As modern technologies increase the capabilities of today’s stage, performances have grown to incorporate the use of video as a means to transform the stage in a way never seen before. Digital tools have unlocked designer’s ability to modify space and time in at the actual speed of light. While analogue film projections have been used on the stage for a number of years, it is the advent of digital video that has allowed performance art to develop a new interaction with a virtual world. I intend to explore and document the process behind a video centric performance. In this instance, I define video centric performance as an event in which the action on stage relies on the video content in some way to create a complete performance. Through this thesis I will focus on how the evolving definition of video has created particular workflows and methodologies to help adapt digital video techniques for the stage. Using several case studies, my workflows and methodologies will be developed and formed into a single written document. My written document is meant to be an all-encompassing guide. The goal in writing such a text is to provide single source education for artists looking to grow their understanding of video centric performances. Video production as well as stage production is a nuanced art, which can require years of practice to fully understand. Young artist may use higher education to grow their skills, or experienced professionals may use reading as a means of professional development. In both of these instances, members of the entertainment community are limited by the availability of a single source to bridge the gap between existing educational resources. Throughout the document, I avoid expanding on detailed topics that are covered by other professions, instead opting for an approach that weaves together the skills of performance artists, designers, technicians, cinematographers and animators in a way that focuses these talents towards the stage. / text

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Susannah is the opera written and composed by American composer Carlisle Floyd in 1955. The opera is based on a story from the Biblical Apocrypha. For the live performance of this opera at the Jefferson Center in Roanoke, I designed the animations that projected onto a screen which was designed and fitted as a part of the set design. I created the series of animations that enhanced the story of the entire length of the opera. This project was in collaboration with Opera Roanoke's 2016-2017 season. Carlisle Floyd's Susannah was performed at the Jefferson Center in Roanoke, Virginia on April 28 and 30, 2017. / Master of Fine Arts

This document will chronicle the design work of Kevin Dudley at the University of Iowa from August 2013 through the spring of 2016. The images included in this document are representative of the design work for realized productions, large and small scale, and selected explorations in course work. The work represented here includes: drafting, paint elevations, and sketches (both hand and digital). This document will stand as a record my design process and final product used to explore our humanity through theatrical design.

En art numérique, une pratique tend à se développer chez un nombre croissant de créateurs. Cette pratique correspond à la mise en relation d’une image numérique projetée, immatérielle, avec un support, matériel, généralement non standardisé, qui conserve par rapport à celle-ci une certaine indépendance ou autonomie. Il s’agit dans ces créations de partir d’une distinction, d’une opposition ou d’une distance entre un élément virtuel et un élément physique, qui, à partir de leur rapprochement, permet de faire émerger un sens que ce type de création devient prédisposé à porter. Devenant ainsi une façon particulière de traduire une relation au monde, cette articulation est un mode d’expression du sensible qui a sa singularité et qui dispose de spécificités.L’objectif de ce mémoire est de mettre en avant certaines pistes de réflexion pour la création, des méthodes de mise en œuvre, ainsi que des mécanismes de perception éventuels quand se joue cette rencontre de l’image, de l’objet, de la scène. Non seulement afin de comprendre la raison de l’expansion de cette pratique grandissante en ce début de 21e siècle, mais aussi d’orienter certains axes de travail envisageables pour des réalisations ou des analyses d’œuvres. / In digital arts, a practice is being developed by an increasing number of creators. This practice puts in relation an immaterial projected digital image, with a material medium, generally non standardized, that ensures a certain kind of independence or autonomy towards the image. In these creations, it’s about starting from a distinction, an opposition or a distance between a virtual element and a physical element, and by moving it closer, make emerging a sense that this type of creation is becoming susceptible to carry. Becoming a specific way to express a relationship to the word, this articulation is a way to express sensible world with its own singularity and specificities. The purpose of this thesis is to outline various approaches for creation, methods of implementation, and potential mechanisms of perception when this meeting between image, object and scene is on. Not only to understand the reason of the expansion of this growing practice in the early 21st century, but also to guide some possible working areas for productions or analysis of art works.

A visual investigation into the lighting, scenic and projection design work of Lucas P. Ingram during his training at the University of Iowa from 2013 – 2016.

The purpose of this thesis is to document and analyze my projection design for a new dance piece, "VŰ", directed by Angelus Iván and staged at Trafó in Budapest, Hungary. Included is an account of the design process, the concept and projection development described scene by scene, execution, performance and evaluation. The paper ends with reflections on the relatively new field of image projections, and my professional goals in scenic design.

