Dissertations / Theses: 'Theater Puritans. Theater Theater'

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Schröder, Gesine. "Gymnasiasten-Theater." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23598.

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Mell, Lina. "Lernendes Theater." Diss., Ludwig-Maximilians-Universität München, 2013. http://nbn-resolving.de/urn:nbn:de:bvb:19-166778.

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Für die Evaluierung wurden die Begriffe Organisation und Institution im soziologischen Sinne getrennt, d.h. die Organisation beschreibt das Haus und den Organisationsablauf, Institution bezieht sich auf das Regelwerk, Normen und Werte. Der amerikanische Sozialwissenschaftler Peter Senge entwickelte 1990 das Konzept der Lernenden Organisation, als Methode zur Organisationsentwicklung von Unternehmen. Senge ist der Meinung, dass Weiterentwicklung ein Lernprozess darstellt, der insbesondere Einfluss auf die Institution (Regelwerk) nimmt, in dem über systemisches Hinterfragen die Wahrnehmung verändert wird. Der Lernprozess kann gezielt über die Beherrschung von fünf Disziplinen vorangetrieben werden, dies sind Systemdenken, personal Mastery (Persönlichkeitsentwicklung), mentale Modelle, Vision und Team Lernen. Über eine Fragebogenerhebung wurden Aussagen von 21 Schauspielern, Musikern und Mitarbeitern des Schauspiel Frankfurts systematisch nach Aussagen hin untersucht, die sich den fünf Disziplinen nach Senge zuordnen lassen und belegen, dass über die andere Art zu Arbeit, etwas in den Köpfen der Beteiligten, also den mentalen Modelle und somit der Institution Theater verändert hat. Aus den Ergebnissen wurde das Konzept eines Lernenden Theaters abgeleitet, welches entgegen betriebswirtschaftlich, kulturmanagerialen Ansätzen zur “Rettung” der deutschen Theater, eine Organisationsentwicklung für das Theater aus dem Theater selbst darstellt. Denn Veränderung kann nicht von Oben oder Außen bestimmt werden, der Wille muss von den Mitarbeitern der Theater selbst kommen. Denn wo kein Wille, da auch kein Weg und somit auch kein Ausweg aus der Theaterkrise.

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Adams, Leslie Elizabeth. "Bright Theater." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/theses/941.

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Bright Theater is a collection of poems divided into three parts. The first includes poems that explore themes of solipsism, the inherent distance between speaker and other. The second part addresses the idea of distance between the speaker and the divine, the perceived schism between the physical and the spiritual. The third and final part continues the exploration of distance, this time as a disconnect between the conscious Self and the physical body.

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Law, Peter Z. "Traveling Theater." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/31774.

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This thesis proposes that architecture has the potential to organize experience through its sensory effects and that the body is the fundamental link between experience and the imagination. The project in this thesis is a traveling theater. It was inspired by an interest in the intersection between architecture and contemporary theater. The theater borrows elements from traditional theaters and street theater in an effort to establish a separation between actor and spectator while also encouraging exploration of that basic theatrical relationship. There were three fundamental moves in the theater: the cubic volume; the siting and decision to travel; and the separation of the structure and skin. Each of these was a starting point for sensory effects explored in the theater.
Master of Architecture

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Boner, Jürg. "Dialektik und Theater die Dialektik im Theater Bertolt Brechts /." Zürich : Zentralstelle der Studentenschaft, 1995. http://catalog.hathitrust.org/api/volumes/oclc/35815830.html.

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Roßbach, Nikola [Verfasser]. "Theater über Theater. : Parodie und Moderne 1870-1914 / Nikola Roßbach." Bielefeld : Aisthesis Verlag, 2019. http://d-nb.info/1194433464/34.

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Meyer, Nadine Sabra. "The anatomy theater." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5950.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 7, 2008) Includes bibliographical references.

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Röder, Levin D. "Theater der Schrift." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2008. http://dx.doi.org/10.18452/15800.

