Relevant bibliographies by topics / Theater – Production and direction

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Theater – Production and direction'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Theater – Production and direction"

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Chebotarev, Sergey A. "Art of theater direction in the 20th–21st centuries." Neophilology, no. 28 (2021): 718–25. http://dx.doi.org/10.20310/2587-6953-2021-7-28-718-725.

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We analyze the cultural and historical development of art of theater direction in the 20th–21st centuries. We consider the features of director’s theater on the example of Anatoly Vasiliev’s theater, Mark Zakharov’s theater, Zhenovach’s theater, Pyotr Fomenko’s theater, etc. We note that throughout the entire period there is a transformation of the role of the director in the theater. We note that throughout the entire period there is a transformation of director’s role in the theater. The significance of the theater director – artist grows into more complex forms of his existence: the playwright – the organizer of the performance – the teacher and educator of the theatrical collective. We conduct an analysis of directing schools allow us to draw the following conclusions. Firstly, the Russian theater at the turn of the 20th–21st centuries managed to preserve its traditions even in the conditions of the most powerful computer and television boom. Secondly, the theater continued to occupy one of the leading places in the spiritual, moral and aesthetic edu-cation of society. Thirdly, the direction of domestic theater adopted and multiplied the best tradi-tions of realistic art, coming from K. Stanislavsky, V. Nemirovich-Danchenko, E. Vakhtangov, M. Chekhov, taking into account modern trends and interests of the audience. Fourthly, there was an active search for new forms in directing and acting, experimental theaters and studios were formed. Fifthly, a huge place in directing was given to the production of classics. We note that the period under review provided an opportunity to fully reveal the originality in directing and acting.
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Batytska, Tetiana. "Aspects of Theatre Directing in the Maria Zankovetska National Academic Ukrainian Drama Theater during the 1990s–2010s." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(2) (November 29, 2023): 86–94. http://dx.doi.org/10.31500/1992-5514.19(2).2023.294632.

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The paper examines the key features of the creative work of three stage directors of the Maria Zankovetska Theater during the 1990s–2010s: Fedir Stryhun, Alla Babenko, and Vadym Sikorskyi. The analysis of their landmark productions enables distinguishing the method of working on the theatrical production by each of them and outlines the thematic and conceptual range of both the artists’ works and the theater as a whole. The variety of artistic methods of stage direction during the period was studied, including the elements of psychological, poetic, and conditional theater in the terms of aesthetics, as well as the political, philosophical, and intellectual theater in relation to the concept, and the nature of the conservative and experimental theater in respect to the novelty of the implementation of stage solutions. It was identified that the creative image of the theater had been established by F. Stryhun and his artistic guidelines were dominant during the period, with his creative work oriented towards the social and cultural educational demands of Ukraine. Modern stage design and directing, presented by his colleagues A. Babenko and V. Sikorskyi, were less significant in the overall course of the theatre.
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Shishkin, Andrei Gennadievich. "Repertory theater of production type – trends in the dialogue of cultures in modern music and theater culture (on the example of the Ural Opera Ballet Theater)." Культура и искусство, no. 5 (May 2021): 37–46. http://dx.doi.org/10.7256/2454-0625.2021.5.35614.

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This article reviews a new model of repertory opera theater of production type, which has emerged at the intersection of traditional repertoire and project, or production theaters: it represents a special channel of intercultural communication. Opera performance creates a space simultaneously in several dimensions – musical, verbal, and visual; it resembles a form of polylogue of the authors and stage directors of the performance, becomes a realization of the dialogue of cultures, and turns into a unique form of art involving the representatives of different cultural systems. This is proven by particular artistic experiences of the dialogue of cultures in modern opera on the example of Ural Opera Ballet Theater in Yekaterinburg and its projects “Satyagraha”, “The Passenger”, “The Greek Passion”, and “Three Sisters”. A number of important ideas of theoretical and historical culturology find practical substantiation: the paramount prerequisite for the effectiveness of any activity – the unity of theory and practice is realizes in the sphere of artistic culture. It is determined that within the framework of repertory theatre, production direction must take consider the time requirements that are solved in the field of the dialogue of cultures. The article demonstrates that the dialogue of cultures manifests as the dominant trend in the development of theatrical culture, allowing a more effective response of the creative process to the demands of time. It is proven that the work created in the process of the dialogue of cultures, which contains polyphony of voices, requires peculiar work with the audience, who is also engaged in dialogue with the performance.
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Ахмедов, А. "Russian Drama on the Azerbaijani Stage in the Period of Independence: Analysis of Creative Trends." Nasledie Vekov, no. 4(32) (December 31, 2022): 72–80. http://dx.doi.org/10.36343/sb.2022.32.4.006.

