This thesis paper will explain my set design process for Temple University's 2014 production of Macbeth. I will cover the steps from receiving the assignment to opening night and evaluate its purpose in my education toward a Master's of Fine Arts. / Theater

LONG DAY’S JOURNEY INTO REALISTIC SCENIC WORLD: A REFLECTION ON THE SCENIC DESIGN FOR EUGENE O’NEILL’S LONG DAY’S JOURNEY INTO NIGHT MAY 2021 XINYUAN LI, B.A., SHANGHAI THEATER ACADEMY M.F.A., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Anya Klepikov This thesis is a reflection of the paper project of scenic design of Long Day’s Journey Into Night by Eugene O’Neill. It’s a record tracking the entire design process from the script analysis to the final presentation and all the discovery along with the process. Successes and places need to be improved will also be included.

Every day we encounter objects and use them for purposes related to improving our life. However, sometimes the reason these objects are manufactured is because of capitalistic gain rather than the need for improved quality of life. In fact, the more objects that are produced by American companies, the more garbage is inevitably ending up in landfills. The installation work, Ocean of Objects, arranges mundane objects in a different context within a diorama. The United States is in an age of consumerism where our relationship to the objects we buy defines the way we conceptualize our relationship to the physical environment we are in. As a theater artist, I studied scenic design and installing scenery for productions. The exhibition and diorama are created using methods of theatrical scenic design, and digital elements such as projections help reinforce the narrative setting. I sense that if people paid more attention to how things get made and then discarded and changed the perception of their environment through the objects they buy and use, then they could build a better community with each other. / Master of Fine Arts / The effectiveness of waste management impacts every person. Most people tend not to think about what they throw out once it leaves their home. To create a better ecology, it is critical to persuade people that their individual effort makes a difference. In the process of "Reduce, Reuse, Recycle," individuals can try in the latter two steps. Besides recycling, people have the power to buy less and find new ways to use objects that become "disposable" after their initial use. The exhibition Ocean of Objects puts members of the Blacksburg, Virginia community in close contact with objects, and asks them to reconsider how they buy and use things in their daily lives.

The overall objective of this study was to determine if remotely sensed data could be used to model scenic beauty. Terrestrial digital images from within forest stands located in Prince Edward Gallion State Forest near Farmville, Virginia were rated for their scenic beauty by a group of students to obtain scenic beauty estimates (SBEs). Since the inter-rater reliability was low for the SBEs, they were not used in the modeling efforts. Instead, stand parameters (collected on tenth acre plots) that have been used in scenic beauty prediction models, like mean diameter at breast height (dbh), were the dependent variables in regression analyses. A color-infrared aerial photograph from the National Aerial Photography Program (NAPP) was scanned to achieve a pixel ground resolution of one meter. The digital aerial photograph was rectified and used as the remotely sensed data. Since the aerial photograph was taken in April, only conifer stands were used in the analyses. Summary statistics were obtained from a 23 by 23 window around plot locations in three images: the original image, a texture image created with the variance algorithm and a 7x7 window, and the first principal component image. The summary statistics were used as the independent variables in regression analyses. The mean texture digital number for the green band predicted the mean dbh of a plot with an R2 of 0.623. A maximum of 44.3 and 27.4 percent of the variability in trees per acre and basal area per acre, respectively, was explained by the models developed in this study. It seems unlikely that the remotely sensed forest stand variables would perform well as surrogates for field measurements used in scenic quality models. / Master of Science

The stretch of California Route One (Highway 1) from the City of San Luis Obispo reaching north to the Monterey County line is one of the most scenic drives in the United States. This stretch of highway is a destination in its own right; so much so, the San Luis Obispo North Coast Scenic Byway is federally designated as an All-American Road, the highest scenic designation of any road or highway in the nation. There has been a history for funding the preservation and enhancement of these roads; however, it was removed in 2012. Even with the lack of current funding opportunities, the San Luis Obispo Council of Governments (SLOCOG) continues to recognize the importance of the corridor in attracting valuable tourism revenue thus commissioning this update and economic analysis. Through the economic analysis it was found that visitor spending in the byway region increased by 23% from over $500 million in 2006 to almost $656 million in 2012. In 2012, visitor spending related associated with scenic recognition and enhancement projects along the corridor was about $217,000 in direct revenue. As a result of research, outreach, and data analysis, this project did find that being scenic does make “cents.”

