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This dissertation aims to analyse the re-creation and transformation of animated films into theatrical spectacles, by examining two Walt Disney animations and productions as case studies: Beauty and the Beast (1991 & 1994) and The Lion King (1994 & 1997), designed by Stanley Meyer (Beauty and the Beast [1994]) and Julie Taymor (The Lion King [1997]), respectively. Through a semiotic analysis of the productions viewed in the Monte-Teatro in Johannesburg (Beauty and the Beast [2007]) and the Lyceum in London (The Lion King [2010]), the scenographic choices of the designers are examined to ascertain the ways in which the re-creation and transformation from animation to theatre occurs. A study of the different styles is conducted, as the case studies were visually different from each other, and from their animated counterparts. Each case study contributes to an understanding of the process whereby an animated film can be transformed and re-created for the theatre. An investigation into The Walt Disney Company, from its inception to its present day theatrical productions, is undertaken to illustrate how The Walt Disney Company has become an influential force in the international performance industry. Responses by reviewers are used to demonstrate how The Walt Disney Company was influenced to alter the conceptual approach for its subsequent theatrical production. To aid in the analysis of the scenographic designs, the theoretical writings of Martin Esslin (1987) and Keir Elam (1980) are consulted to develop an understanding of how designs are integral to the reception of any production. Developments of scenography are explored from Aristotle who states that theatre does not need any spectacle (design) to portray the poetry of the performance, to Sternfeld’s analysis of megamusicals which illustrates the spectacular designs that have become integral to the development of certain productions, and genres. Using Wickstrom’s article on The Lion King an examination of how the commodities produce meaning from the production is undertaken. This dissertation provides insight into the development of scenographic designs and the recreation and transformation of specific elements from animated film to theatrical spectacle through an appropriation of theories about transposing theatre into film (Egil Tornqvist, 2009). This, in conjunction with Guy Debord’s theories (1995) on the society of the spectacle, aids in the analysis of the spectacle/scenography. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2010.

The aim of this dissertation is to comparatively analyse the set designs for Wolfgang Amadeus Mozart’s (1756-1791) opera, The Magic Flute (1791), with specific reference to selected set designers from the 18th to the early 21st century. The selection was made in light of each set designer’s unique design concepts for The Magic Flute which were all realised as stage settings in a proscenium arch theatre. In order to analyse the designs, it is necessary to trace theatrical practices and chronologically examine the reforms that affected the visual and spatial representation of scenography from the 18th to the 20th Chapter one provides a brief overview of the development of the proscenium arch stage. It examines the architectural reforms that were made to the proscenium arch in order to accommodate deeper stages and changes in stage settings. In addition, Chapter one investigates methods that theatre architects used to alter the proscenium arch and forestage in order to create a unity between the audience members and the performance. century. The set designs for The Magic Flute by Emanuel Johann Schikaneder (1791), Karl Friederich Schinkel (1816), David Hockney (1978) and William Kentridge (2007) will be analysed within the context of this investigation. Chapter two further considers the architectural modifications that were made to the stage and auditoria of opera theatres in more detail, from the first U-shaped auditorium onwards. It is essential to consider the different architectural structures of opera theatres because in order for each designer to initiate their design concept, they would be required to consider the architectural limitations of their chosen auditoria. The architectural structure would be determined by the foyer area, the style and arrangement of seating and the size of the proscenium arch and stage. Chapter three, by means of a comparative analysis, considers the social and cultural influences on the design concepts of Schikaneder, Schinkel and Hockney and how they informed those of Kentridge for The Magic Flute. It also provides a brief overview of stage lighting, scenic styles and stage machinery used in opera from the 16th to the 20th Chapter four classifies the theatrical spaces used in opera theatres by examining three key areas in an opera theatre, in relation to the foyer, auditorium and stage area. This investigation will be conducted with specific reference to the Theatre Auf Der Wieden, The Royal Opera House, the old Glyndebourne Opera House and The Artscape Opera House. In addition to this it will examine the selected designers’ approach to their design concepts by comparatively analysing the stage settings of Schikaneder, Schinkel, Hockney and Kentridge for The Magic Flute and the stage technology that was used to realise their design concepts. Thereafter, the set designs for Kentridge’s production and how they were conceptualised from a South African perspective will be examined. century Chapter five summarises the ways in which scenography is influenced by architectural, cultural and theatrical discourses, from the analysis of the designs and concepts for The Magic Flute. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2013.