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Автором выявляются основные тенденции, определявшие обращение театральных деятелей Азербайджана к произведениям русской классики и современной российской литературы в годы независимости (1991–2021). Научный обзор выполнен с опорой на сообщения электронных СМИ о театральных премьерах, критические статьи, а также исследования историков культуры и театроведов. Проанализированы наиболее яркие работы, созданные труппами азербайджанских театров по произведениям Ф. М. Достоевского, Н. В. Гоголя, А. П. Чехова, А. Н. Толстого, Ю. М. Полякова и др. Охарактеризованы особенности работы режиссеров над постановками, основанными на произведениях русских авторов. Отмечается, что эти спектакли, нередко наделенные азербайджанской национальной спецификой и колоритом, обеспечивали сохранение театральных традиций прошлого и встречались публикой с симпатией и интересом. Автор констатирует, что русская драматургия оказывает серьезное влияние на развитие режиссерского и актерского искусства в Азербайджане. The author identifies the main trends that determined the appeal of theatrical figures of Azerbaijan to the works of Russian classics and modern Russian literature during the years of independence (1991–2021). The study is based on electronic media reports about theatrical premieres, critical articles, as well as studies of cultural historians and theater critics. The methodology is a combination of ideographic, diachronic and historical-genetic methods. The author considers works of the teams of the Azerbaijan State Academic National Drama Theatre, the State Academic Musical Theatre, the Azerbaijan State Theater for Young Spectators, and the Yug Theater on the stage performances of the writings of Fyodor Dostoevsky, Yuri Polyakov, Nikolai Gogol, Anton Chekhov, Aleksey N. Tolstoy and others. The conclusions of theater critics about these performances are given. Of the regional theater groups, the author notes the activities of the Ganja State Drama Theater. He characterizes features of the directors’ work on productions based on the writings of Russian authors. The author states that Russian dramaturgy has a serious impact on the development of directing and acting in Azerbaijan, ensuring the preservation of theatrical traditions of the past; he also notes that the public met such performances with sympathy and interest. Regional theaters also showed interest in the work of Russian classics, in particular, they often turned to The Government Inspector by Gogol. The study has established that the performances the theaters of Azerbaijan conduct based on Russian classical works are intended for spectators of all ages, including children. These productions, often endowed with Azerbaijani national specificity and color, are truly unique works, which are a kind of a fusion of two cultures. The directors often “weaved” the work of the Russian playwright into the plot outline of the production together with the works of authors belonging to other national literary traditions – in this way the idea of multiculturalism was creatively realized. Very often performances were created by international creative teams. The author emphasizes that the appeal of Azerbaijani theaters to Russian drama during the years of independence not only serves to enrich their repertoire and develop theatrical art, but also, continuing the historical ties between the peoples of Russia and Azerbaijan, contributes to their further development.
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KOZAK, Bohdan. "RECEPTION OF MYKOLA SADOVSKY’S DIRECTING AT THE PEOPLE’S THEATER OF THE “RUS’KA BESIDA” SOCIETY (1905-1906)." Bulletin of the Lviv University. Series of Arts Studies 109, no. 21 (2023): 44–52. http://dx.doi.org/10.30970/vas.21.2023.12128.

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The article examines the activity of the director and prominent actor from EaStern Ukraine, Mykola Sadovsky, during his tenure as the director of the Ruskyi Narodnyin Teatr (Ruthenian People’s Theater) of the «Ruska Besida» Society in Lviv from May 1905 to May 1906. Through the lens of documents found in archives, the author attempts to clarify certain facts regarding M. Sadovsky’s work at the Ruthenian People’s theater. Special attention has been focused on his primary goal as the new director. It is noted that in a short period of time, he managed to unite prominent personalities, creating a well-performed ensemble of actors and elevating the professional skills of the company. Along with work on the professional level of actors, Sadovsky focused on improving their skills in the normative Ukrainian language, as not all Galicians were proficient in it. He also substantially broadened the repertoire of the theatr comparing to the previous years. A political conflict arose between Poles and Ukrainians, who demanded equal voting rights for representation in higher government bodies. Sadovsky and the theater were involved in the conflict too. Due to the political confrontation, Poles boycotted the performances of the Narodny Teatr. The Ukrainian «patriots» resorted to similar measures. All of this influenced the financial situation in the theater. The article analyzes the reviews of the theater’s activities, particularly under Mykola Sadovsky’s direction, in Ukrainian and Polish press. It is eStablished that the crytics wrote positively about the professional level of the acting company, especially they praised the performances by M. Zankovetska and M. Sadovsky. The negative reviews that also appeared in the pres were focused not on the quality of the productions or the actors’ performances but rather on the insufficient number of spectators in the hall and, as a result, a deficit in the box office. The article provides a liSt of the cities where the theater toured in Galicia in the time of Sdovsky direction.
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Gonzalez, Anita. "Seeking Critical Frameworks for Global Majority Theatre." Theatre Journal 75, no. 4 (December 2023): 511–17. http://dx.doi.org/10.1353/tj.2023.a922220.

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Abstract: The essay advocates for expanding theater studies publications to more effectively engage with global majority epistemologies as core methodologies for analyzing theatrical phenomena. Academic theatre classes often incorporate performance studies paradigms, but most theater programs remain centered around practice-based exercises for acting, directing, designing, and producing Eurocentric theater. Global majority ways of telling stories are either not taught to students or are integrated into curricula in carefully measured doses as alternative approaches to art-making. This essay encourages twenty-first century scholars to more astutely respond to cultural productions based upon vernacular and indigenous ways of theatrical storytelling, arguing that a significant step would be to incorporate more indigenous languages, and perhaps have the journal publish in multiple languages (with translation) to expand the readership. However, even foregrounding text-based performance may be limiting. Many of the aesthetics that underly arts production in global majority cultures are constituted outside of text-based paradigms; they use symbol, myth, sound, gesture, dance language, and music as poetic containers for delivering their messages. They also build from local epistemologies connected to spirituality, religion, or alternative beliefs about the rationale and intention of performance. This essay calls for more time and space devoted to critical analysis of theatre created and performed outside of standard theatre venues, as well as a more nuanced discussion of complex ecosystems that support artistic innovation.
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Koo, Tae-Hwan. "A Study on Teaching Methods of Theater Directing through the Theater Production Class." Journal of the Korea Entertainment Industry Association 12, no. 3 (April 30, 2018): 213–20. http://dx.doi.org/10.21184/jkeia.2018.4.12.3.213.

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Balaban, O. I., O. M. Venher, and O. B. Opanasyk. "Market fundamentals of organization of work in the field of stage and audio-visual arts and production." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 200–214. http://dx.doi.org/10.34064/khnum1-53.12.