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Eine Reihe literaturwissenschaftlicher Arbeiten seit Anfang der Neunzigerjahre bezeugt das lebhafte Interesse an der subjektiven Verfasstheit von Müllers Schreiben. Keine jedoch widmet sich erschöpfend Müllers als Autobiografie ausgewiesenem Text KRIEG OHNE SCHLACHT – LEBEN IN ZWEI DIKTATUREN. Zu Ehren kam der Text bislang nur als Zitatsteinbruch, Interpretationshilfe und umfangreiche poetologische Materialsammlung. Zumeist wird das Werk als gültiger Beleg der Intention müllerschen Schreibens herangezogen und erlangt damit einen unzulässigen Grad an Deutungshoheit. Dabei wird die poetische Dimension des Textes oft nur unzureichend reflektiert oder gänzlich missachtet. Die vorliegende textkritische Untersuchung soll dazu beitragen, die Forschungslücke in der einschlägigen Sekundärliteratur zu schließen und dazu anregen, das Potenzial Müllers enormen und vielgestaltigen Werkes jenseits seiner als Theaterarbeiten ausgewiesenen Texte wahrzunehmen und in Bewegung zu setzen. Nach einführenden Darstellungen zu Rezeptionssituation und Forschungsstand, der Diskussion spezifischer poetologischer Fragestellungen im Allgemeinen wie solcher der Autobiografieforschung im Besonderen, der Untersuchung der Genese und formaler Besonderheiten des Textes, analysiert die vorliegende Arbeit vor allem die strukturellen Wirkungsmechanismen, die Müllers disparate Selbstexplikation zum Auto-Drama werden lassen. Die Rückführung der Bedeutungsgeneration auf die strukturästhetischen Wirkungsmechanismen scheint insofern geeignet, als sie durch Textnähe und punktuelle Analyse der Textgenese Müllers Strategie der Selbst-Dekonstruktion sehr nahe kommt. Zumal Müller seine »Lebenserzählung« nach ähnlichen Strukturprinzipien aufbaut, wie seine anderen »poetischen« Texte auch. Aus der Beschreibung der disparaten Äußerungsformen des autobiografischen Ichs ergeben sich die textimmanenten Strategien der überaus komplexen Selbstinszenierung Müllers, sein »Theater der Schrift«.
Since the early 1990s a number of literary papers testify the vivid interest in the subjective composition of Müller’s writing. But none of these detailed devotes to Müller’s as autobiography assigned text WAR WITHOUT BATTLE – LIFE IN TWO DICTATORSHIPS. Until now the text has been only used as quarry of quotations, aid of interpretation and extensive poetological collection of material. Mainly the work is used as evidence of the intention of Müller’s writing and therefore receives an inadmissible degree of sovereignty of interpretation. The poetical dimension of the text is often inadequately reflected or even totally neglected and ignored. This text-critical examination will contribute to close this gap of research within the relevant secondary literature and encourage the recognition and discussion of the potential of Müller’s enormous and multifarious work beyond his as theatre work assigned texts. After the introduction of the situation of reception and the status of current research, the discussion of specific poetological questions in general such as autobiographical research, examination of genesis and formal specific features of texts, this paper will analyse the structural mechanisms of effect, which turn Müller’s disparate self-explication into an auto-drama. It seems suitable to return the meaning of generation on the structure-esthetical mechanisms of effect, as the proximity of text and selective analysis of the genesis of text is very close to Müller’s strategy of self-deconstruction. Particularly as Müller constructs his »Lebenserzählung« to similar structural principals as well as others of his »poetical« texts. The description of the disparate form of expression of the autobiographic I result in the text-immanent strategies of the enormous complex self-dramatisation of Müller; his »Theater der Schrift«.

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Ruoff-Siler, Lees. "Pneumatic world theater." Thesis, Massachusetts Institute of Technology, 1987. http://hdl.handle.net/1721.1/78976.