Archaeological sites in the New World are the fragile and non-renewable remains of cultures which flourished for thousands of years prior to European contact and displacement. Sites which escape the effects of erosion and development often fall victim to vandalism. Cultural resources, including rock art and other archaeological sites, are protected by state and federal laws which prohibit the removal or disturbance of the sites, whether from development or from vandalism. Vandalism is frequently seen as a problem for law enforcement rather than a problem for cultural resource management. Management plans which include cultural resource protection provisions and guidelines often focus on threats to cultural resources from development, and omit planning which targets vandalism. The rock art sites of the Columbia River Gorge National Scenic Area ("Scenic Area") have been affected by developments such as The Dalles Dam and by the vandalism. In this study, the nature and degree of vandalism to the rock art sites in the Scenic Area is considered in the context of public awareness of, and access to, these sites. Rock art sites which are easily located and which have been the focus of public awareness are hypothesized to be the most severely vandalized. To test this hypothesis, fifteen of the 44 rock art sites in the Scenic Area were selected for study, and were assessed for kind and degree of vandalism, and means and ease of access. The results of analysis yielded two statistically significant associations of variables which support the hypothesis: an association between vandalism and public awareness of sites, and an association between vandalism and the primary means of access. The analysis suggests that public awareness is one of the most important issues which land managers must address when designing cultural resource protection plans.

A dissertação propõe a investigação da Música Cênica como uma prática que coloca em jogo o contato entre elementos musicais e cênicos, ambos regidos por uma organização musical subjacente. Na guia das diversas vertentes da música contemporânea e experimental, alguns autores ressaltam a presença cênica dos concertos de música utilizando estratégias de iluminação, figurino, gestualidade, encenação etc. Os caminhos teóricos que tomamos desenharam uma abordagem ancorada na semiótica tensiva, de Claude Zilberberg, principalmente no texto \"As condições Semióticas da Mestiçagem\", do mesmo autor. Propomos observar as estratégias de dominâncias, transportes e ambivalências entre as presenças musicais e as presenças cênicas, através da configuração gradativa e aspectual dos modos de contato. Apresentamos também uma recensão dos principais autores da prática, em que levantamos as discussões terminológicas e as abrangências do termo e, por fim, procuramos aproximar os discursos sobre a ideia de uma identidade brasileira com os mecanismos que caracterizam a prática de Música Cênica, elencando um repertório de obras de compositores brasileiros. / This work proposes an investigation of Scenic Music as a practice that puts in contact musical and scenic elements, both directed by an underneath musical organization. Taking into account the various aspects of contemporary and experimental music, some authors emphasize the scenic presence of music concerts by using strategies of lighting, costumes, gestures, staging, etc. The chosen theoretical approach is based on the tensive semiotics of Claude Zilberberg, mainly in the article \"The Semiotic Conditions of Miscegenation\". We analyze the strategies of dominances, transports and ambivalences between musical and scenic presences, through the gradual and aspectual configuration of the modes of contact. We also present a review of the main authors of this practice and discuss terminological issues and their range of uses. Finally, we trace some parallels between the idea of a Brazilian identity and the mechanisms that characterize the practice of Scenic Music, listing a repertoire of works by Brazilian composers.