This creative project focuses on the research, planning, design and field-testing of a kit of basic architectural elements that can be used to build simple spaces and small constructions. These elements are reusable, easy to handle, and allow for a nearly infinite number of configurations.The environment in which the system was developed is a setting of an improvisational outdoor theatre, called 'Live-Action-Role-playing-Games'- (LARP). Therefore the system does not provide a high quality indoor space, but rather focuses on the critical requirements of theatrical stages, such as flexibility, ease of erection and variety. Additionally, the system dealt with the pragmatic issues of affordability and cost-effectiveness.The design process commenced with great attention being paid to the very special requirements of LARP and attempting to test initial assumptions. It included two surveys of LARP participants and use of charrettes to incorporate users input into the design process. Prototype elements were then constructed and field-tested during a full-scale replication of an actual LARP-event over afour-day testing period.Following this an evaluation was made, lessons were learned, and the information gained was incorporated in to the final design.This document then records the entire design process and concludes with extensive documentation of the system. / Department of Architecture

This thesis deals with preventive form of landscape character assessment. Preventive assessment includes two cadastral differing nature and landscape protection. The first cadastral area is Stálkov, which is part of the natural park Czech Canada and is there a single small-scale specially protected territories. In the second cadastre Rančířov landscape is intensively farmed, and the bulk of the land is arable. On the territory is also one small area declared a specially protected area. Work includes a practical part, which were analyzed and identified the individual characters landscape. Those were then assigned their meaning, expression and valuables. Further rate was determined dochovalosti landscape. After evaluating each territory separately were compared and determination of differences between registers. The conclusion set out some suggestions for maintaining or increasing the value of the landscape.

Made available in DSpace on 2015-05-14T12:17:25Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1966287 bytes, checksum: 8c50cb7eab9d185280d8b880a6451027 (MD5) Previous issue date: 2010-03-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Lately, many papers have been presented in Brazil referring to the analysis of environmental health, based on the usage of indicators, for they enable the measurement of the essential infrastructure conditions in municipalities. This paper emphasizes the use of Environmental Health Indicators (EHIs) which have initially been developed by a team of the São Paulo State Sanitation Council (CONESAN-SP) in order to analyze the health conditions of several municipalities in the State of São Paulo. The indicators which are part of the EHIs and which were analyzed in this paper are: water supply, sewage system, solid wastes, vectors control, water resource and socioeconomic aspects. The search for better environmental health requires as initial step, knowing the environmental conditions and the socioeconomic aspects of the municipality for, later, make decisions involving the possibilities of improvement of EHIs elements. For the present study, the urban area was selected as scale for the geographic analysis, where data were collected by census sectors. The application of EHIs method in the inner urban space showed to be viable for it has enabled the identification of different levels of environmental health, the spatialization of results and the establishment of a scenery, which might help in the diagnosis of management priorities in the studied area. / Atualmente, tem se desenvolvido muitos trabalhos no Brasil referentes à análise das condições de salubridade ambiental a partir do uso de indicadores, pois estes possibilitam a mensuração das condições de infra-estrutura essenciais nas cidades. Destaca-se neste trabalho, o uso de indicadores de salubridade ambiental (ISA) que foi desenvolvido inicialmente, por uma equipe do Conselho Estadual de Saneamento do Estado de São Paulo (CONESAN-SP) para análise das condições de salubridade de diferentes municípios do Estado de São Paulo. Os indicadores que compõem o ISA e que foram analisados neste trabalho foram: abastecimento de água, esgotos sanitários, resíduos sólidos, controle de vetores, recursos hídricos e aspectos socioeconômicos. A busca por uma melhor salubridade ambiental requer conhecer, em primeiro lugar, as condições ambientais e socioeconômicas das cidades para posteriormente, tomar decisões a cerca das possibilidades de melhoria dos elementos que compõem o ISA. Para o presente estudo, foi selecionada a área urbana como escala de análise geográfica onde foram coletados dados por setores censitários. A aplicação do ISA no espaço intra-urbano demonstrou ser viável, pois possibilitou a identificação de diferentes níveis de salubridade ambiental, a espacialização dos resultados e o estabelecimento de um cenário que poderá auxiliar no diagnóstico das prioridades de gestão na referida área de estudo.