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Xagoraris, Zafirios. "The automaton theater." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/70642.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991.
Includes bibliographical references (leaves 45-47).
Hero of Alexandria was a Greek geometrician, engineer, and inventor who lived in Alexandria probably during the first century A.D. He wrote in Greek a number of theoretical treatises revealing a thorough knowledge of geometry, mechanics, optics, and pneumatics. Being more interested in the applications of his theoretical principles than in the principles themselves, Hero is known as the inventor of a number of ingenious devices based on principles of pneumatics, mechanics, and optics. The objective of this thesis is to evaluate Hero's work from an artistic viewpoint. To this end, it focuses on devices described in three of Hero's treatises, Pneumatica, Catoptrica, and Automatopoietica, in order to identify their artistic value and artistic novelty. Hero's influence on subsequent artistic-technical work, and in particular on the contemporary automaton theater, is also discussed. Finally, considerations are added in relation to a new project.
by Zafirios Xagoraris.
M.S.V.S.

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Howell, Jenny. "Dance Theater Workshop." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/aa_rpts/116.

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The following report documents the internship performed by Jenny Howell at Dance Theater Workshop (DTW) in New York, New York from January 11, 2010 to April 16, 2010. Since 1965, DTW has existed as a non-profit organization devoted to presenting and supporting contemporary dance and the artists who create it. DTW currently operates from its building located at 219 West 19th Street between Seventh and Eighth Avenues in the Chelsea district. During this time with DTW, I worked closely with the Marketing and Development Departments as the Audience Engagement intern responsible for the organization and execution of the audience engagement activities and special events. This report includes information regarding DTW's history and organizational structure. It explains the duties I performed and my overall contributions. It also discusses the strengths, weaknesses, opportunities, and threats of the organization. Finally, it presents current best practices in areas of the non-profit field, and makes recommendations for DTW based on this research.

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Laura, Joseph. "Rachel's Madcap Theater." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1929.

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This paper will cover the making of my thesis film Rachel’s Madcap Theater. I will break down all of the interdisciplinary aspects and collaborations with other artists that formed the final film: screenwriting, production design, directing, cinematography, sound, music, and special effects. For each of these categories, when appropriate, I will compare and contrast the changes made during the main stages of filmmaking: pre-production (all decisions made before shooting begins), production (all decisions made while shooting the movie), and post-production (all decisions made after shooting ends). I will then provide self-analysis of my process in order to judge both the ultimate success of my thesis film (did I make the film that I originally intended to make?) and the strengths and weaknesses of my personal abilities.

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Landgraf, Jörg. "Politik als Theater." Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2018. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-230345.

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Inwiefern ist Politik Theater? Anhand eines politikwissenschaftlichen Konzepts von Politik (Karl Rohe) und eines theaterwissenschaftlichen Konzepts von Theater (Andreas Kotte) werden beide Begriffe in ihren Kriterien aufeinander bezogen und verglichen, um Politik als Theater zu beschreiben und zu verdeutlichen, wo es kein Theater sein kann. Im Anschluß werden gesellschaftliche Bedingungen und Koordinaten beschrieben, unter denen mediales Politiktheater stattfindet und Erklärungsversuche dazu geleistet.

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Gordon, Wendy A. "The marriage of musical theater and the avant-garde: The musical theater of Tina Landau as experimental theater." Thesis, The University of Arizona, 2004. http://hdl.handle.net/10150/292018.

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Tina Landau's writing and directing work has gained increasing prominence over the last decade. She has made strides in both the experimental and the musical theater arenas, and her accomplishments in each are noteworthy independent of each other. However, her concurrent interest and success in both arenas, which are commonly viewed as quite disparate, make her work particularly interesting. These interests, which might seem incongruent, are actually interrelated; her work in one area influences her work in the other, a fact which is evident both in her rehearsal process and the end products. Her experimental work has a musical sensibility and her work in musical theater is quite experimental. This thesis examines works for which she was both writer and director as representative examples: 1969, Stonewall: Night Variations, Space, Floyd Collins and Dream True. Her amalgamated sensibility results in a directing style which serves contemporary musicals, particularly "smart musicals," well.

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Fahrmeir, Matthias. "Kunstfreiheit im Theater Theater zwischen Beschränkung und Förderung durch den Staat." Hamburg Kovač, 2005. http://www.verlagdrkovac.de/3-8300-1905-X.htm.

