ,and Photography Painting with 2D lighting schemes Yamaguchi Xavier Memorial Church and Okiden Naha Building for their facades.The methods used are mainly qualitative through personal observations, interviews and questionnaires having as criteria of evaluation the following qualities of light: visibility, contrast, light color, layers of light, transformation and completeness.The chapters “Results” and “Analysis” lead to the comparison, which took place in chapter “discussion”, in order to find the parallels above mentioned.
18
Oliveira, Alexandra Marinho de [Verfasser], Nikolaus [Akademischer Betreuer] Müller-Schöll, Nikolaus [Gutachter] Müller-Schöll, and Jörn [Gutachter] Etzold. "Bertolt Brecht and theatre photography: aesthetic and political involvement / Alexandra Marinho de Oliveira ; Gutachter: Nikolaus Müller-Schöll, Jörn Etzold ; Betreuer: Nikolaus Müller-Schöll." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2019. http://d-nb.info/120113126X/34.
Full text
19
Ramos, Isabella. "Walking in The City: Koji Nakano’s Reimagining and Re-Sounding of The Tale Of Genji." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1037.
Full textAbstract:
Imagined Sceneries is a work written by composer Dr. Koji Nakano of Burapha University, Thailand for two sopranos, koto, light percussion, narrations, soundscapes recorded in Kyoto, Japan in December 2015, and digital projections of Ebina Masao’s 1953 print series Tale of Genji. Imagined Sceneries’ reimagining and “re-sounding” of Heian Kyoto relies on a balance between what is imagined and what is experienced in performance. Its many elements collectively explore multiple layers of Japanese histories, soundscapes, environments, and sensibilities. Using Michel de Certeau’s concepts of the city, this thesis journeys through Nakano’s imagined spaces.
20
Esfahani, Najva. "La muse : théâtre et théâtralité dans la photographie de mode." Thesis, Paris 5, 2013. http://www.theses.fr/2013PA05H022.
Full textAbstract:
L’étude se construit sur deux axes. Dans le premier, elle cherche à expliciter la fonction du lieu dans la séance photographique de mode, la manière dont la rêverie du photographe crée dans sa pensée un mannequin qui correspond à un espace ; ou bien, un endroit qui ressemble au modèle. Par une observation esthético compréhensive et une démarche phénoménologique, la recherche se concentre sur l’imaginaire de l’espace clôt dans l’image de mode, le logis, la maison, la chambre, etc. Tout en nous positionnant sous un angle holistique ; le concret avec le transcendant, le microcosme avec le macrocosme sont mis en relation. C’est alors que nous percevons la valeur du terroir et du territoire dans l’image de mode. Agissant comme un miroir reflétant le réel et notre société actuelle, la photo devient un monde en miniature. Après la rêverie de l’habitat, son image et son interrelation avec la personne, le réel et le groupe social, dans un deuxième axe, nous nous intéressons à la présence du modèle. La présentation du mannequin lors du casting s’appuie sur la sociologie interactionniste en observant les habitus du modèle, les comportements appris et répétés, ainsi que les imitations dans un contexte donné, dans une scène. C’est aussi la flexibilité du mannequin qui attire notre attention, son interaction avec le photographe, ainsi que le jeu devant la caméra. De plus, la représentation du modèle devant l’appareil puise sa source dans l’inconscient collectif et mythologique. En faisant une comparaison entre le jeu devant l’appareil technique et les théâtres archaïques et traditionnels, nous constatons que, dans le jeu du mannequin, il se manifeste des incarnations archétypales. Celles-ci se distinguent des habitus et des comportements appris, ainsi que des émotions. De même, l’influence du « bassin-sémantique » et la vitalité du mythologique, prennent lieu dans un espace-temps présent. C’est alors par la description qu’on aboutit à une explication ; il s’agit de procéder par la démarche comparative qui déplace le centre culturel et historique en l’alignant en parallèle avec d’autres systèmes. Cette démarche est donc concrètement plurilatérale. C’est ainsi que nous décryptons le retour, à notre époque, de l’archaïque, à la fois en observant le contenu de l’image photographique et la représentation du mannequin devant la caméra. Nous tissons donc, selon la méthode comparative weberienne et durandienne, des liens entre différents phénomènes n’ayant pas la même finalité, mais possédant la même formeWith considering our observations in the field, there is a return of the archaic in the superficial aspects of existence as fashion photography. We noticed that on the one hand, models intended to look at fashion magazines and to reproduce the poses and attitudes of the current season, and doing so, they