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Background. Survival and further development is an acute problem for any modern Ukrainian repertory theater. According to the Law (which is only a framework, since it does not answer all the questions that arise), repertory theaters are non-profit organizations and exist for budget funds. The latter are steadily declining and depreciating in the conditions of market relations exist in modern Ukraine. The purpose of the article is to consider and propose methodological approaches to the development and implementation of innovations in the organization of cultural institutions in the field of cultural industries, theater, film and television. Presentation of the main material. The modern development of society is extraordinary – it is filled with changes and transformations caused by the influence of such phenomena as globalization, cheap labor, a large number of competitors. The spread of information and nanotechnology, computer networks is causing changes in the structure of organizations and cultural institutions, in particular, a reduction in their size, which, in turn, predetermines innovation as a result of a creative search for original, non-standard solutions to various problems. Globalization today is not only fierce competition. It also affects the human capital of enterprises, in particular, transforms the concept of a permanent place of work. Technogenic civilization and the rapid change of information technology make cultural institutions need to work extraordinary in such relevant areas as technology, personnel and organizational aspects of business. The most important qualities of the modern cultural space, concerning cultural and educational institutions, creative industries, are openness of thoughts and the possibility to avoid stereotypes. As a result of the development of market relations in Ukraine, cultural institutions have economic freedom, respectively, freedom in choosing directions and guidelines for development, as well as of markets for activities, determining directions for using and attracting own funds, creating a competitive policy, etc. In the same time, the following threats were identified that are relevant for any modern Ukrainian repertory theater, namely: 1) the growth of the budget deficit of the country and the region, which can suspend the budget maintenance of theaters; 2) an increase in inflation; 3) economic instability; 4) political instability; 5) the growth of tax rates; 6) a decrease in the solvency of the audience; 7) low demand from the audience for theatrical services; 8) significant variability in the needs of the audience; 9) a high level of competitiveness of other theaters and cultural institutions; 10) changes in public values; 11) low social consciousness of the population. Due to these conditions, the solution of the problem of survival and development requires the search for new strategic approaches to the organization of activities and management of these theaters, which seems quite relevant. The possibilities are contained in the Law itself, which allows theaters to earn money through various types of commercial activities. Strategically, the most promising is production, which is used by almost all foreign non-commercial theaters. The opportunities provided by “The Law on Public-Private Partnership”, 2010, in the fields of tourism, re-creation, culture and sports can be included in support of such activities. The effectiveness and profitability of cultural institutions depends on the quality of management, as well as monitoring the implementation and quality of services. The high potential of cultural institutions with an underestimation of activity and inefficient management leads to insufficient funding for the development of cultural institutions, a lack of working capital, and low material interest of workers. This situation makes it necessary to constantly increase the budget line for the maintenance of institutions. But to increase the budget revenues of cultural institutions, it is possible to use crisis management technologies. The development of crisis management methods by the management company (with an emphasis on theatrical activities) will be aimed at: protecting intellectual property and patenting by type of activity, developing and applying franchising schemes in theatrical activities; constant monitoring of the theater audience in order to identify trends in the development of culture and demand from the audience; collecting and summarizing the practice of successful European theater projects and managerial decisions to create a system of training the managerial staff of cultural institutions; collecting and analyzing information about the interaction of theaters with the external environment, tracking new trends and market contradictions; creating the basis for adjusting the regulatory framework; increasing the profitability of theaters; development of areas related to the core business; attraction and use of various types of financing (budget, grants, commercial, credit, investment funds); reduction of the budget load and the transition from current financing schemes to the financing of theater projects and programs; the creation of new financial instruments for the development of the theater, including depreciation and accumulation of income; the search for opportunities for the management company to implement external financial management and carry out financial planning, control over improving the effectiveness of theater management; creation of systems of motivation and interest of the creative team of theaters; creative audit of theatrical productions and repertoire policy, assessment of the positioning of theaters and theatrical productions. Summing up the above, we can reach the statements: 1) the rapid reduction of budget support for modern Ukrainian repertory theaters may end with a complete rejection of it; 2) under such conditions, it will be appropriate to study the experience of organizing the activities of foreign non-profit theaters that successfully survive in market conditions; 3) this becomes possible through the use of a rather specific activity called “producing”; 4) modern Ukrainian repertory theaters will have to master it; 5) for this purpose, it seems appropriate to create a "production center" in the theater, which can be started as a startup; 6) this creates a new creative and production system that becomes productive.
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Gian, Carlo U. de Jesus, and Katrina P. de Jesus Ana. "Revitalizing Philippine Theater: A Framework for Theater as Creative Entrepreneurship." Asian Trade Association 10, no. 1 (June 30, 2023): 85–101. http://dx.doi.org/10.22447/jatb.10.1.202306.85.

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Purpose – Despite the rich culture of the Philippines, the country has not been able to create products, services, and experiences that sustainably cater to domestic and international markets. Instead of harnessing its creative force to drive economic growth, it remains a creative labor supplier. The country is envisioned to become “a major creative hub in the Asia-Pacific, with strong and thriving creative industries” (British Council, 2017). Performing arts, including theater, is a key creative industries sector. However, theater is beset with precarity and instability (Santiago, 2021). This study sought to analyze the challenges and opportunities for revitalizing theater as an industry. Design/Methodology/Approach – In this investigation, a critical review was employed. This methodology not only describes the phenomena, but also formulates a re-conceptualization based on an integrative review of old and current models. A comparative analysis of creative economy models was made between Philippine theater and theaters internationally. Findings – Philippine theater is not fully utilizing its economic potential because current models involve high production costs, need for highly specialized creative labor, and lack of enabling policies. Among the four creative economy models (Potts and Cunningham, 2010), Philippine theater may benefit from Model 3, the Innovation Model, which may evolve into Model 4. Mapping representative theater companies and genres across the models provides insights into directions for theater innovations. A conceptual framework for innovating Philippine theater through Creative Entrepreneurship is forwarded. Research Implications – The framework yields valuable insights for theater managers, educators, heritage and cultural advocates, tourism creatives, and entrepreneurs.
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Joo, JangSeak, and HakRo Yoon. "Hong Haeseong and Tsukiji Little Theater." Institute of Humanities at Soonchunhyang University 41, no. 4 (December 31, 2022): 165–92. http://dx.doi.org/10.35222/ihsu.2022.41.4.165.