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Brouillette, Gregory Albert. "Modeling joint theater level operations in the Early Entry Theater Level Model." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 1994. http://handle.dtic.mil/100.2/ADA286170.

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Jaeger, Dagmar. "Theater im Medienzeitalter : das postdramatische Theater von Elfriede Jelinek und Heiner Müller." Bielefeld Aisthesis-Verl, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015646186&linen̲umber=0002&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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Stuber, Petra, and Ulrich Beck. "Theater und 19. Jahrhundert." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23464.

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Dieser Band besteht aus zwei Teilen, beide beschäftigen sich aus verschiedenen Blickwinkeln mit Theaterpraxis und dem 19. Jahrhundert: Im ersten geht es um Theatergeschichte, im zweiten um aktuelle Inszenierungen. Zuerst stehen genaue historische Recherchen zur Musik bei Schauspielaufführungen im 19. Jahrhundert im Mittelpunkt. Heute weiß man kaum noch, dass bis zum Ende des 19. Jahrhunderts fast jede Schauspielaufführung von einem Theatermusiker oder einem kleinen Orchester begleitet worden ist. Erstmals werden hier Untersuchungen zur Musik bei den Inszenierungen der berühmten Meininger am Ende des 19. Jahrhunderts veröffentlicht. Anschließend geht es um die verblüffende Aktualität der Theatertexte von Franz Grillparzer und Friedrich Hebbel auf dem heutigen Theater und um Inszenierungen von Roger Vontobel und Jorinde Dröse. Wie sich Hebbels Judith selbst inszeniert und wie sie zum Mythos gemacht wird, das entdeckt auch ein Vergleich mit Martin Scorseses Film Taxi Driver
This volume is divided into two parts, both concerned with theatrical practice and the 19th century: the first looks at theatre history, the second at contemporary productions. The initial focus is the music used in 19th-century drama productions. Today it is generally forgotten that almost every play staged in the late 19th century was accompanied by a theatre musician or a small orchestra. This book presents the first studies of the music for such stagings by the famous Meiningen company in the late 19th century. The focus then shifts to the striking relevance for today’s theatre of theatrical texts by Franz Grillparzer and Friedrich Hebbel, and to productions by Roger Vontobel and Jorinde Dröse. The way in which Hebbel’s Judith is enacted and becomes myth reveals a comparison with Martin Scorsese’s film Taxi Driver

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Li, Luming. "Grand Theater Square - Shanghai." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2611.

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Thesis (M.Arch.) -- University of Maryland, College Park, 2005.
Thesis research directed by: Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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McKee, Cameron Taylor. "The Caldwell Theater Complex /." Online version of thesis, 1995. http://hdl.handle.net/1850/12251.

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Hall, Delbert L., and Q. Brian Sickels. "The Theater Riggers’ Handbook." Digital Commons @ East Tennessee State University, 2016. https://amzn.com/0997874600.

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"...this book clearly describes all aspects of theatre rigging, including hardware, rigging math and techniques, installations, fire curtains, concert shells, hemp and manual counterweight rigging, automated systems, aerial rigging, rigging safety and inspections, and more." --Amazon
https://dc.etsu.edu/etsu_books/1114/thumbnail.jpg

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Dwyer, Edward J. "Reading Aloud, Readers’ Theater." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/3410.

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Schmidt-Beste, Thomas. "Zwischen Konzertsaal und Theater." Georg Olms Verlag, 2014. https://slub.qucosa.de/id/qucosa%3A7851.

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Moser, Ruby Edna. "A Theater in Berlin." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/42346.

