The following thesis is an exploration in creating TheatreUNO’s production of A Doll’s House and Hedda Gabler. The goal of directing the production of A Doll’s House and in performance of Hedda Gabler in repertory was to walk the fine line of honoring the original intentions of the playwright while simultaneously making the performances accessible to a contemporary audience. This thesis will include an in-depth look at the process of both productions, analysis, research and production materials. A Doll’s House and Hedda Gabler ran in repertory at The University of New Orleans April 12-28 2018.

This thesis outlines my research and creative process of how to direct modern theatre under the structure of the Ancient Greek chorus, specifically through movement. I include a brief history of how the chorus functioned in Ancient Greek theatre; how movement shaped the chorus’ role as well as the story for the audience. Using the parameters of the chorus, I directed two theatrical productions, Jason Robert Brown’s Parade, and Sarah Ruhl’s adaptation of Virginia Woolf’s Orlando. Through exploration and analysis I conclude that using Ancient Greek choral movement in modern theatre helps to create a more specific story through gesture and space, bridges the gap between the audience and action onstage, and should be the foundation of how directing is taught in academic settings.

This study theorizes the origins and history of the professional female playwright and director from the Restoration period to the present day through the stage history of Behn's most popular play, The Rover. Part one is comprised of two chapters: the first in this section argues the importance of appreciating Behn's proto-directorial function in the Restoration theatre and her significance to the history of feminism and women in professional theatre; the second chapter in this section examines the implications of casting practices and venue changes to eighteenth-century revivals of Behn's canon with a particular eye towards what a contemporary director can glean from 18th century revivals. Part II draws on archival research and personal interviews with directors, actors, and dramaturges to examine the historical significance of two particular twentieth-century, woman-directed revivals of The Rover: the 1989 revival at the Goodman directed by Kyle Donnelly and the 1994 revival at the Guthrie directed by Joanne Akalaitis. This study argues the synergistic impact at the time of woman-directed revivals of the most popular play by the first professional female playwright to the emergence of the professional woman director in America in the 1980s and 1990s. Part III consists of three chapters that examine woman-directed revivals of The Rover against the backdrop of theatre practice and sexual politics in the 2000s: one chapter analyzes cross-gender revivals of The Rover by Queen's Company in Brooklyn, NY (2001) and Woman's Will in San Francisco (2003); the next chapter examines a 2011 site-specific, panoramic production of The Rover at the World Financial Center directed by Karin Coonrod for New York Classical Theatre; the final chapter in this section analyzes a 2013 gender parodic production that I directed for Thinking Cap Theatre in Fort Lauderdale. This study argues for the importance of contemporary archiving and revival activism to historicizing the concept of the glass curtain and the gender parity movement in professional theatre and to improving the rate of employment of female directors and playwrights.

Microporous materials have a wide range of important applications in separation, gas adsorption, ion-exchange and catalysis. Open-framework germanates are a family of microporous compounds and are of particular interest. This thesis focuses on the synthesis and characterization of new open-framework germanates as well as introducing the transition-metal nickel into germanate structures. One new microporous germanosilicate, SU-78 and four new open-framework germanates, SU-74, SU-75, SU-69 and SU-76 have been obtained by using organic molecules as structure directing agents (SDAs). The incorporation of nickel and organic SDAs in the synthesis resulted in five novel nickel germanates, SUT-1, SUT-2, SUT-3, SUT-4 and SUT-5, in which nickel complexes act either as framework-forming components or as structure directing agents. The general synthesis route is described and the variables that affect the synthesis products are summarized. Different techniques applied on the characterization of chemical and physical properties of the products are also introduced. / <p>At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 1: Submitted. Paper 2: Submitted. Paper 3: Submitted. Paper 5: Manuscript.</p>

This report summarizes the process of writing, developing, directing and completing the short film In This Place. This film was produced as my graduate thesis film in the Department of Radio-Television-Film at the University of Texas at Austin in partial fulfillment of my Master of Fine Arts in Film Production degree. / text

This report will summarize the process of writing, developing, directing and finishing the high-definition short film, Rescue You, This film was produced as my graduate thesis film in the Department of Radio-Television-Film at the University of Texas at Austin in partial fulfillment of my Master of Fine Arts in Film Production degree. / text