In Between: A Journey of Cultural Integration is a multimedia art installation that tells the story of a Korean girl’s cultural integration journey. The story was inspired from my personal experience of moving from South Korea to the U.S. In the 12’ x 14’ room, the narrative was delivered by media. The story was introduced by the projected text of a diary on a book in the middle of the room. The images that were projected on all four walls enhanced the narrative. The each viewer was forced to experience the installation alone and experience the loneliness of the journey. The successful collaboration between scenic and media was important for creating a cohesive design for this project. I worked with several projection designers to create the narrative development. Throughout the process, the boundary between scenic design and media design became blurry and I and my collaborators became a creative team as a whole. This project was intended to share my personal story of cultural integration with a broader audience by inviting them to have a different perspective view towards the immigration community in America. It also became my personal challenge to create a space that could tell a story without an actor. / text

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L-trä har på kort tid blivit en vanligare byggmetod. Detta har medfört att det underlag som finns för projektering inom området inte är lika väl utvecklade som andra stomsystem. De lösningar som finns inom KL-trä, är idag ofta projektbaserade och är inte är helt genomtänkta ur alla aspekter. Från hur en prefabricerad betongstomme projekteras fram kan vissa principer tillämpas till KL-trä, men då detta är en annan typ av stomme blir vissa lösningar mer specifika mot KL-trä.  Syftet med vår studie är att ta fram en balkonglösning som är fuktsäker och utveckla en standardiserad lösning som går att tillämpa praktiskt. Den ska även uppfylla de krav som regelverken ställer för en balkong. I rapporten används kvalitativa metoder som metodik. Litteraturstudier har använts för att ge en analys av det arbete som finns inom området idag. Datainsamling utfördes med Tom Noremo, som ligger till grund för intervjuer. Intervjuer utfördes med 11 sakkunniga med olika erfarenheter inom byggbranschen. Studien avgränsas till utanpåliggande balkonger infästa med dragstag. Även fasadsystemen avgränsas till Rockwools REDair alternativt PAROC:s ZERO. Den detalj som tas fram är enbart för bostadshus och ska klara av de tillgänglighetskrav som en balkong ska uppfylla. Inga beräkningar för bärförmåga har utförts och redovisad lösning utgår ifrån en befintlig lösning.  Från litteraturstudierna och intervjuerna har en detalj för en balkong i KL-trä projekterats fram. Lösningen har liknande infästning som den detalj rapporten utgår ifrån. Resultatet blev att stålramen med UPE-profil som ligger runt om KL-skivan ska bytas ut mot en L-profil och infästning av dragstag ska sitta i sidorna. Balkonger i KL-trä ska ha hålkäl likt de som en prefabricerad betongbalkong har och ska dras hela vägen till framkant. Balkongerna ska utföras med en tralluppbyggnad som gör det enkelt att klara av tillgänglighetskraven och ger en mer fuktsäker konstruktion. Det tätskikt som monteras måste klara av den mekaniska åverkan som kommer från trallen, närmast dörrtröskel ska brädor bytas ut mot gallerdurk. För de balkonger som är extra utsatta för nederbörd kan en sockeluppbyggnad utföras. Slutsatsen blev att det krävs omfattande åtgärder för att en balkong i KL-trä ska bli lika hållbar som en betongbalkong. Materialval och arbetsutförande har en stor inverkan på slutresultatet. Studien har resulterat i ett gediget projekteringsunderlag för utformning av balkonger. / CLT is becoming a more popular building method. Therefore, the design documentation for CLT is not as developed as other frame systems. The solutions that exist today are only project-based and not always as well thought out as compared to how prefabricated concrete systems is designed. Some principles can be applied to CLT but since this is a different type of material the solutions need to become more specific to CLT.  The purpose with our study is to develop a standardized balcony detail in CLT which is moisture-proof and can be applied in practice. It must also meet the requirements and regulations for a balcony set by the authorities.  The report uses qualitative methods as a methodology to analyse the work that exist today for a balcony in CLT. We used literature studies and conducted 11 interviews with experts obtained from Kåver & Mellin. The study is limited to wall-mounted balconies attached with tension rods. The facade systems are limited to Rockwool´s RED air or PAROC zero. The detail in the report is only for apartment buildings and will meet the requirements set for a balcony. No calculations for load bearing capacity have been conducted where the solution is based on an existing solution.  As a result, from the literature studies and interviews, a balcony detail in CLT has been projected. The detail uses similar attachments as the detail the report is based on. The result from the methodology was that the steel frame that is applied around the CLT-panel must be replaced with a L shaped steel frame. The attachments for the tension rods must be placed on the sides of the balcony. Balconies in CLT must have the same triangle formed element as prefabricated concrete balconies has and be drawn all the way to the front edge of the CLT-panel. The balconies need to be made with duckboard which makes it easier to meet the requirements of accessibility and provides a more moisture-proof construction. The waterproof layer needs to be able to withstand the load bearing coming from duckboard. The boards closest to the threshold can be replaced with a floor grate. The balconies that is extra exposed to bad weather can have an extra outer wall construction. The conclusion is that a balcony in CLT need extensive measures for it to become as durable as concrete balconies. Material selection and the work performance have the biggest impact on the result. The study has resulted in a solid design documentation for a balcony in CLT and an alternative solution has been produced which is moisture-proof and can be applied in practice.