continued to represent socially the models attitude and confirm the position in a community. On the other hand, we noticed a similarity between fashion theatricality in front of the camera with traditional theatre which embodies archetypes. We noticed as well that printed fashion pictures aim to represent a cultural message belonging to our particular period and culture. But at the same time, they always transmit strong symbols and archetypes that are mythological. To interpret the symbols, we mainly used the work of Gilbert Durand. According to him, it is not society and culture that produce mythology, but mythology that creates ideology and artistic expressions. The work of Michel Maffesoli gives us as well an understanding of everyday life phenomena in post modernity
21
Bolte, Rike. "Gegen(-) Abwesenheiten." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2014. http://dx.doi.org/10.18452/16907.
Full textAbstract:
Während der letzten argentinischen Diktatur (1976-1983) wurden zehntausende Menschen in geheimen Lagern festgehalten, gefoltert und ermordet – dann ''verschwanden'' sie. Die meisten Fälle sind nur schwer rekonstruierbar, viele Täter kamen ungestraft davon. Für diese staatsterroristische Praxis wurde die Bezeichnung erzwungenes Verschwinden eingeführt (spanisch desaparición forzada). Die Untersuchung beschäftigt sich mit medialen und ästhetischen Verfahrensweisen, die in Argentinien in der Auseinandersetzung mit der desaparición forzada entwickelt wurden. Im Vordergrund steht die These, dass die gewaltsame Depräsentation der Opfer zu einem gesellschaftlichen ''Wahrnehmungsmord'' ("percepticidio") geführt hat. Die medialen Strategien und ästhetischen Produktionen, die die Untersuchung analysiert, markieren den gegenwärtigen Stand einer transgenerationellen kulturellen Bearbeitung dieser wahrnehmungsrelevanten sozialen und politischen Erfahrung. Es handelt sich um Produktionen im Bereich Narrativik, Lyrik, Fotografie, Film und Theater, die im Kontext der Memoria-Hochkonjunktur nach 1989 und der digitalen Globalisierung stehen. Félix Bruzzone, Mariana Enríquez und Martín Gambarotta, Virginia Giannoni und Lucila Quieto sowie Albertina Carri und Lola Arias haben Kontra(re)präsentationen zum gewaltsamen Verschwinden entworfen, die materiell, meta-medial und kontrainformativ verfahren. Nach diskursanalytischen, repräsentations- und medientheoretischen Einführungen sowie einer Reihe terminologischer Definitionen arbeitet die Untersuchung an diesen Produktionen einer postdiktatorischen Generation, die als "Camada Cadáver" bezeichnet wird, heraus, dass ein ''Phänomen'' wie das erzwungene Verschwinden – das in vielfache Referenzlosigkeit führt – ästhetische Strategien motiviert hat, die als beispielhaft emergent und experimentell einzustufen sind, weil sie neue Erkenntnisse für die noch unabgeschlossene Erforschung eines der vielen Terrorregimes des 20. Jahrhundert liefern.During the Argentinean dictatorship (1976-1983), tens of thousands of people were kept in secret camps, were tortured, murdered, and ''disappeared''. Most cases are difficult to reconstruct. Many of the offenders have remained unpunished. The term "forced disappearance" (Spanish desaparición forzada) was introduced for this act of state terrorism. This study addresses medial and esthetic processes that were developed in light of the debate on desaparición forzada in Argentina. At the heart of the study is the hypothesis that the violent ''depresentation'' of the victims has led to ''cognitive murder'' ("percepticidio"). The media strategy and esthetic productions analyzed in the study represent the current state of the art of the trans-generational cultural work on cognition relevant social and political experiences. The productions in the field of the study of narration, poetry, photography, film, and theater have emerged in context of the post 1989 memory-boom and digital globalization. Félix Bruzzone, Mariana Enríquez und Martín Gambarotta, Virginia Giannoni, and Lucila Quieto as well as Albertina Carri and Lola Arias have conceptualized counter(re)presentations to violent disappearance which proceed materially, meta-medially, and counter-informatively. Following introductions on discourse analysis, representation theory, and media theory as well as a number of terminology definitions, the study analyzes the above mentioned productions created by a post dictatorship generation, which are being referred to as the "Camada Cadáver", and shows that the ''phenomenon'' of forced disappearance, which leads to a repeated lack of reference, has motivated esthetic strategies that are to be classified as exemplarily emergent and experimental, because they have produced new insights for the unfinished research on one of the many terror regimes of the twentieth century.