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Hong Haesung was the first professional director in Korea and deserves to be called the father of modern drama who established the actor training and theater production system. While studying in Japan, Hong Haesung joined the Sukiji Small Theater, which was established to professionally perform modern plays, studied acting and directing along with acting activities, and worked as an executive member. There have been many studies on Hong Haesung by domestic researchers so far, but there are few results of research based on records of Hong Haesung's acting activities and directing classes at the Sukiji Theater. Hong Haeseong worked as an actor at the Skijiso Theater for about 6 years, and during that time, he thoroughly learned the Skijiso Theater's theater production system, actor training system, and realistic directing techniques. After the death of Osanai Kaoru, he decided to return to Korea after the troupe was divided. After returning to Korea in June 1930, he was actively involved in the transplantation of modern theater to Korea through activities such as the Drama Arts Research Society. He participated in the establishment of the ‘Oriental Theater’, and as a director, established a framework for accepting Western modern plays and a theater production system. contributed greatly to the opening. This paper examines the actor’s theory and stage directing classes at the Sukijiso Theater, as well as the documents that received realistic directing techniques from Osanai Kaoru. the memoirs of the actors at the time, and the materials introduced in a collection of critical reviews published in newspapers and magazines, etc.
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Dissertations / Theses on the topic "Theater – Production and direction"

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Rawlings, Cara E. "The Civil War: A Collaboration in Direction and Choreography." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/751.

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This text is a partial record of the development of the Virginia Commonwealth University production of The Civil War: A Musical that opened on April 7, 2005 for a three-week run ending April 28, 2005. The greater part of the text is devoted to the evaluation of the underlying principles of direction and choreography applied in the creation of an artistically aid financially successful production of this size. Included in the evaluation of The Civil War: A Musical are analyses of the directors' --Patti D'Beck and David Leong --individual creative processes, aesthetics, and working styles. The result of this evaluation and analysis is a compilation of the fundamental principles of direction and choreography applied The Civil War: A Musical as a methodology for the creation of theatre. Further reflections on collaboration and artistry serve as the culmination of lessons inherent in both the creation of the Theatre VCU production of The Civil War: A Musical and in the author's three years of study in the VCU Master of Fine Arts program in Theatre Pedagogy with an emphasis in Movement Direction and Choreography.
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Friedlander, Lauren. ""Spending the day in front of the mirror"." Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1305644057.

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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." Thesis, The University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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Doctor of Philosophy
'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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O'Connor, Lorney Roland. "Directing and designing Shakespeare's The Tempest." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2581.

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The purpose of this project is to assess the production level one person can achieve when directing, designing, and managing all aspects of a major theatrical production. It will identify strategies and techniques which are crucial for success in the areas of theatrical design and management.
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Farris, Jennifer. "The Technical Direction Provided for the 2008 Kent State University School of Theatre and Dance Production of Three Sisters." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1236642190.

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Beaufort, Philippe. "Le projet de l'action créatrice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25380.pdf.

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Readman, Geoffrey. "What does the Applied Theatre Director do? : directorial intervention in theatre-making for social change." Thesis, University of Northampton, 2013. http://nectar.northampton.ac.uk/7848/.

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This thesis critically interrogates the practice of artistic directors within applied theatre companies in the United Kingdom. ‘Applied theatre’ describes the process of theatre-making in which commitment to ethical, pedagogical, philosophical and social priorities are integral dimensions of theatre-making designed for specified participants, communities and locations. The research views the term director as encompassing any individuals with designated responsibility for the artistic coherence of theatre in both community and rehearsal room contexts. It argues that directorial processes in applied theatre have rarely been the focus of systematic research and that a theoretical framework to conceptualise practise will contribute new knowledge. The research design gathers evidence of directorial contributions, examining ‘why’ and ‘how’ interventions are constructed. The various theories, techniques and methods used by directors to shape and effect positive interventions are observed and interrogated, through a systematic research approach, in five director case studies. The case studies reflect discrete areas of theatre practice. Published research is sparse and literary evidence is occasionally drawn from historical, cultural and mainstream theatre contexts, from developments in Alternative and Political theatre and from Drama in Education praxis. The thesis concludes with a theoretical framework that articulates applied theatre directing as a process that shares some common ground with mainstream theatre directing, but which retains discrete alternative practices and philosophies that define an alternative directorial model.
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Hillier, Fleur Jane School of Public Health &amp community medicine Centre for Clinical Governance Research in Health UNSW. "Managing creative and health production processes : issues, similarities and differences." Awarded by:University of New South Wales. School of Public Health and community medicine. Centre for Clinical Governance Research in Health, 2005. http://handle.unsw.edu.au/1959.4/22281.

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In this thesis I am concerned to examine the management behaviours and predilections of managers across the two settings of health and theatre considered to be divergent. To do this I explore and map methods, similarities and differences managers employ to ???manage??? workers across the industries. I also deconstruct creativity and its manifestations in both managerial behaviours and environmental contexts and map the complexity issues that managers face in different settings. Further, I explore the extent to which management activity is contextual to the identity of participant organisational aims and processes and examine the level of calculated chaos experienced by managers across the settings. Central to this approach is the utilisation of multi-method design incorporating interview, micro-ethnography, auto-ethnography and a RAND expert panel to assist with interpretation of the results. Core findings include high degrees of similarity in the roles and functions and support systems utilised by managers across the settings despite substantial differences in environmental contexts and organisational aims and processes. Differences were identified in the areas of: levels of chaos, interactions, purposes, and environmental characteristics. To account for these differences I apprehended seven metafactors grounded in the data sets. These seven metafactors can be found in each setting but emerge in different ways. The metafactors that I apprehend are order versus disorder; creativity; experimentation and change; risk; reflection; trust and respect; and time and pressure. While I discuss these seven metafactors as separate factors in reality they are fundamentally inter-related. Suggestions for future research are included.
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Amato, William J. III. "The Technical Direction of the 2009 Kent State University School of Theatre and Dance Production of Twelfth Night." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1241188098.

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Books on the topic "Theater – Production and direction"

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Stephen, Peithman, and Offen Neil, eds. The Stage directions guide to directing. Portsmouth, NH: Heinemann, 1999.

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Braun, Kazimierz. Theater directing: Art, ethics, creativity. Lewiston, N.Y: E. Mellen Press, 2000.

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McCaffery, Michael. Directing a play. New York, N.Y: Schirmer Books, 1989.

