<p> <i>WILD42HOLD,</i> an original play by Randy Baker, was produced at the George Washington University in the spring semester of 2013. Under the direction of Jodi Kanter, it premiered on February 21^st in the Dorothy Betts Marvin Theatre on the George Washington University campus in Washington DC. The lighting designer was Aaron Pollon and the costume designer was Jie Yu. </p><p> This thesis looks at the process of the set design of <i> WILD42HOLD</i> that included the planning and execution of the set for a new work. The challenge was to establish an aesthetic for the work within the constraints of a finite time frame and budget to fit the needs of the show and of the director. The influence of the playwright, development of setting and a defined aesthetic, design evolution and build process, and an analysis of the final design outcome will be discussed.</p>

<p> The costume design, created by myself&ndash; Jessica Ann Wallace&ndash; for CSULB's Spring 2014 production of Marina Carr's <i>By the Bog of Cats</i> utilized the symbology of the circle juxtaposed to that of the square along side the ageless style of mid-20th Century Irish Travellers in order to both capture and enhance the world and themes of this Irish tragedy. In mixing these three inspiration points, the costume design reflects Carr's thematic emphasis of fate, tragedy, and relentless cycles within a mystic, supernatural world. The circle visually represents an awareness of forces outside oneself thus characters who gravitate towards this end of the spectrum are portrayed in costumes with curvilinear lines; whereas, the square delineates characters who lack a mystical awareness and are more grounded with earthly matters through angular, straight lines. <i>By the Bog of Cats</i> is a play inspired by Greek tragedy yet set within a numinous Irish world; by using universal symbols for silhouette inspiration with the ambiguous style worn by Irish Travellers, the costume design effectively captures the essence of such a unique yet timeless story.</p>

Thesis (Ph.D.)--Indiana University, Dept. of History of Art, 2005. / Title from PDF t.p. (viewed April 15, 2009). Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0007. Chair: Michelle Facos.

Thesis (M.A.)--Brigham Young University. Dept. of Visual Arts, 2008. / Includes bibliographical references (p. 86-94).

Thesis (PH.D.) -- Syracuse University, 2004. / Adviser: Wadley, Susan Snow. "Publication number AAT 3160404."

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馮嘉儀. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 43-49). / Abstracts in Chinese and English. / Feng Jiayi. / Chapter 第一章 --- 引言 / Chapter 第一節 --- 導論 / Chapter 第二節 --- 硏究範圍、目的和方法 / Chapter 第二章 --- 中國當代篆刻發展槪略 / Chapter 第一節 --- 從附庸到獨立 / Chapter 第二節 --- 當代面貌的形成和蛻變 / Chapter 第三節 --- 寫意印風的角色與問題 / Chapter 第三章 --- 美學與功能的引申 / Chapter 第一節 --- 視覺識別 / Chapter 第二節 --- 文化創意產業 / Chapter 第三節 --- 突顯圖像美 / Chapter 第四章 --- 篆刻作爲藝術形式的思考 / Chapter 第一節 --- 製作物料和工具 / Chapter 第二節 --- 印面處理 / Chapter 第三節 --- 展示手法 / Chapter 第四節 --- 創作態度 / Chapter 第五章 --- 結語 / 參考資料 / 圖錄

<p> Sound design is a comparatively young member of the theatrical design family. Computer technology for sound and music, much of which emerged over this past decade, continues to become cheaper and more widely available, making intricate sonic designs more accessible now than in the past for designers and theaters alike. While this is a big step for the art of sound design, the field is still adolescent in comparison to the scenic, costume, and lighting design fields. Sound design has become a regular part of the creation of modern theatre; that said, modern sound designers might collaborate with other theater professionals who trained without significant collaboration with or influence from sound designers and sound design. As such, collaborative practices between a sound designer and the rest of a theatrical team continue to develop. Through this thesis, I hope to provide a comprehensive snapshot of the role of sound design and sound designers in modern theatre, and to illuminate important strategies for successful collaboration between sound designers and a theatrical team.</p>