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Architecture and Man: Berlin, with all its contradictions sets the stage for my thesis. I would like to receive you with pleasure in the reading of my drawings. To receive guests is a psychological proviso in which you invite them into the privacy of your home, a place that is not only physical, as sharing these spheres imply the cognizance of being together. The character of the host or hostess is unveiled not by way of the objects in the environment but via the representation or reflection of him or herself projected into these objects. The reception is in this way an attribute narrated by manâ s presence, emphasizing as indispensable requirement: the planning by man must include man. The planning criteria must embody architecture and man altogether, keeping in mind that neither may be limited to reducible, measurable canons and codes and notably the plan is just the initiation of a process in which the designer will be the first to leave and that will continue without their supervision or control. The reception is a classificatory division of behavior that is performed on behalf of a community where psychosocial associations generate the closeness found in the private realm. Going to the theater for example, meeting a friend for a theatrical production, and following it with drinks evoke rituals obtained from the first formed activities such as viewing a show and coming together. On behalf of the community these activities allow escapes from the everyday life of work and human relations in the form of little rites. I would like to continue with not only manâ s presence, but manâ s presence as an active agent with our built environment. Whether we are conscious of it or not our bodies and our movements are in constant dialogue with our buildings. It is a kind of choreography, if you will. Thus, I would like to give attention to architectural space and the dancer. The dancer and the space inspire one another as partners. Dancers speak of the constant need to find oneâ s center. This is the region of the solar plexus, but the location is not as important as the fact that â centerâ , the inside, must be felt before the dancer may confidently move in space, the outside. This is related to our need to sense the security inside our dwelling place in order to act with courage in the outside community. For me Berlin is like a lost child that is wandering in a marred landscape, constantly being reminded of a tumultuous past. Berlin is lacking this pivotal point or â centerâ and ultimately is lost to this gravitational pull that our physical bodies have to contend with. A Theater in Berlin was merely a working title for my thesis. It gave impetus to my thoughts in architecture. An architect sets the stage for the human figure. For me there is an excitement here which goes beyond technology to manâ s role as an active agent.
Master of Architecture

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MILLER, SCOTT N. "A Theater for Interaction." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085115966.

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Gainey, Thomas K. "Taking charge of joint theater logistics : the case for a theater logistics command /." Norfolk, Va. : Joint Forces Staff College, Joint Advanced Warfighting School, 2006. http://handle.dtic.mil/100.2/ADA451236.

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Thesis (M.S. in Joint Campaign Planning and Strategy)--Joint Forces Staff College, Joint Advanced Warfighting School, 2006.
"14 April 2006." Vita. "National Defense Univ Norfolk VA"--DTIC cover. Includes bibliographical references (p. 74-76). Also available via the Internet.

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Giordano, Michael A. (Michael Anthony). "The impact of out-of-theater supply flow visibility on in-theater logistics." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/73795.

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Thesis (S.M. in Transportation)--Massachusetts Institute of Technology, Dept. of Civil and Environmental Engineering, 2012.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 100-101).
The United States Army's end-to-end logistical network during times of conflict is made up of two separate networks. One network, managed by the Department of Defense, controls the shipment of supplies from the manufacturing facility to the theater of conflict. The other network managed by the Army, receives these supplies and distributes them to the units within the theater of operation. The synchronization between these two networks impacts the ability of Army logistical planners to efficiently manage the in-theater supply chain. Past operations demonstrate that Army planners have minimal visibility into the supplies entering the theater of operation. This causes units to become dangerously low on supplies, compromising their ability to successfully complete missions. This thesis evaluates the impact this lack of visibility has on the performance of the in-theater supply chain. A logistical planner is developed, modeled after current operating procedures, to maximize a unit's satisfaction, by keeping their supply levels within an acceptable range. Using mixed linear programming the planner determines the amount of each supply and the numbers of vehicles required to transport the supplies. Results confirm that increasing the visibility of incoming supplies improves the performance of the planner. The amount of improvement is dependent on the selection of specific parameters. Additionally, the variation in the amount of supplies entering a theater has an effect on the planner's performance. We conclude that there is an operational benefit in having future knowledge of incoming supplies.
by Michael A. Giordano.
S.M.in Transportation

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Turnbull, Olivia. "Bringing down the house : the inevitable crisis in England's regional theatres, 1979-1997 /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2004.

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Thesis (Ph.D.)--Tufts University, 2004.
Adviser: Barbara Grossman. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 385-393). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

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Kahoa, Erin. "From Fact to FarceThe Reality Behind Bulgakov's Black Snow." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1447719301.