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Marowitz, Charles. How to stage a play, make a fortune, win a Tony, and become a theatrical icon. Pompton Plains, NJ: Limelight Editions, 2005.

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Wainstein, Michael. Stage directing: A director's itinerary. Newburyport: Focus Pub./R. Pullins Company, 2012.

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Alberts, David. Rehearsal management for directors. Portsmouth, NH: Heinemann, 1995.

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Lee, Robert L. Everything about theatre!: The guidebook of theatre fundamentals. Colorado Springs, Colo: Meriwether Pub., 1996.

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Marowitz, Charles. The other way: An alternative approach to acting and directing. New York: Applause, 1999.

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A, Beck Roy, ed. Play production today! 4th ed. Lincolnwood, Ill., U.S.A: National Textbook Co., 1989.

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Richard, Nelson. Making plays: The writer-director relationship in the theatre today. London: Faber and Faber, 1995.

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Book chapters on the topic "Theater – Production and direction"

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Patterson, Daniel L. "Production Organization." In Directing for Community Theatre, 52–64. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003360216-7.

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Pavis, Patrice. "Production and Reception in the Theatre." In New Directions in Theatre, 25–71. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-22750-1_3.

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Rodriguez, Jacob P., Steven R. Loomis, and Joseph G. Weeres. "Establishing Direction in Education Production." In The Cost of Institutions, 61–78. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230604797_4.

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Cummings, Scott T. "Some productions I saw that made me the director I am." In The Theatre of Les Waters, 82–85. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003170808-21.

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Kumar, Yogendra, Lipika Das, and Koushik Guha Biswas. "Biodiesel: Features, Potential Hurdles, and Future Direction." In Clean Energy Production Technologies, 99–122. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-4509-9_5.

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Selldin, Erik, and Jan Olhager. "Supply chain integration: direction, extent and balance." In Collaborative Systems for Production Management, 73–81. Boston, MA: Springer US, 2003. http://dx.doi.org/10.1007/978-0-387-35698-3_6.

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Webber Gaudiosi, Rebecca E., Jimena Leiva-Roesch, and Ye-Min Wu. "Welcome to negotiations theater: an off-Broadway production." In Negotiating at the United Nations, 64–74. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429491047-6.

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Bainbridge, Caroline. "Practising the Feminine: Contexts of Production, Direction and Reception." In A Feminine Cinematics, 61–76. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583689_4.

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Worth, Katharine. "Note on the Schiller-Theater West Berlin 1975 Production." In Waiting for Godot and Happy Days, 58–61. London: Macmillan Education UK, 1990. http://dx.doi.org/10.1007/978-1-349-08142-4_15.

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Fay, Laurel E. "Consolidation (1958-1961)." In Shostakovich, 207–24. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195134384.003.0013.

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Abstract n March 1957, the news that Shostakovich was at work on his first operetta, Moscow, Cheryomushki, dealing “with the life of young builders in Moscow” spread around the globe. From the composer’s standpoint, the announcement was probably premature. He had not yet completed his Eleventh Symphony. But the keen anticipation at the prospect of Russia’s preeminent composer of “serious” music crossing over into the popular theater could not be denied. It was a source of special pride for the Moscow Theater of Operetta, which recruited the composer with the help of chief conductor Grigoriy Stolyarov, whose association with Shostakovich stretched back a quarter century to the Moscow premiere of Katerina Izmailova. Another veteran of that Nemirovich-Danchenko Theater production, Vladimir Kandelaki (he created the role of Boris Timofeyevich), was also now associated with the Moscow Theater of Operetta. He undertook the direction of Shostakovich’s operetta.
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Conference papers on the topic "Theater – Production and direction"

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Zhanguzhinova, Meruyert, Bagdat Akylbekova, Sabit Kurmanbekov, Nazerke Kumargaliyeva, and Nazerke Kairbekkyzy. "Innovative Trends in Ethno-Costumology in the Modern Theater Process." In 15th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2022. http://dx.doi.org/10.22616/reep.2022.15.023.

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This article examines the topicality of ethno-costumes in the context of the modern theatrical process. The aim of the study is to conduct a theoretical and methodological study of the problems of ethno-costumeology in the context of the modern theatrical process. The scientific and theoretical methodology of the research include the theoretical foundations of ethno-costumes, concepts of the modern theatrical process, methodological aspects of ethno-costumes, innovative directions of ethno-costumes, artistic principles of creating an ethnocostume. Scientific and theoretical methods were used: socio-cultural, historical, semiotic, ethnographic, formal-stylistic analysis, ekphrasis, attribution of an ethnic costume, observation, interpretation of an ethnic costume in the theatrical process. The practical methods: research of innovative technologies in the design of ethnic costume in the context of the modern theatrical process, which make up various types of 3D modelling and visualization. The result of the study is: the application of the obtained scientifically grounded methodological foundations in the method of designing an ethnic costume in the production process of the Kazakh Drama Theater named after S. Seifullin in the city of Karaganda. The significance of the results is in the study and identification of methodological aspects in innovative areas of ethno-costumology within the framework of the modern theatrical process.
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Chronopoulou, Anna. "Music in the service of the directorial vision: The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis)." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.