The question raised in this study is: Why are similar companies so different? That is, why do companies of the same size, in the same line of business, and with the same organizational structures, etc., function in different ways? The answer to these questions is expected to be found through knowledge of basic ideas in companies. Important points of departure are that small companies are interesting research objects and that an organization can be viewed as a set of deep and surface structures which may appear in the language of its members and other interested parties. Based chiefly on deep interviews, the study is intended to generate knowledge and understanding of basic ideas and their function in small companies. The deep structures of the four companies show that the basic ideas can be understood as ideologies. They refer to basic values, are apprehended by the members of the organization and other interested parties, and prescribe what is desirable. The differences between the cases form the basis of a classification of the ideologies into four ideal types: capitalistic, religious, narcissistic, and socialistic. The surface structures are viewed in two perspectives, one referring to the behaviour of the companies and the other to the relational behaviour between the companies and the interested parties. The former shows that the patterns of behaviour are different in the four companies and may be characterized as efficiency-directed, adaptation-directed, ego-directed, and socially-directed. A comparison between these patterns of behaviour and the ideologies of the companies makes the directing function of the ideologies visible. Through situation interpretation, ideologies direct organizational behaviour towards particular patterns. The relational perspective causes the controlling function of ideologies to appear. Differences in co-acting between the companies - that is, the extent to which and on what grounds the interested parties behave in accordance with the behaviour of the companies and the attitudes of the interested parties to the ideological values - show that ideologies can exercise control either through their power over problem interpretation or their power over acting. The results of this study indicate that the answer to the initial question is that organizations have different ideological faces. / digitalisering@umu

The problem of determining an objective means for assessing local characteristics of television subpictures in a Hadamard transform multicoder scheme is stated and discussed. Detailed investigations of transform domain coefficient statistical characteristics for different test images have been conducted. Both monochrome and colour signals were used, as well as different transform sizes and shapes. " Directing Indexes " are proposed which, depending on the inter-relationships among transform coefficients and groups of coefficients, direct each subpicture to the appropriate coder. Three indexes in the case of monochrome signals are proposed, each with its own computational procedures and application requirements. Necessary modifications and changes for application of some indexes on colour signals are also discussed. The proposed technique of indexing eliminates the necessity of equal distribution of subpictures among 'activity classes', a major disadvantage encountered in present activity index. Coders to be used with each directing index are devised and tested, subject to an arbitrary bit rate of 2 bits per pixel, with satisfactory performance compared with some published results for other techniques.

In the seedy confines of his one-bedroom apartment, reclusive loner Harris Babel delights in watching the camcorder images of others: images he buys from a strange, smoke-filled store at the end of an alleyway. They are pre-recorded trips to faraway places, memories he pretends are his own. Holidays to Madagascar, trips to Lord Howe Island, tours through Kakadu National Park -- there are no boundaries. But Harris' claustrophobic world takes a disturbing turn when he receives a phone call from the airport, claiming he left luggage behind from a trip he doesn't remember. A trip he never went on. Or did he? From script to screen, Baggage was an exhausting 14-month journey, beginning with the first draft of the script in May 2001 and culminating in the exhibition of the film in July 2002, two days after the final sound and vision cut was completed. At its heart, the film is an exploration of identity, memory and the childhood demons that haunt us. It is about loss and abandonment, camcorder voyeurism and the obsessions that make us human. On reflection, it is a film with many flaws. But the process of recognising these flaws and better understanding the filmmaking process is an essential part of development and growth. This paper will explore the writing and directing process involved in the making of Baggage, analysing structure, cause-and-effect, character identification, suspense, style and substance. It will also evaluate the state of the short film in Australia, its importance in the development of filmmakers and the avenues for exhibition and distribution.

The Argonauts is a one hundred and ten minute screenplay depicted in the genre of children's adventure film, set in the suburbs of Brisbane in the early 1990s. It tells the story of four friends who embark on adventure in an attempt to save their parents' shops from a corporate takeover. The exegesis explores the dual role of the screenwriter/director and the affect on the screenplay of the shifts in mindset required when these roles are undertaken by the same person. Screenwriting and directing are explored as two separate but interlinked disciplines. In this paper I have draw on my experience in these two roles to discuss their inter-relationship. In order to understand how the two roles of screenwriting and directing interact, challenge and compliment one another when carried out by the same person, I analyse the interplay of these roles within the specific areas of character, narrative and setting in the writing and revision of the screenplay, The Argonauts.