22
Hockenjos, Vreni. "Picturing Dissolving Views : August Strindberg and the Visual Media of His Age." Doctoral thesis, Stockholm : Acta Universitatis Stockholmiensis : Almqvist & Wiksell International [distributör], 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7024.
Full text
23
CHONG-YANG, ZHOU, and 周重陽. "《Alive Theater》: The Exploration and Research of Surrealism Photography." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/8gudxs.
Full textAbstract:
碩士國立臺灣藝術大學
視覺傳達設計學系
105
This thesis is mainly divided into two parts: literature discussion and photography creation. The former one has a deep discussion on the concept， development and style of surreal art and photography， making further analyzing the representative artists and relevant cases. The later one takes the topic of current social life as the design origin， focuses on human's feeling and carries on the artistic image creation with surrealism technique. It takes the topic of life as a picture of art and gives viewers the imagination and communication. It combines photography with computer digital art and spread it via digital technology. Through this research， I hope to create the surreal photography works with personal style. In techniques， with strong picture style， I try to express the related social life with swinging picture. Finally， in addition to creating satisfactory works， I hope to arouse more people's reflection and Discussion on the current social issues. I am looking forward to put my own works in posters， literary and creative products in the future to do my own contribution to social development.
24
Bethel, Marnie Elizabeth. "Rachel, the circulation of the image, and the death of tragedy." 2012. http://hdl.handle.net/2152/19603.
Full textAbstract:
Although it is frequently suggested that the idea of celebrity, as opposed to fame, is a construct of twentieth-century popular culture, many of the originating mechanisms and characteristics of modern celebrity have their roots in the more distant past. In France, the Industrial Revolution and the resulting mechanization of the media in the early to mid-nineteenth century fostered the processes of publicity. The invention of photography, the explosion in circulation of newspapers, and the emergence of cultural criticism gave rise to a new sense of both the importance and the relatability of people in the public eye.
Elisa Rachel Félix (1821-1858), known professionally as “Rachel,” was the undisputed star of the French state theater, the Comédie-Française, from 1838 until shortly before her death. She was in many ways the first exemplar of the tropes of celebrity in French popular culture. Not only was she greatly admired for her talent in performance, especially in the classical tragic repertoire of the Golden Age of French playwriting, but she was also a pioneer in what Tom Mole has called “the hermeneutic of intimacy,” the perception on the part of the public that the accessibility of images of the performer creates a sense of connection and sympathy between artist and audience.
This dissertation will explore the varieties of media through which Rachel’s career and life were publicized and the competing currents of her celebrity identity: the extent to which the star was understood as an exceptional woman versus her identification with her public. Depictions of Rachel in traditional arts, such as sculpture and painting, competed with her portrayal in such modern media as photographs, newspaper columns and caricatures, either enhancing her closeness to her fans or emphasizing her fundamental difference.
