294 pages / This study identifies and examines Moises Kaufinan's theoretical questions and rehearsal techniques from their development in initial works at New York University to their specific application during the creation of Gross Indecency: The Three Trials of Oscar Wilde and The Laramie Project by his Tectonic Theater Project. Kaufinan's upbringing and major artistic influences are investigated in order to trace the origins of his current theoretical language and approach to making theatre. This dissertation primarily focuses on Kaufi:nan's approach to the workshop space as discussed in relation to his search for new theatrical forms, and his style of communication with company members. Such focus offers new questions regarding the basis and range ofKaufinan's aesthetic. The two guiding questions of the study ask: What is Kaufinan's directorial role in Tectonic Theatre Project's creation of new work? How does he ensure the "copulation" of form and content in the workshop space when creating new works? Chapter II outlines Kaufman's biography through detailing his education in Venezuela and in the Experimental Theatre Wing at New York University, as well as traces his early production history. Chapter III investigates how Tectonic techniques led to the creation of Gross Indecency examining Kaufman's inciting hunch, the depth of his research, his organizing principle and expanding through-lines, and "moment work." Chapter IV continues to trace the development of these Tectonic techniques through the creation of The Laramie Project, highlighting the fact that no two Tectonic Theater Project productions have been created in the same manner. This chapter also raises the crucial question of Kaufman's role as Tectonic's workshop director in regards to the issues of authority and authoring. Chapter V arrives at concluding questions and thoughts on Kaufman's theoretical questions in traffic with his workshop techniques, and how these shape his directorial and authorial aesthetics. Chapter V concludes with questions for further study on Kaufman and historically based theatre.

Auditivt berättande är någonting som Christopher Nolan arbetar mycket med och Shepard-ton är en teknik som han har utnyttjat speciellt mycket i tre av sina största filmer, The Dark Knight (2008), Dunkirk (2008) och Interstellar(2014), Gemensamt använder alla filmerna Shepard-tonen, genom och jämsides med andra ljud för att kommunicera till tittaren om miljön, känslor som uttrycks i scenerna och själva berättelsen. Det grundläggande jag har undersökt är om Shepard-tonen är mer än en ljudteknik, utan också en effektiv berättarteknik. För att jag skulle kunna besvara frågan så gjorde jag en analys av nyckelscenerna från dessa tre filmer. I min analys så har jag sammanfattat att Shepard-tonen leder tittaren till en klimax och att den följer Branigans narrativa schema. Den tar inte bort fokuset från vad vi ser utan leder omedvetet tittarna genom det narrativa. Shepard-tonen är ett verktyg som kommunicerar känslor, information och narrativa symboler i berättelsen.

Craig Hella Johnson (b. 1963) has emerged as a leader in choral music over the last 20 years. As the conductor of the Austin, TX based chorus Conspirare Johnson implemented the European model of bringing singers together from all over the country to assemble for concerts and recordings over a short period of time. He is known for his collage programs which bring together many styles of music bound by a central theme. Through these programs he has written and arranged many pieces which are now published and being performed by choirs across the globe. Johnson's most significant work to date is a 90 minute passion oratorio which details the story of Matthew Shepard, a college student murdered in a hate crime in 1998. Considering Matthew Shepard (2016) is a wonderful example of Johnson's composition and programming style. Though not a traditional passion story, it is part of the evolution of the genre in the 20th and 21st centuries. The passion oratorio has seen a resurgence in the past 50 years and has undergone a transformation in that time. These new works pay homage to the history of the genre but have begun to stretch it in terms of form and content. This study will highlight the evolution of the passion oratorio focusing on Johnson's Considering Matthew Shepard and offer some insight into the composers style and how this work represents a modern treatment of the passion oratorio.

One of the reasons for writing this thesis was to help readers and theatregoers better understand Shepard's plays and to let them see, at least partly, his intentions. Yet, to ask for a straightforward explanation or an unambiguous ending would mean to completely misunderstand the author. Samuel Shepard the playwright, actor, director, screenwriter, poet and musician as well as a cowboy and shaman - "a New World shaman" - is anything but a piece of cake. To know this much might be enough unless you plan to translate or direct one of his plays. And for these very purposes, I have decided to prepare a roadmap for understanding Samuel Shepard Rogers III. My goal was to show three main influences that helped to form Shepard's style. First, we will travel with young Sam eastwards all the way to New York in order to discover a brave new world. Only fifteen years later, we will set the sails in the same direction again, this time to accompany an unheard-off success - an Off-Off- Broadway show moving from San Francisco to New York to be eventually awarded the Pulitzer Prize. Unfortunately, this child prodigy we came with is dying; indeed, it is already a Buried Child. After twenty more years, Shepard will revise the text and claim that "it's now a better play". That is where our analysis starts. First, we will...