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Someone could claim that a well prepared, contemporary theatrical production consists of a thorough planning, a period of rehearsals and the final presentation of the work before the audience. Whether we talk about a collective theatrical organization or a hierarchical one, we should agree upon the fact that the directorial vision could be considered as the motivating gear of a theatrical performance. It is the director’s or the team’s directorial vision – in the cases of alternative, collective theatrical productions – which guides those who participate in a theatrical performance and, therefore, it is commonly accepted by actors and actresses that one should follow instructions, find his path and “build” his role as part of a team which serves a certain objective. Because of the diversity and complexity of modern productions as well as the increasing need for high quality, original performances – in terms of mise-en-scène, acting, stage and costume design, lightning and music – certain professional collaborates are called to participate in the stage of the preparation and contribute to the final aesthetics of a production. In the case of preparing the theatrical performance of an ancient Greek Comedy, the musician plays a significant role, as the choruses of ancient comedy are an integral part of this genre. The performance of the ancient Greek Comedy Acharnes in 1976 by the theatrical group of Greek Art Theatre (Theatro Technis), under the directorial guidance of Karolos Koun and the music which Christos Leontis composed for its needs, is a case study for the current thesis, the analysis of which intends to reveal the way the composer collaborated with the director and the members of the theatre company. The play, written by Aristophanes, was first taught and presented to the ancient Athenian audience in 425 B.C. The choral parts, accompanied by music and sang by the members of the chorus, have since antiquity been considered to be of significant importance for this ancient theatrical genre. It is, therefore, quite intriguing to thoroughly and methodologically examine the way the music composed for the needs of a specific performance contributed to the overall outgrowth of a contemporary attempt to present the ideas and the beliefs of an ancient Greek poet to the modern Greek theatrical audience. Did the composer follow the instructions of the director? Did he serve the directorial vision? Did he interact with the director and the members of the Greek Art Theatre? In what ways and up to what extent was music co-responsible for the commonly accepted success of this particular performance? It will be attempted to answer the above questions with the help of the composer’s personal testimony, his kind contribution of archival material from his personal files, accompanied by the simultaneous, cross-examined analysis of the performance which was filmed in 1976.
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TAKAHASHI, KAZUHIKO, JUN KURUMISAWA, TATSUO YOTSUKURA, and NOBUJI TETSUTANI. "NETWORKED THEATER: MOVIE PRODUCTION SYSTEM IN VIRTUAL ENVIRONMENT." In MMM 2000. WORLD SCIENTIFIC, 2000. http://dx.doi.org/10.1142/9789812791993_0027.

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Borkiewicz, Kalina, Dawn Fidrick, and Bradley Thompson. "Crafting an Immersive SciViz Experience for the 2023 SIGGRAPH Electronic Theater Pre-Show." In SIGGRAPH Production Sessions '24: ACM SIGGRAPH 2024 Production Sessions. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641232.3675355.

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Su, Jian. "How Does New York Cultural Environment Impact Jewish Theater Production?" In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.031.

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Tănase, Diana. "The romanian school of directing. Precursors, founders, reformers." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.19.

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The recent history of universal theater surfaced the need of superior education for the theater director profession. Even more recently, the Romanian theater school has started to grow closer to the European direction of fulfilling this need, which has been finding its way and instruments from the start or the 20th century. The paper is centered on an incursion in the history of this branch of theater, establishing the most important pillars which contributed to its foundation and development to date. Ilustrious Romanian theater directors, Camil Petrescu, Ion Sava, Radu Penciulescu and Valeriu Moisescu, through their theoretical principals which have been engraved in the history of Romanian theater and following the academic rules of implementation are the most important pillars of the Romanian theater directors’ school, which owes them its very existence.
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Mills, T. D., M. G. Paschetto, and D. M. Campbell. "Assessing Existing Theater Structures and Rigging Infrastructure for Large Production Demands." In Structures Congress 2011. Reston, VA: American Society of Civil Engineers, 2011. http://dx.doi.org/10.1061/41171(401)227.

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Coelho, Daniel Neves, and Eike Langbehn. "Challenges in the Production of a Mixed Reality Theater Dance Performance." In 2024 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). IEEE, 2024. http://dx.doi.org/10.1109/vrw62533.2024.00169.

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Yale, D. P., M. K. Strubhar, and A. W. El Rabaa. "Determination of Hydraulic Fracture Direction, San Juan Basin, New Mexico." In SPE Production Operations Symposium. Society of Petroleum Engineers, 1993. http://dx.doi.org/10.2118/25466-ms.

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Цетлин, Ю. Б. "HISTORICAL-AND-EVOLUTIONAL DIRECTION OF POTTERY PRODUCTION INVESTIGATION." In Вестник "История керамики". Crossref, 2020. http://dx.doi.org/10.25681/iaras.2020.978-5-94375-316-9.33-52.

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В статье на основании этнографических, археологических и экспериментальных данных обобщены современные представления об эволюции некоторых сторон гончарного производства: 1 – форм сосудов, 2 – декора сосудов, 3 – глинистого сырья, 4 – составов формовочной массы, 5 – технологии конструирования сосудов, 6 – функций гончарного круга, 7 – приемов обжига сосудов и 8 – теплотехнических устройств для их обжига. Выделены закономерности этих процессов на уровне макроэволюции, мезоэволюции и микроэволюции. In the article the author regards modern data on the evolution of vessel shapes, their decoration, main plastic raw material, pottery paste, techniques of vessel construction, potter’s wheel functions, ways of pottery firing and devices for firing. The development of these sides of pottery can be seen on three qualitatively different levels: macroevolution, mesoevolution, and microevolution. The abovedescribed patterns of evolution in pottery production clearly demonstrate that its development is a complicated systematically organized process in the history of mankind. This doesn’t conflict with multiple specific pottery traditions of different nations in different epochs. On the contrary, through their variety trends and patterns in this sphere of human culture were revealed.
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Reports on the topic "Theater – Production and direction"

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Jones, Charles. The Shape of Production Function and the Direction of Technical Change. Cambridge, MA: National Bureau of Economic Research, May 2004. http://dx.doi.org/10.3386/w10457.

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Bożek, Małgorzata. FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11112.

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The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.
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TERENTIEV, S., O. GRUNINA, and L. PONOMAREVA. FEATURES OF THE PRODUCTION OF DOUGH SEMI-FINISHED PRODUCT PRODUCED USING LENTIL FLOUR. Science and Innovation Center Publishing House, 2022. http://dx.doi.org/10.12731/2070-7568-2022-11-2-4-15-22.