The image of celebrity which Rachel helped to create endured after her premature death and contributed mightily to a foundational shift in the emphasis of media culture in France. Coinciding as it did with the heyday of Romanticism and the rise of realism in the arts, the cult of celebrity contributed strongly to the death of the tragic genre.text
25
Melville, Joan Virginia. "The Theatre of Anon: Julia Margaret Cameron, Virginia Woolf, and the Performance of Alfred Tennyson's Idylls of the King." Thesis, 2013. https://doi.org/10.7916/D83X8DVG.
Full textAbstract:
Julia Margaret Cameron, Alfred Tennyson, and Virginia Woolf: three major figures of British art and letters who have received much critical attention individually, but have not yet been studied together. In this project I consider the valedictory works of these artists at their convergence, first through their obvious geographic, familial, and aesthetic relationships, then in more subtle, deeper, and overarching dimensions. The chief texts that are the focus of this dissertation are Tennyson's Idylls of the King, plus five of the Laureate's most popular poems; Cameron's photographic illustrations of these poems; and a selection of Virginia Woolf's late work, with a focus on "The Searchlight," Three Guineas, Between the Acts, and Anon. The dissertation also makes use of apposite poems, essays, life writing, and fiction created by these artists. Since "The Theatre of Anon" focuses primarily on Cameron's Illustrations, a chapter containing photographs of all the books' pages concludes the dissertation text. An additional selection of images is included as an appendix, in support of the central thesis of this project. The complex friendship between Tennyson and Cameron inspired the latter's only published book, a collection of poetic excerpts accompanied by images of his poems staged as scenes from amateur theatricals. The photos, with the photographer acting as their playwright-director, evoke the literary pageant in Woolf's last novel. In photographing the Illustrations, Cameron took control of the Laureate's poetry, metaphorically assuming the role of Vivien stealing Merlin's poetic spells. This dissertation traces Woolf's perception of her great aunt as it evolved over the decades, beginning with the eccentric, affected, and comical Cameron of Freshwater (1926) and ultimately portraying her as a dynamic, determined, and creative artist who helped provide inspiration for the character of the playwright-director Miss La Trobe of Between the Acts (1940). I argue that her great aunt's work influenced Woolf to create the figure she called Anon as a counterpart to Tennyson's King Arthur, and to place La Trobe's pageant-play at the center of her last novel, Between the Acts, as a final act of homage to Cameron. An aggregate of all anonymous minstrels, artists, and authors who ever lived, Anon appears in the guise of Miss La Trobe, whose communal, participatory art demonstrates how the traditionally monocular "eye" of history can be enlarged in community theatre from a single "I" to a collaborative project accommodating multiple perspectives. The Arthurian chivalry to which the ideology of Anon is set in counterpoint represents a conservative point of view based on the belief in a divinely-ordained social order headed by a monarch, with prescribed roles for each of its members. Valor in combat and devotion in courtly love, chivalry's two chief expressions, are the basis of Arthur's knightly code, which has influenced British national character and identity from the country's founding. Arthur reached his Anglophone apotheosis in the nineteenth-century's Gothic revival, epitomized in Tennyson's Idylls of the King. At the end of her career, at the start of the Second World War, Woolf came to believe that theatrical performance offered a better paradigm for social organization than the chivalric hierarchy at the root of the patriarchal British Victorian culture in which she had grown up. She saw in the community theatre a gathering place that could foster moments of transcendent unity, intellectual freedom, and imaginative inspiration, and in drama an art form resilient enough to withstand an audience's interruption and disillusionment. Performance provided a collaborative alternative to the conservative constraints that were her Victorian legacy; history, she felt, could be more accurately portrayed through the accretion of expressive theatrical performances than by the monolithic, linear narrative it had become as the official transcript of the nation's past. The theatricals scenes of La Trobe's pageant and Cameron's Illustrations - both composed of scraps and fragments of quotidian life rearranged and recombined - offer a new visual conception of the past. Working at the level of what Walter Benjamin has called photography's optical unconscious the dissertation demonstrates how Cameron's photographs reveal a reconstellation or reconfiguration, of the dominant British narrative from defamiliarized versions of the past that resonate with La Trobe's pageant. I propose that Cameron's photos re-envision canonical texts, inspiring a new mythology for Woolf, one that reflects a fluid and elastic version of the British national story. Challenging the received Carlylean conception of history as the biographies of great men, Woolf's counter-history, like Cameron's book of illustrations, features ordinary men and women playing extraordinary roles. The legendary Arthur, traditionally credited with uniting the country's thirteen tribes, founding Britain, and shaping the nation's identity, is but one actor among many in Woolf's pageant of history; his starring role in Tennyson's Idylls of the King is reduced to a few key scenes in the Illustrations and a cameo appearance in Between the Acts. Woolf implies that though there may still be room in history's narrative for heroic men, they will no longer dominate it. With its evolving, democratic nature, the community theatre created by Anon offers a paradigm of citizenship and social organization that Woolf believed could encompass British history, re-envision it, and offer the world's citizens hope for the future.
