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Thesis (M.A.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

This thesis is intended to guide the reader through the production process for Southern Illinois University Department of Theater’s 2021 production of Tuck Everlasting: The Musical. The document follows the journey of a technical director’s process through preproduction, design development, production process, and postproduction reflection. By joining the adventure through the backstage experience of the production process one should come to understand the work needed to produce a theatrical production.

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The application of the business models for scenic byway visual assessment and management is very useful. It allows for a flexible process that insures the quality and integrity of the area to be preserved while allowing for change. Some of the strongest principles of the business management models are: the expression of intent, the involvement of the stakeholder, the constant reevaluation and the establishment of barometers for success. There are, of course, some limitations to the application of business management processes. The primary limitation is the fact that within the business hierarchy, generally, the upper level management implements the process. In the case of this process, the stakeholders become the implementors. Cultivation of stakeholders who become truly committed to the process may be most crucial to the success of the project. Also, understanding the scenic byway as a commodity, the concept borrowed from the business management approaches, is crucial to success of the visual management model. Applying a model such as this to a scenic byway may be difficult if there are established processes already in place. Getting people to change from what they know to something unfamiliar requires effective education and a commitment from stakeholders. If the management processes in place are established by federal or state agencies, convincing the agencies that this alternative procedure may be successful can be also problematic. Proposed processes like this one are also difficult to implement due to existing mandates which require explicit justification that may need to hold up in a court of law. These difficulties and limitations offer direction for further research. Research must be done to put an actual scenic byway management project this process to see its effectiveness. Work on establishing trust and involvement of stakeholders is another area for continued research. The results of this thesis can be useful for Landscape Architects for determining their acquisition and application of certain skills. Landscape Architects need to be able to : - identify cultural and environmental processes at work through the visual evaluation of the landscape, - be well versed in the issues related to visual issues, and - recognize their role and effectiveness in design and planning processes Other applications for landscape architects that became clear in this work are: - an understanding that they need to learn to be leaders for relevant issues, - they must be involved with and educated in community design and development issues, Not just experts on resources, - they need to be skilled at running public workshops, including public presentations, - they must be sensitive to and able to identify community issues and values, and - they must be able to present and develop continuous evaluation methods to assure adaptability for change. / Master of Landscape Architecture

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Murder on stage is the first and most theatrical moment known to the theater. Sweeney Todd: The Demon Barber of Fleet Street, takes this effect to a whole other level. Sweeney Todd is a dark opera that follows the demise of a man through his struggle for revenge, and his quest to reunite with his family. This thesis will cover, from start to finish, the entire scenic design process of Temple University's 2010 production of Sweeney Todd: The Demon Barber of Fleet Street. / Theater

This paper is a in depth review of a designer’s process over the course of three years of graduate school, culminating in a scenic design for Side Show. A narrative account of a design from early stages through final evaluation, this essay hardly resembles a thesis paper at all. With Side Show as a framework through which the author traces improvement in craft skills, design thinking, and critical evaluation, she offers supporting evidence in the form of drawings, draftings, models, and research. In addition to these relevant design materials, the designer presents proofs of her own personal growth, both as a student and as a designer. / Theater

Este projeto investiga o amalgamar da linha histórica das transformações arquiteturais do Teatro Oficina, com suas descobertas estético-cênico-teatrais pela, hoje, Associação Teat(r)o Oficina Uzyna Uzona. Suas inter-relações definidoras, tais como: suas arquiteturas cênicas e urbanísticas, a primeira feita pelo arquiteto Joaquim Guedes, a segunda por Flávio Império e Rodrigo Lefèvre e a terceira por Lina Bo Bardi e Edson Elito. Ou seja, como arquitetura surge a partir da necessidade estética cênica, sendo essa necessidade mutável e em constante transformação, e seu duplo/inverso, como o reflexo das encenações gerou e gera diferentes espaços de atuação. Como o espaço da cena, a arquitetura e o urbanismo, são elementos definidores da linguagem teatral no Teat(r)o Oficina, e seu caminho inverso, como a linguagem teatral da companhia é definidora das configurações de seu espaço arquitetônico e urbanístico. Entendendo a imagem do \"atravessar paredes\", do \"desejo do fora\", como pulsão propulsora para todas as revoluções artísticas ali alcançadas. / This project investigates the junction of the historical line of architectural transformations of Teatro Oficina, with its aesthetic-scenic-theatrical discoveries by today, Associação Teat(r)o Oficina Uzyna Uzona. Its defining interrelations, such as: its scenic and urbanistic architectures, the first made by the architect Joaquim Guedes, the second by Flávio Império and Rodrigo Lefèvre and the third by Lina Bo Bardi and Edson Elito. That is, as architecture arises from the scenic aesthetic necessity, being this changing and changing necessity, and its double / reverse, as the reflection of the action on the scene generated and generates different spaces of action. As the space of the scene, architecture and urbanism, are defining elements of the theatrical language in the Teat(r)o Oficina, and its inverse path, as the company\'s theatrical language defines the configurations of its architectural and urban space. Understanding the image of \"crossing walls\", the \"desire of the outside\", as a driving force for all artistic revolutions achieved there.