The purpose of this thesis is to undertake a thorough analysis of Sam Shepard's approach to the character in a selection of his plays from the 1970s. Instead of approaching characters as compact entities with fixed character features the thesis focuses on their instability and changeability and attempts to ascribe characters' transformations to dynamic non-subjective forces and to identify ego-loss as a partially liberating process that nonetheless confronts the characters with the unknown and is accompanied by fear of self-loss. From the theoretical vantage point of the collaborative writings of Gilles Deleuze and Félix Guattari, the thesis equates the transformations of Shepard's characters and their inability to locate the "self" with the schizophrenic experience. As a musical genre based on variability, jazz, as well as its inherent form of expression, improvisation, are utilized as points of departure in the analysis of characters' instability in plays Suicide in Bb and Angel City. Furthermore, in Angel City, the phenomenon of film in the USA and the desire for success and fame intensified by it are perceived as instruments of manipulation and illusion, which characters easily succumb to and which severely alter their sense of reality. Moreover, the environment of filmmaking is introduced as a...

Thesis (Ph. D.)--Georgia State University, 2008. / Title from file title page. Philo Hutcheson, committee chair; Richard Lakes, Marybeth Gasman, Joyce King, committee members. Description based on contents viewed Nov. 13, 2009. Includes bibliographical references (p. 159-165).

Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Dans le cadre de la classification de sons,cette thèse construit des représentations du signal qui vérifient des propriétés d’invariance et de variabilité inter-classe. D’abord, nous étudions le scattering temps- fréquence, une représentation qui extrait des modulations spectrotemporelles à différentes échelles. Enclassification de sons urbains et environnementaux, nous obtenons de meilleurs résultats que les réseaux profonds à convolutions et les descripteurs à court terme. Ensuite, nous introduisons le scattering en spirale, une représentation qui combine des transformées en ondelettes selon le temps, selon les log-fréquences, et à travers les octaves. Le scattering en spirale suit la géométrie de la spirale de Shepard, qui fait un tour complet à chaque octave. Nous étudions les sons voisés avec un modèle source-filtre non stationnaire dans lequel la source et le filtre sont transposés au cours du temps, et montrons que le scattering en spirale sépare et linéarise ces transpositions. Le scattering en spirale améliore lesperformances de l’état de l’art en classification d’instruments de musique. Outre la classification de sons, le scattering temps-fréquence et le scattering en spirale peuvent être utilisés comme des descripteurspour la synthèse de textures audio. Contrairement au scattering temporel, le scattering temps-fréquence est capable de capturer la cohérence de motifs spectrotemporels en bioacoustique et en parole, jusqu’à une échelle d’intégration de 500 ms environ. À partir de ce cadre d’analyse-synthèse, une collaboration artscience avec le compositeur Florian Hecker / This dissertation addresses audio classification by designing signal representations which satisfy appropriate invariants while preserving inter-class variability. First, we study time-frequencyscattering, a representation which extract modulations at various scales and rates in a similar way to idealized models of spectrotemporal receptive fields in auditory neuroscience. We report state-of-the-artresults in the classification of urban and environmental sounds, thus outperforming short-term audio descriptors and deep convolutional networks. Secondly, we introduce spiral scattering, a representationwhich combines wavelet convolutions along time, along log-frequency, and across octaves. Spiral scattering follows the geometry of the Shepard pitch spiral, which makes a full turn at every octave. We study voiced sounds with a nonstationary sourcefilter model where both the source and the filter are transposed through time, and show that spiral scattering disentangles and linearizes these transpositions. Furthermore, spiral scattering reaches state-of-the-art results in musical instrument classification ofsolo recordings. Aside from audio classification, time-frequency scattering and spiral scattering can be used as summary statistics for audio texture synthesis. We find that, unlike the previously existing temporal scattering transform, time-frequency scattering is able to capture the coherence ofspectrotemporal patterns, such as those arising in bioacoustics or speech, up to anintegration scale of about 500 ms. Based on this analysis-synthesis framework, an artisticcollaboration with composer Florian Hecker has led to the creation of five computer music