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Bread consumption has a stable increase in the territory of Russia and in particular in the Ulyanovsk and Samara regions. Bread, as a fairly low-priced product, is in high demand among consumers, but this product is not biologically saturated with useful substances, therefore, in modern production, a number of techniques are used to increase the nutritional and biological value of these types of products. In our work, one of these methods will be considered - the introduction of lentil flour into dough preparations. The problem is that the state policy regarding import substitution, aimed at replacing food additives produced abroad, necessitates the use of food additives or raw materials of natural origin produced in the territory of the Russian Federation, and the lack of development of regulatory and technological documentation in this direction is a significant problem for public enterprises. nutrition. Purpose - to carry out the development of a recipe for a test semi-finished product produced with the addition of lentil flour, as a product with a preventive purpose Results: based on the results of the study, a recipe for a test semi-finished product was developed, produced with the addition of lentil flour, as a product with a preventive purpose.
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Francois, Joseph, and Brad McDonald. Liberalization and Capital Accumulation in the GTAP Model. GTAP Technical Paper, September 2000. http://dx.doi.org/10.21642/gtap.tp07.

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This paper explores trade policy and investment linkages in the GTAP model. This is done under alternative steady-state closure rules linking trade to consumption, production, and investment, and emphasizing the general equilibrium nature of capital accumulation mechanisms. When policy shocks are capital friendly, induced investment may be greater than suggested by current savings rates. As a result, multiplier-type analysis can be very misleading. The importance and direction of this magnification hinges critically on the sensitivity of savings rates with respect to real returns. As illustration, we offer a numerical assessment of the Uruguay Round, highlighting such linkages.
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Hynd, David, Caroline Wallbank, Jonathan Kent, Ciaran Ellis, Arun Kalaiyarasan, Robert Hunt, and Matthias Seidl. Costs and Benefits of Electronic Stability Control in Selected G20 Countries. TRL, January 2020. http://dx.doi.org/10.58446/lsrg3377.

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This report, commissioned by Bloomberg Philanthropies, finds that 42,000 lives could be saved and 150,000 serious injuries prevented by 2030 if all new cars in seven G20 countries were required to be equipped with an inexpensive crash avoidance technology starting in 2020. Thirteen G20 counties currently adhere to United Nations regulations on electronic stability control (ESC). If the seven remaining countries—Argentina, Brazil, China, India, Indonesia, Mexico and South Africa—also mandated ESC in 2020, the report estimates $21.5 billion in economic benefit to those countries from the prevention of deaths and serious injuries. Argentina and Brazil are due to start applying ESC regulations in 2020. The UK-based Transport Research Laboratory (TRL) conducted the independent study of costs and benefits of applying ESC regulation in G20 countries, which are responsible for 98% of the world’s passenger car production. This report comes before the 3rd Ministerial Conference on Road Safety in Stockholm, which is the largest gathering of governments and is a key opportunity for adoption of this UN-recommended standard. According to the World Health Organization’s Global Road Safety Report, the number of road traffic deaths reached 1.35 million in 2016. Of all vehicle safety features, electronic stability control is regarded as the most important one for crash avoidance since it is 38% effective in reducing the number of deaths in loss-of-control collisions. ESC tries to prevent skidding and loss of control in cases of over-steering and under-steering. The technology continuously monitors a vehicle’s direction of travel, steering wheel angle and the speed at which the individual wheels are rotating. If there is a mismatch between the intended direction of travel and the actual direction of travel, as indicated by the steering wheel position, ESC will selectively apply the brakes and modulate the engine power to keep the vehicle traveling along the intended path. The cost of implementing ESC on vehicles that already contain anti-lock braking systems is thought to be as little as $50 per car. And the report finds the benefits are significant: For every dollar spent by consumers in purchasing vehicles with these technologies, there is a US$2.80 return in economic benefit to society because of the deaths and serious injuries avoided. The analysis warns that without regulation of ESC, the seven remaining G20 countries will only reach 44% installation of ESC by 2030. However, if all seven countries implemented ESC regulations this year, 85% of the total car fleet in G20 countries will have ESC by 2030, a figure still below the United Nations target of 100% ESC fleet coverage by 2030.
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Nenci, Silvia, and Francesco Quatraro. Innovation and Competitiveness in Mining Value Chains in Latin America. Inter-American Development Bank, December 2021. http://dx.doi.org/10.18235/0003805.

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This paper provides an international overview of the mining global value chain (GVC) and its most recent transformations and trends, focusing on Argentina, Brazil, and Peru. The study uses international trade data and patent and scientific publications data. By using trade in value added, we first investigate the role of those countries in the international mining trade, and their specialization, participation, and position in the mining GVC for the period 2005-15. The analysis is carried out for both mining products and mining-related services, and also looks at the contribution of services to mining exports. Second, we analyze the evolution of innovative activity and the direction of technological change in the mining sector over the past 40 years by looking at patent applications, both internationally and with attention to the three target countries. We also provide an overview of, and some insights on, knowledge flow in the mining sector based on scientific production.
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Valerio, Matthew. 693JK31810007 Process Safety Management Consensus Standards and Regulatory Requirements for LNG Facilities. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), June 2020. http://dx.doi.org/10.55274/r0011836.

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This project evaluated consensus standards, best practices, and regulatory requirements related to process safety management (PSM) topics to support DOT PHMSA's strategy to update its regulatory requirements for safety management systems for LNG facilities in 49 CFR Part 193. The project commenced on August 1, 2018, and supported PHMSA as it responded to President Trump's April 10, 2019, Executive Order to initiate a rulemaking to update 49 CFR 193. At PHMSA's direction, the analysis primarily focused on comparing PSM-related requirements in 49 CFR 193 and its primary incorporated-by-reference industry-standard NFPA 59A Standard for the Production, Storage, and Handling of Liquefied Natural Gas to those in 1) 29 CFR 1910.119 (OSHA's PSM Standard); and 2) API Recommended Practice 1173 Pipeline Safety Management Systems. The project team also reviewed more than 15 additional leading global references related to PSM as supplementary resources to help ensure a robust and thorough analysis for PHMSA.
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Fromm, Hillel, Paul Michael Hasegawa, and Aaron Fait. Calcium-regulated Transcription Factors Mediating Carbon Metabolism in Response to Drought. United States Department of Agriculture, June 2013. http://dx.doi.org/10.32747/2013.7699847.bard.

