AN ABSTRACT OF THE THESIS OF Mary Katherine Hughes, for the Masters of Fine Art degree in Theater, presented on March 30, 2015, at Southern Illinois University Carbondale. TITLE: BEHIND THE CURTAIN: A SCENIC DESIGN OF RUPERT HOLMES' CURTAINS MAJOR PROFESSOR: Wendi Zea This paper covers the design and production process of the musical Curtains as produced by Southern Illinois University in October of 2014. Chapter One is an initial analysis of the play and design goals. Chapter Two is a description of the design processes and incarnations of the play over the course of several months. Chapter Three is a description of the build process for the production. Chapter Four is an analysis of the entire design and build process and its factors with a conclusion based on this analysis. The subsequent appendices contain additional charts and images of and for the design and build processes.

archives@tulane.edu / 1 / Elizabeth Primes

The purpose of this thesis is to create the foundation for a rating system that provides a consistent standard of measurement for sustainable set design, encompassing the entire process from concept, construction, and use, to deconstruction and waste management. / text

This is a compilation of selected set and costume designs from my past three years as a MFA candidate in theatrical design at the University of Texas at Austin. I hope this portfolio will help launch my career as a theatrical designer. My primary focus is set design and my secondary interest is costume design. This portfolio represents my best work as a costume and set designer. Each design will include a number of images that range from production photographs to preliminary sketches. / text

A reflection on the costume and scenic design process for the theoretical production of the musical Notre-Dame de Paris, composed by Riccardo Cocciante with lyrics by Luc Plamondon. This record contains the steps of the design process, from the analysis of the libretto and the dramaturgical research to the final presentation of the costume and scenic design elements.

No description available.

Dissertação que pesquisa o desdobramento de espetáculos teatrais em imagens de potencial plástico fecundo na interação entre a cenografia e as artes visuais. Estudos de caso de obras de Robert Wilson que elaboram as questões da tensão entre a ficção e a biografia, além de abordar imagem, corpo, movimento e espacialidade. Desenvolve-se em análise das posturas do espaço quando atravessado por trabalhos que promovem o pensamento acerca da imobilidade e de seu contrário. A reprodutibilidade esteticamente explorada é observada enquanto elemento fundamental na proposta que trata a disponibilidade do corpo justaposta à imagética que este é capaz de produzir. Na análise aparecem alguns materiais - imagens - resultantes de processos artísticos de Robert Wilson bem como de outros artistas como Marina Abramovic e Rineke Djcstra. Estruturado no encadeamento de imagens partícipes de processos de construção e condução de performances artísticas que abrangem as perspectivas da colaboração imagética incorporada ao pensamento criativo que recondiciona o corpo no campo da superficialidade enquanto abrangência poética / Dissertation researching the deployment of theater shows in pictures of fruitful plastic potential in the interaction between stage design and visual arts. Case studies of works by Robert Wilson that elaborate the issues of tension between fiction and biography, adressing in addition image, body, movement and spatiality. Develops in analysis of postures of space when crossed by works that promote thinking about stillness and its opposite. The aesthetically exploited reproducibility is seen as a key element in the proposal that treats the availability of the body juxtaposed to the imagery that this body is capable of producing. In this analysis some materials - images - appear as the resulting of artistic processes of Robert Wilson as well as other artists such as Marina Abramovic and Rineke Djcstra. Structured in the chain of participant pictures of building processes and driving of artistic performances that encompass the perspectives in collaboration of imagery incorporated into the creative thinking that reconditions the body in the field of superficiality as poetic scope

Dissertação que pesquisa o desdobramento de espetáculos teatrais em imagens de potencial plástico fecundo na interação entre a cenografia e as artes visuais. Estudos de caso de obras de Robert Wilson que elaboram as questões da tensão entre a ficção e a biografia, além de abordar imagem, corpo, movimento e espacialidade. Desenvolve-se em análise das posturas do espaço quando atravessado por trabalhos que promovem o pensamento acerca da imobilidade e de seu contrário. A reprodutibilidade esteticamente explorada é observada enquanto elemento fundamental na proposta que trata a disponibilidade do corpo justaposta à imagética que este é capaz de produzir. Na análise aparecem alguns materiais - imagens - resultantes de processos artísticos de Robert Wilson bem como de outros artistas como Marina Abramovic e Rineke Djcstra. Estruturado no encadeamento de imagens partícipes de processos de construção e condução de performances artísticas que abrangem as perspectivas da colaboração imagética incorporada ao pensamento criativo que recondiciona o corpo no campo da superficialidade enquanto abrangência poética / Dissertation researching the deployment of theater shows in pictures of fruitful plastic potential in the interaction between stage design and visual arts. Case studies of works by Robert Wilson that elaborate the issues of tension between fiction and biography, adressing in addition image, body, movement and spatiality. Develops in analysis of postures of space when crossed by works that promote thinking about stillness and its opposite. The aesthetically exploited reproducibility is seen as a key element in the proposal that treats the availability of the body juxtaposed to the imagery that this body is capable of producing. In this analysis some materials - images - appear as the resulting of artistic processes of Robert Wilson as well as other artists such as Marina Abramovic and Rineke Djcstra. Structured in the chain of participant pictures of building processes and driving of artistic performances that encompass the perspectives in collaboration of imagery incorporated into the creative thinking that reconditions the body in the field of superficiality as poetic scope

Det här är en text som är ett resultat av vårt examensarbete vi genomfört under den sjätte och sista terminen på scenproduktionsutbildningen på Malmö högskola. Texten och examensarbetet utgår ifrån frågeställningar som vi arbetat med under terminen i samband med att vi ljussatt två teaterföreställningar som satts upp av Teaterhögskolan i Malmös examinerande masterelever. Vi tar upp frågor och tankar om ljuset, scenrummet och ljussättarens roll i det kreativa teamet. Syftet med detta arbete har varit att utforska hur vi kan ta hjälp av ljus och ljusdesign i skapandet av scenrummet. Hur vi definierar de rum vi arbetat i och hur det är att vara en del en produktion. Vi har kommit fram till att trots att själva upplevelsen av ljus och rum är individuell, så är det just det som gör det till ett intressant område. Konkreta saker vi fått svar på är att färg och form påverkar människan, oavsett om vi är medvetna om det eller inte. / This text is the result of our thesis we implemented during the sixth and final semester at Stage Production program at Malmö University. We raise questions and thoughts about the light, room and illuminate the role of the creative team. The aim of this work was to how we can, through light and lighting design, explore the creation of the room, how we define the room we worked in and how it is to be part production. We conclude that although the experience of light and space is individual, this it what makes it an interesting area.

Urinetown: The Musical is a meta-theatrical musical that addresses issues such as sustainability, corruption, and human intentions. For my design of Urinetown: The Musical, I sought to poetically represent the world of the play without interfering with the story telling. From start to end, this is my process. / Theater