本文以紀德根據盾徽所提出之內在重複結構，探討美國劇作家山姆謝普的「家庭劇三部曲」。〈烈火家園〉結尾的預言故事說明了家庭成員互相毀滅的行為模式，〈埋葬的孩子〉劇中所揭發的弒子秘密與舞台上的演出相對應，〈西部實錄〉劇中的西部電影大綱正是男主角兄弟鬩牆之爭的寫照。 / Chapter I relates the American playwright Sam Shepard’s life and career. Chapter II introduces the evolution of the idea of "mise en abyme." Chapter III interprets the concluding fable in "Curse of the Starving Class" as the mise en abyme of the play. Chapter IV interprets the secret of the child murder as the duplication of the action of "Buried Child" on stage. Chapter V interprets the Western scenario in "True West" as a reflection of the two brothers’ sibling rivalry in the play.

[pt] No presente trabalho de tese é apresentado, analisado e avaliado um método inédito para prever perfis de poço (para um pseudo-poço), a partir de informações dos poços verticais vizinhos e dados de sísmica 3D. Este método é formado por quatro partes principais. Na primeira parte são processados os perfis de raio gama dos poços para produzir um conjunto de sinais estratificados. Estes resultados são utilizados na segunda parte para realizar a correlação lateral de poços, com um método baseado em Algoritmos Genéticos, cujos resultados são intervalos de estratos semelhantes que indicariam a existência de estruturas rochosas contínuas na subsuperfície. Na terceira parte são estimados os deslocamentos, em profundidade, entre alguns estratos do pseudo-poço e dos poços reais. Isto é realizado com um método, baseado em Algoritmos Genéticos, para correlacionar eventos entre traços sísmicos 3D nas posições próximas aos poços reais e ao pseudo-poço. Na quarta parte são utilizados os resultados das outras três partes para interpolar vários tipos de perfis do pseudo-poço, primeiramente, dos estratos semelhantes e, em seguida, dos estratos não semelhantes, ajustados em profundidade. Os resultados desta parte constituem as medições previstas. Os pesos para a interpolação, pelo método de Shepard, são calculados através de uma função que depende da distância entre o pseudo-poço e cada um dos poços utilizados. Um estudo de sete casos é apresentado para avaliar a eficácia do método de previsão. Esses casos utilizam arranjos de dois e três poços do Campo de Namorado na Bacia de Campos (RJ) e, adicionalmente, um poço próximo a cada arranjo serve de padrão para avaliar as medições previstas através do coeficiente de correlação e da média dos erros percentuais absolutos. Em termos globais os resultados das previsões apresentam correlação linear forte e os erros percentuais absolutos estão entre 5 por cento e 30 por centoem relação aos padrões. / [en] In this thesis is presented, analyzed and evaluated a new method to forecast well logs (for a pseudo-well), based on information of the neighboring vertical wells and the 3D seismic data. This method consists of four main parts. In the first part, the gamma ray logs from wellbores are processed to produce a stratified set of signals. In the second part, the stratified signals are used to perform a method of lateral correlation of wells with Genetic Algorithms; whose results are similar intervals strata that would indicate the existence of continuous rock structures in the subsurface. In the third part, a method, based on Genetic Algorithms, are used to estimate displacements in depth between some strata of the pseudo-well and real wells. That method correlates events between 3D seismic traces at positions near the real wells and the pseudo-well. In the fourth part, results from the other three parts are used to interpolate several types of logs of the pseudo-well, first of the similar strata and then of the not similar strata, adjusted in depth. The results of this part are the forecasted measurements. The weights for interpolation, by the method of Shepard, are calculated using a function that depends on the distance between the pseudo-well and each real well. A study of seven cases is presented to evaluate the effectiveness of the forecasting method. These cases use arrangements of two and three wells of the Namorado Field in the Campos Basin (RJ) and additionally a real well near each array serves as a standard for evaluating the forecasted measurements by the correlation coefficient and the mean absolute percentage error. Overall the results showed a strong linear correlation and the mean absolute percentage errors are between 5 per cent and 30 per cent in relation of standard data.