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Evans, Christine. "Art, war, and objects : reality effects in the contemporary theatre." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318314.

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Scheurer, Pamela Kay. ""A thousand Joans" : a teacher case study drama in education a process of discovery /." Connect to resource, 1996. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243354659.

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Jaeger, Dagmar [Verfasser]. "Theater im Medienzeitalter. : Das postdramatische Theater von Elfriede Jelinek und Heiner Müller / Dagmar Jaeger." Bielefeld : Aisthesis Verlag, 2019. http://d-nb.info/1194434282/34.

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Peterson, Joseph Preston. "Theater missile defense : beyond Patriot? /." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 1994. http://handle.dtic.mil/100.2/ADA284247.

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Munson, Janelle Francine. "Exploring Leadership in Theater Arts." The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-08042009-145939/.

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My final creative project explores research about what makes a successful community theater and tracks development leading a theater troupe in my hometown of Great Falls, Montana. In my lifetime, three theaters began, thrived and perished in Great Falls. The Green Room, Center Stage and Summer Musicale started as little more than groups of friends who loved theater putting up a show. All three experienced success for several years. However, all three eventually crumbled. Before I built my own troupe, I needed to spend some time planning and learning how to avoid what my predecessors failed to do. I examined my involvement and experiences with these three companies. My reflection, discussions with other theater members, and investigation revealed that lack of experience, inadequate financial understanding and low standards of quality contributed to each of their demises. Following reflection on these companies, I gained insight into what makes a successful theater by interviewing community members who are familiar with theater organizations and the community of Great Falls. With their input and my own reflections I then researched what the experts had to say on the subject. These experts either started their own now prospering companies or they consult with theater companies on how to make an organization better. Equipped with the knowledge from all of these resources, I formulated my own plan to produce quality theater in Great Falls I established the beginnings of a theater organization to produce creative work.

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Butterworth, Michael E. "Theater Education and Emerging Technologies." ScholarWorks, 2000. http://scholarworks.waldenu.edu/dissertations/7.

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Theater educators need compelling arguments for including the use of emerging technologies in the secondary theater classroom. The research documents the current uses of emerging technologies in the secondary theater classroom and contrasts the uses of traditional theater technologies with the uses of emerging technologies. Interviews with theater professionals identify current issues and practices in the theater community regarding the usage of technology. A telephone survey of theater teachers reveals patterns of technology use in the Seattle School District. The research concludes that theater teachers have many tools at their disposal to teach students the processes of artistic problem solving and the tools of technology are one of those very compelling and powerful tools.

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Bekk, Simone [Verfasser]. "Theater und Erziehung / Simone Bekk." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2015. http://d-nb.info/1080458948/34.

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Wiest, James A., and Michael P. Hadley. "Integrated theater assessment profiling system." Thesis, Monterey, California. Naval Postgraduate School, 2002. http://hdl.handle.net/10945/5154.

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Approved for public release, distribution is unlimited
The Integrated Theater Assessment Profiling System (iTAPS) takes the original stove-piped Theater Assessment Profiling System (TAPS) software solution and turns it into a robust, data-centric, web-based decision support system for Commander, Second Fleet. ITAPS uses the .Net Framework and ASP.NET/ADO.NET, along with SQL Server to provide a web-enabled application that gives an overarching, abstracted view of the battle space for the Operational Commander while still providing drill-down capability and trend analysis tools if more detail is desired. The software was developed using the extreme programming technique and black box testing methods. A demonstration was performed at Second Fleet to test its acceptability and usability.

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Hadley, Michael P. Wiest James A. "Integrated theater assessment profiling system /." Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2002. http://library.nps.navy.mil/uhtbin/hyperion-image/02sep%5FHadley.pdf.

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Thesis (M.S. in Information Technology Management and M.S. in Computer Science)--Naval Postgraduate School, September 2002.
Thesis advisor(s): Alexander Bordetsky, Richard S. Coté. Michael P. Hadley received M.S. degrees in Information Technology Management and in Computer Science. James A. Wiest received a M.S. degree in Information Technology Management. Also available online.