26
Kurihara, Jeffrey Paul. "The photographic and spatial survey method for video projection." 2013. http://hdl.handle.net/2152/21648.
Full textAbstract:
Abstract
The Photographic and Spatial Survey Method for Video Projection
Jeffrey Paul Kurihara, M.F.A.
The University of Texas at Austin, 2013
Supervisor: Richard M. Isackes
The process and practices that are described in this document were used in several
realized video installation projects over the course of 2011-2013. These installations all
encompassed the use of Architectural Video Projection Mapping techniques to create
transformative animated video projections upon the pre-existing architecture of multiple
locations. The process used to achieve this required the integration of multiple practices
to obtain and translate specific spatial data to be used in the artistic content creation
process. Particular to this method uses a photographic and spatial survey to map the
video content accordingly to the architecture of the space. The projects included an
installation on a building facade for the Art Alliance Austin’s Holiday Stroll in 2011,
another installation on the architecture of an interior wall of a museum space for an event
at the Austin Museum of Art in 2013, a site-specific musical theater piece called Almost
Invincible in the University of Texas Co-op’s Cohen New Works Festival 2013, and
multiple stages of a live music venue named Cheer-up Charlie’s in Austin, Texas form
2011 to 2013.text
27
TICHÁČKOVÁ, Barbora. "Stín a stínohra - výtvarná řada ve výtvarné výchově na základní umělecké škole." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-202548.
Full textAbstract:
The thesis is devoted to theoretical introduction of shade as a distinctive theme and an expressive element in the history of fine arts extending to the dramatic arts, film and photography, as well as specifications of shadow play as an expressive medium. The work also concentrates on the description of shade in terms of optics and visual perception, answers the question what a shadow is. In this thesis the analysis of both traditional and modern symbolism related to the phenomenon of shadow is not forgotten. A large part is dedicated to didactic analysis and brief characteristics of artproject methods and art series in art education, with regard to practical implications of work. The constituent part of the thesis was the preparation, realization and documentation of particular art series (set of art lessons) on topic "Shade and shadow play" in secondary schools.
28
Olcay, Tijen [Verfasser]. "Istanbul : kulturelle (Re)Konstruktionen und mediale Inszenierungen im Frankreich des 19. und 20. Jahrhunderts / vorgelegt von Tijen Olcay." 2001. http://d-nb.info/962692247/34.
Full text
29
Wendorf, Joachim [Verfasser]. "Über den Quellenwert historischer Film-, Photo- und Tonaufnahmen : eine Untersuchung am Beispiel des 17. Juni 1953 / vorgelegt von Joachim Wendorf." 1997. http://d-nb.info/963573306/34.
Full text
30
"Übersicht über die Promotionen an der Fakultät für Geschichte, Kunst- und Orientwissenschaften der Universität Leipzig von 1998 bis 2000." Doctoral thesis, Universitätsbibliothek Leipzig, 2004. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-36791.