A dissertação propõe a investigação da Música Cênica como uma prática que coloca em jogo o contato entre elementos musicais e cênicos, ambos regidos por uma organização musical subjacente. Na guia das diversas vertentes da música contemporânea e experimental, alguns autores ressaltam a presença cênica dos concertos de música utilizando estratégias de iluminação, figurino, gestualidade, encenação etc. Os caminhos teóricos que tomamos desenharam uma abordagem ancorada na semiótica tensiva, de Claude Zilberberg, principalmente no texto \"As condições Semióticas da Mestiçagem\", do mesmo autor. Propomos observar as estratégias de dominâncias, transportes e ambivalências entre as presenças musicais e as presenças cênicas, através da configuração gradativa e aspectual dos modos de contato. Apresentamos também uma recensão dos principais autores da prática, em que levantamos as discussões terminológicas e as abrangências do termo e, por fim, procuramos aproximar os discursos sobre a ideia de uma identidade brasileira com os mecanismos que caracterizam a prática de Música Cênica, elencando um repertório de obras de compositores brasileiros. / This work proposes an investigation of Scenic Music as a practice that puts in contact musical and scenic elements, both directed by an underneath musical organization. Taking into account the various aspects of contemporary and experimental music, some authors emphasize the scenic presence of music concerts by using strategies of lighting, costumes, gestures, staging, etc. The chosen theoretical approach is based on the tensive semiotics of Claude Zilberberg, mainly in the article \"The Semiotic Conditions of Miscegenation\". We analyze the strategies of dominances, transports and ambivalences between musical and scenic presences, through the gradual and aspectual configuration of the modes of contact. We also present a review of the main authors of this practice and discuss terminological issues and their range of uses. Finally, we trace some parallels between the idea of a Brazilian identity and the mechanisms that characterize the practice of Scenic Music, listing a repertoire of works by Brazilian composers.

Étudiée à travers un corpus de cinq auteurs scéniques – Romeo Castellucci, Pippo Delbono,Simon McBurney, Christoph Marthaler et François Tanguy, la représentation rhapsodique met en lumière une pratique théâtrale qui consiste à construire le spectacle à partir des composants du plateau : scénographie, jeu des acteurs et textes produits par les acteurs ou apportés comme« matériaux » de jeu. Le metteur en scène, devenu « auteur scénique », compose ainsi, en étroite relation avec les présences en scène une écriture scénique à l’intérieur de laquelle le texte,reconfiguré dans la partition scénique, déstabilise les attendus dramatiques. La caractéristique de cette écriture est de tresser les différents constituants entre eux et de se développer en séquences dramatiques, par un méticuleux travail de montage.Le paysage théâtral qui se dégage de cette étude place la réception au coeur du dispositif scénique. / Through the study of five scenic authors – Romeo Castellucci, Pippo Delbono, SimonMcBurney, Christoph Marthaler and François Tanguy, rhapsodic performance highlights a theatrical practice which consists of constructing the show with the stage components : scenography, the acting, and the text produced or introduced by the actor as the acting« material ». The director, who becomes the « scenic author », thus composes, in strict relation with the stage presence a scenic account in which the text, reworked in its scenic partitions,destabilizes the dramatic expectations. The characteristic of this technique is to harmonize the different constituents amongst themselves and to unfold into dramatic sequences, through ameticulous mounting process.The theatrical landscape revealed through this study places reception in the heart of the scenic device.

The thesis deals with the influence of telecommunication transmitters on the aesthetic value of landscape. It uses both environmental and sociological approach. Subject of investigation is the relationship between the aesthetic stimulus (landscape) and the recipient (man). For the analysis, Scenic Beauty Estimation Method is used as a psychological procedure which measures aesthetic preferences and allows adequately assess how society perceives the presence of various types of telecommunication transmitters in the landscape, including the so-called camouflage. Analysis also includes a comparison of affected and unaffected groups. The aim of the thesis is to assess whether the perception of the presence of telecommunication transmitters in the landscape is negative. The thesis deals with hypothesis that "camouflages" reduce the negative perception of telecommunication transmitters in the landscape.