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Bidgood, Lee. "River Song (musical theater production)." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1049.

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Nečasová, Sylva. "Alvin Ailey American Dance Theater." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79101.

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Graduation thesis called Alvin Ailey American Dance Theater introduces life and work of a Texas choreographer Alvin Ailey, including work of his closest co-workers from companies and school that he himself founded. In individual chapters I describe life of Alvin Ailey, evolution of jazz dance and music in Europe and the influence of the environment on his choreographic work. Later on I write about the company Alvin Ailey American Dance Theater, its history, the school Alvin Ailey American Dance Center, the junior company Alvin Ailey American Repertory Ensemble and other activities of Alvin Ailey. Then I mention choreographies of Alvin Ailey and people that influenced his life. I finish my work with a summary of his ideas. My work is supplemented by alphabetical list of choreographies of Alvin Ailey American Dance Theater and a listing of current dancers of Alvin Ailey American Dance Theater.

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Ozdeniz, Cem. "Theater: Architecture of the Horizon." Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/23735.

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Architecture exists where the world of ideas meets the world of materials. From its general scheme all the way to the joinery of the floorboards, the proposed building should serve a guiding idea. Otherwise, architecture is not architecture but simply functional construction.

Theater exists within a similar framework, whereby the actor\'s work is a mundane manifestation of the elements extracted from the world of ideas, making it the perfect conduit to examine the reconciliation of these oppositions: the mundane and the ethereal, the quotidian and the philosophical, the earth and the heavens...

By examining the dichotomous relationship between the tectonic and the stereotomic, the project proposed within these pages provides for a spatial experience that will aid its audience in shedding the entrapments of their daily lives as they proceed towards the auditorium to watch a play. As they move through the building, they will walk through six-foot thick brick walls of heavy stereotomy towards a lighter tectonic environment. As they approach the architectonic auditorium, the horizon, which they could initially only see through small openings within the massive brick walls, becomes more prominent, reminding them of the spherical nature of our world and the existence of an entire universe outside of our frame of reference - a phenomenon which is symbolic of the world of ideas that provides us with theater and architecture.
Master of Architecture

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Daniels, Robert McLane Knight. "Murder at the Palace Theater." Cleveland State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=csu1525359384485044.

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Litvak, Violetta. "In the Theater of Subjectivity." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1392.

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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.

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Metzger, Stephanie. "Theater und Fiktion : Spielräume des Fiktiven in Inszenierungen der Gegenwart /." Bielefeld : Transcript, 2010. http://deposit.d-nb.de/cgi-bin/dokserv?id=3391365&prov=M&dok_var=1&dok_ext=htm.

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Karr, Kasi. "Indoctrinated Spheres: Intergenerational Education and Gender Constructs in Githa Sowerbys Rutherford and Son." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1450101317.

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Recklies, Donald F. "Spectacle and illusion : the mechanics of the horse race on the theatrical stage, 1883-1923 /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487259580263868.

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Latham-Jones, Angela. "Frames: a script and solo performance of selected writings of Anne Morrow Lindbergh." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc798308/.

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this thesis explores the writings of Anne Morrow Lindbergh and their potential for oral performance. Lindbergh's life and works are examined, theories of interpretation are explored, and a solo performance script is compiled from various writings of Anne Morrow Lingbergh. The script was rehearsed and presented so that its effectiveness in oral performance could be evaluated. Both the performer and the audience members attest to the appeal of Lindbergh's writings as literature to be performed orally.

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Spedalieri, Francesca. "Innovation and Tradition: Kantor, Grotowski, and the Sicilian School in the Theatre of Emma Dante." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1310143871.

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LeNoir, Nina Marie. "Theatre and cyberspace : the contribution of the theatrical past to performance of the future /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Brewster, Shelby Elizabeth. "Resisting the Body Invasion: Critical Art Ensemble, Tactical Media, and the Audience." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437149634.

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Dissertations / Theses on the topic 'Theater Puritans. Theater Theater'

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