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Original objectives: The long-term goal of the proposed research is to elucidate the transcription factors, genes and metabolic networks involved in carbon metabolism and partitioning in response to water deficit. The proposed research focuses on the GTLcalcium/calmodulinbindingTFs and the gene and metabolic networks modulated by these TFs in Arabidopsis thaliana. The specific objectives are as follows. Objective-1 (USA): Physiological analyses of GTL1 loss- and gain-of-function plants under water sufficient and drought stress conditions Objective 2 (USA / Israel-TAU): Characterizion of GTL target genes and bioinformatic analysis of data to eulcidate gene-network topology. Objective-3 (Israel-TAU): Regulation of GTLmediated transcription by Ca²⁺/calmodulin: mechanism and biological significance. Objective-4 (Israel-BGU): Metabolic networks and carbon partitioning in response to drought. Additional direction: In the course of the project we added another direction, which was reported in the 2nd annual report, to elucidate genes controlling drought avoidance. The TAU team has isolated a few unhydrotropic (hyd) mutants and are in the process of mapping these mutations (of hyd13 and hyd15; see last year's report for a description of these mutants under salt stress) in the Arabidopsis genome by map-based cloning and deep sequencing. For this purpose, each hyd mutant was crossed with a wild type plant of the Landsberg ecotype, and at the F2 stage, 500-700 seedlings showing the unhydrotropic phenotype were collected separately and pooled DNA samples were subkected to the Illumina deep sequencing technology. Bioinformatics were used to identify the exact genomic positions of the mutations (based on a comparison of the genomic sequences of the two Arabidopsis thaliana ecotypes (Columbia and Landsberg). Background: To feed the 9 billion people or more, expected to live on Earth by the mid 21st century, the production of high-quality food must increase substantially. Based on a 2009 Declaration of the World Summit on Food Security, a target of 70% more global food production by the year 2050 was marked, an unprecedented food-production growth rate. Importantly, due to the larger areas of low-yielding land globally, low-yielding environments offer the greatest opportunity for substantial increases in global food production. Nowadays, 70% of the global available water is used by agriculture, and 40% of the world food is produced from irrigated soils. Therefore, much needs to be done towards improving the efficiency of water use by plants, accompanied by increased crop yield production under water-limiting conditions. Major conclusions, solutions and achievements: We established that AtGTL1 (Arabidopsis thaliana GT-2 LIKE1) is a focal determinant in water deficit (drought) signaling and tolerance, and water use efficiency (WUE). The GTL1 transcription factor is an upstream regulator of stomatal development as a transrepressor of AtSDD1, which encodes a subtilisin protease that activates a MAP kinase pathway that negatively regulates stomatal lineage and density. GTL1 binds to the core GT3 cis-element in the SDD1 promoter and transrepresses its expression under water-sufficient conditions. GTL1 loss-of-function mutants have reduced stomatal number and transpiration, and enhanced drought tolerance and WUE. In this case, higher WUE under water sufficient conditions occurs without reduction in absolute biomass accumulation or carbon assimilation, indicating that gtl1-mediated effects on stomatal conductance and transpiration do not substantially affect CO₂ uptake. These results are proof-of-concept that fine-tuned regulation of stomatal density can result in drought tolerance and higher WUE with maintenance of yield stability. Implications: Accomplishments during the IS-4243-09R project provide unique tools for continued discovery research to enhance plant drought tolerance and WUE.
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Oliver, Sandy, David Gough, and James Copestake. Approaches to evidence synthesis in international development. Centre for Excellence and Development Impact and Learning (CEDIL), August 2017. http://dx.doi.org/10.51744/cpip3.

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This paper discusses the spectrum of synthesis methods available to generate, explore and test theory, their value to the field of international development and innovations required to make better use of the primary research available. It goes further than setting substantive priorities for international development impact and learning. It addresses current advances and priority gaps in the methods for research before considering the substantive and methodological direction of evidence synthesis for impact evaluation in international development, particularly as this relates to the work of CEDIL. This scope encompasses methods for all stages in the process, from setting the question to appraising and synthesising the findings. It describes existing methods for synthesis, including how methods vary and the guidance and standards available. It then considers how well existing methods match the field of international development and the latest innovations emerging or required before providing a research agenda for advancing synthesis methods. In particular, it argues for clearer distinctions between syntheses produced as public goods, and those tailored to specific circumstances; and strengthening knowledge systems through greater use of maps to navigate existing and missing evidence, harmonised outcomes and measures, and advances in automation technologies. Improved methods and guidance are required for synthesising formative research and investigating contextual factors. Engaging stakeholders and working across academic disciplines support the production of policy-relevant syntheses and inspire methods development.
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Deschamps, Henschel, and Robert. PR-420-123712-R01 Lateral Ground Movement Detection Capabilities Derived from Synthetic Aperture Radar. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), November 2014. http://dx.doi.org/10.55274/r0010831.

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The objective of this research was to quantify long-term ground deformation at the Belridge Oil Field, in the San Joaquin Valley (SJV), California using operational Interferometric Synthetic Aperture Radar (InSAR) monitoring techniques. A high spatial and temporal resolution, millimeter-precision time-series of ground deformation measurements was produced for the entire oil field from 2000 to 2012 using imagery from multiple satellites and beam modes. Trihedral Corner Reflectors (CRs) with co-located Global Navigation Satellite System (GNSS) units were used to validate the wide-area measurements along a section of Southern California Gas Company (SoCalGas) Line 7056. The GNSS measurements were also used to validate the precision of the InSAR measurements, and to determine what component of the overall motion was lateral motion. Deformation profiles over Lines 1203 were analyzed to identify periods of rapid deformation related to known pipeline incidents. Finally, we also investigated the use Multiple Aperture Interferometry (MAI) for measuring horizontal motion in the alongtrack (north-south) direction. The result is a detailed, seamless, long-term, validated time-series of ground change observations that could prove useful for further analysis of reservoir changes. Combined with injection and production data, the results may be used to extend an understanding of the geomechanics of Enhanced Oil Recovery (EOR) fields. This work reinforces the operational capability of InSAR for monitoring both EOR reservoir dynamics and deformation over buried pipelines.
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