Full text
31
"Übersicht über die Promotionen an der Fakultät für Geschichte, Kunst- und Orientwissenschaften der Universität Leipzig von 1993 bis 1997." Doctoral thesis, Universitätsbibliothek Leipzig, 2004. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-36256.
Full text
32
"Übersicht über die Habilitationen an der Fakultät für Geschichte, Kunst- und Orientwissenschaften der Universität Leipzig von 1993 bis 1997." Universitätsbibliothek Leipzig, 2004. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-36249.
Full text
33
"Übersicht über die Habilitationen an der Fakultät für Geschichte, Kunst- und Orientwissenschaften der Universität Leipzig von 1998 bis 2000." Universitätsbibliothek Leipzig, 2004. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-36690.
Full text
34
Mikulcová, Anežka. "Portrétní silueta v Českých zemích od 18. do 19. století." Doctoral thesis, 2020. http://www.nusl.cz/ntk/nusl-437110.
Full textAbstract:
Portrait silhouettes, which are the subject of the present work, are a peculiar and now forgotten type of portraits. They represent a specific part of the visual culture of the second half of the 18th and 19th centuries and a number of contemporary social, cultural, artistic and scientific phenomena intertwine in them. Technically, these seemingly simple monochrome profile portraits are very diverse. The range of silhouetted persons and persons creating them is equally diverse. The aim of this work is a comprehensive mapping of the phenomenon of portrait silhouettes in the Czech lands with an overlap to more general levels concerning the philosophical aspects of this type of portraiture. The text is based on knowledge gained from detailed research of domestic collections of silhouettes, which are part of museum, gallery and castle collections. A large amount of pictorial material has been preserved in the Czech Republic, which made it possible to formulate the necessary more general conclusions. The complex approach mixes from a methodological point of view the approaches of art history with its formal analysis and cultural history, some topics overlap with the content of Bild- Anthropology studies. The oldest Czech specimens of silhouettes come from the turn of the 70s and 80s of the 19th century, which is...
35
Leipzig, Universität. "Übersicht über die Habilitationen an der Fakultät für Geschichte, Kunst- und Orientwissenschaften der Universität Leipzig von 1993 bis 1997." 1999. https://ul.qucosa.de/id/qucosa%3A10842.
Full text
36
Leipzig, Universität. "Übersicht über die Promotionen an der Fakultät für Geschichte, Kunst- und Orientwissenschaften der Universität Leipzig von 1993 bis 1997." Doctoral thesis, 1999. https://ul.qucosa.de/id/qucosa%3A10843.
Full text
37
Leipzig, Universität. "Übersicht über die Habilitationen an der Fakultät für Geschichte, Kunst- und Orientwissenschaften der Universität Leipzig von 1998 bis 2000." 2001. https://ul.qucosa.de/id/qucosa%3A10889.
Full text
38
Leipzig, Universität. "Übersicht über die Promotionen an der Fakultät für Geschichte, Kunst- und Orientwissenschaften der Universität Leipzig von 1998 bis 2000." Doctoral thesis, 2001. https://ul.qucosa.de/id/qucosa%3A10899.
Full text
39
Hollows, Emma. "Kofifi/Covfefe: How the Costumes of "Sophiatown" Bring 1950s South Africa to Western Massachusetts in 2020." 2020. https://scholarworks.umass.edu/masters_theses_2/933.
Full textAbstract:
This thesis paper reflects upon the costume design process taken by Emma Hollows to produce a realist production of the Junction Avenue Theatre Company’s musical Sophiatown at the Augusta Savage Gallery at the University of Massachusetts in May 2020. Sophiatown follows a household forcibly removed from their homes by the Native Resettlement Act of 1954 amid apartheid in South Africa. The paper discusses her attempts as a costume designer to strike a balance between replicating history and making artistic changes for theatre, while always striving to create believable characters.