Made available in DSpace on 2015-05-14T12:17:27Z (GMT). No. of bitstreams: 1 parte1.pdf: 1940333 bytes, checksum: 9e6a83dd5973c6be6a24c3e086449efc (MD5) Previous issue date: 2010-08-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The purpose of this study is characterize several aspects that set up the scenery of the beaches Tambaú and Manaíra in the city of João Pessoa/PB, where are emphasized the natural and anthropogenic characters that have influence in coastal dynamics as a subsidy to the planning of the area. The studied beaches have an extension of approximately 3,000 meters and they are in a fully urbanized stretch between the end of the Epitácio Pessoa Avenue and the end of the Flávio Ribeiro Coutinho Avenue. These beaches are a sample of how the Paraiba coast behaves, where are observed some stretches that have erosion problems associated with natural dynamics and chaotic urban increase. The theoretical-philosophical abordage leaned on the methods of social sciences, and on the natural sciences. The methodology used in the study consisted of three stages, related between them, the bibliographic and cartographic research that provided technical/theoretical support very important to the development of the research; the stage in the field provided information and data about the mentioned location; and the laboratorial activities were essential to treat, compile and analyze all data and information collected earlier. In the first chapter of this study, there was a discussion about new trends in geomorphologic theory and a discussion about the dynamic of the coastal scenery. In the second chapter, was made a theoretical survey of the various physical elements that set up the coastal scenery of the area. In the third chapter, it was observed that since the 40s, with the opening of Epitácio Pessoa Avenue, the beaches Tambaú and Manaíra began to be occupied. However, from the 70s, a period that was built the Tambaú Hotel the disorderly urbanization process was intensified and started changing the coastal dynamic of the beaches Tambaú and Manaíra. The collected data in the field, present in the fourth chapter of this study, show a larger dynamic characterized by intense morphological variation in Manaíra beach, during the study, and Tambaú beach presented sedimentation during the analyzed period. According to the parameter of Dean, the studied beaches vary from reflective to intermediate stages (Tambaú) and intermediate (Manaíra). However, variations in the shoreline, evidenced by the overlay of aerial photographs and satellite images, pointed to a retreat of the shoreline facing the continent in Tambaú beach and an advance of coastline to the sector (4) in Manaíra beach. / Este trabalho tem como propósito fazer uma caracterização dos diversos aspectos que compõem a paisagem das praias de Tambaú e Manaíra no município de João Pessoa/PB, onde são enfatizados o caráter natural e antropogênico que influenciam na dinâmica costeira como subsídio ao planejamento da área. As praias estudadas possuem uma extensão de aproximadamente 3.000 m e localizam-se num trecho totalmente urbanizado, entre o final da Av. Epitácio Pessoa e o final da Av. Flávio Ribeiro Coutinho. Estas praias constituem uma amostra de como se comporta o litoral paraibano, onde são observados trechos que apresentam problemas erosivos associados à dinâmica natural e a ocupação urbana desordenada. A abordagem teórico-filosófica apoiou-se tanto nos métodos das ciências sociais, quanto nos das ciências naturais. Já a metodologia utilizada no trabalho foi composta de três etapas, relacionadas entre si: a pesquisa bibliográfica e cartográfica que forneceu um suporte técnico/teórico fundamental ao desenvolvimento da pesquisa; a etapa de campo, que forneceu informações e dados necessários a respeito do local em questão; e as atividades laboratoriais e de gabinete que foram fundamentais para tratar, compilar e analisar todos os dados e informações coletados anteriormente. No primeiro capítulo deste trabalho, foi feita uma discussão sobre as novas tendências na teoria geomorfológica bem como uma discussão sobre a dinâmica da paisagem costeira. No segundo capítulo, foi feito um levantamento teórico dos diversos elementos físicos que compõem a paisagem costeira da área em questão. No terceiro capítulo, observou-se que desde a década de 40, com a abertura da Av. Epitácio Pessoa, as praias de Tambaú e Manaíra começaram a ser ocupadas, no entanto, a partir da década de 70, período em que foi construído o hotel Tambaú, o processo de urbanização desordenado intensificou-se, alterando a dinâmica costeira das praias de Tambaú e Manaíra. Os dados coletados em campo, presentes no quarto capítulo deste trabalho, mostram uma maior dinâmica caracterizada por uma intensa variação morfológica durante o período estudado, na praia de Manaíra; já a praia de Tambaú, apresentou sedimentação durante todo o período analisado. Segundo o parâmetro de Dean, as praias estudadas variam dos estágios reflexivo a intermediário (Tambaú) e intermediário (Manaíra). Contudo, as variações na linha de costa, evidenciadas pela superposição de fotografias aéreas e imagens de satélite, apontaram para um recuo da linha de costa frente ao continente na praia de Tambaú e um avanço de linha de costa para o setor (4) da praia de Manaíra.

Fils du peintre François Sevin, Pierre Paul Sevin naît sous le règne de Louis XIV pour travailler aux fastes de son apogée. Après un voyage en Italie entre 1666 et 1671, il s’installe à Paris jusqu’en 1689, puis à Lyon et Tournon jusqu’à sa mort. Maître de la composition allégorique, il œuvre seul et aux côtés du père Ménestrier (de la Société de Jésus) à l’élaboration de madrigaux, d’almanachs, d’illustrations de thèses et de décors éphémères et pérennes, toujours dans une énergie créatrice fulgurante, comme son trait envolé et hâtif. Sa rigoureuse adaptation à la pensée de Ménestrier a longtemps stigmatisé son art dans une querelle de goût opposant leur démesure à l’esprit « classique » de Jean 1er Berain, dessinateur de la Chambre et du Cabinet du roi. Pourtant, des recherches récentes font penser à une féconde concurrence plutôt qu’à une vaine rivalité des deux artistes. Clarifier la biographie de Sevin se révèle une étape nécessaire pour mieux comprendre les rapports entre jésuites et artistes au XVIIe siècle et en mesurer les répercussions sur la façon de considérer les arts graphiques en tant qu’images « communicantes ». / Son of painter François Sevin, Pierre Paul Sevin was born under the reign of Louis XIV to work during the splendor of the king’s apogee. After traveling to Italy between 1666 and 1671, he moved to Paris until 1689, then to Lyons and finally Tournon where he died. Master of the allegorical composition, he either worked alone, or with father Ménestrier (from the Society of Jesus), on the development of madrigals, almanacs, thesis illustrations, and transient and perennial backdrops. He always worked with a dazzling creative energy, clearly demonstrated in his soaring and hasty strokes. His rigorous adaptation of Ménestrier’s style stigmatized his art for a long time over a dispute in taste between excessiveness and the “classical” spirit of Jean I Berain, “dessinateur de la Chambre et du Cabinet du roi”. However, recent research leads to believe that there was a fruitful competition between the two artists rather than a vain rivalry. It is necessary to clarify Sevin’s biography to better understand the relationships between Jesuits and artists during the 17th century, and to measure the repercussions regarding the consideration of graphic arts as “communicating” images.