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

This paper discuses three different freakshow-attractions at the amusement park Gröna Lund in Stockholm during the 20th century; two tribes from the African continent, the exhibit of people with dwarfism and all female striptease. These attractions have been examined with international and intersectional perspective aswell as their effect on the possible heritage status of the amusement park Gröna Lund and their part in creating a so-called dissonant heritage. The thesis does not examine individual freaks or the amusement often refereed to as burlesque that also was an important part of the amusement park Gröna Lund. By studying the amusement park Gröna Lund’s company archive at the Centre for business history in Stockholm I found the main source material for this thesis. This material consisted of pictures, commercial flyers given out at exhibitions, advertising banners and articles from various Swedish newspapers. The material has then been exposed to both textual and image analysis. The result is that the human attractions at Gröna Lund can, and should, be seen as a part of an international freakshow market - although influenced by social and political trends and institutions. I also argue that the amusement park, and the human attractions are a part of a dissonant heritage, a more intersectional Swedish heritage. This is a two years master’s thesis in Archive, Library and Museum studies.

Linking his thematic inspiration (the strange, the bizarre, the weird and the odd) to his artistic reflection, Lopez conceives of his work as based on his fascination with human facial expressions. "It is there where it is born", he says. Like Leonardo, he believes that the eye is the superior organ. Lopez's use of form and color represents his main objective: to show emotion, humanity and elegance. For that, it is necessary for him to reveal character as well as beauty. It is again, the approach used by the great masters such as Leonardo, Velazquez, Gericault and Goya in representing integrity inside the strange, the bizarre, the weird and the odd. Lopez's art invites the viewer to stare at it, to establish a cordial exchange and to venture into the fascinating world of the unusual.

The purpose of this thesis is to recount the creative process used when designing the costumes for Temple University’s Fall 2018 production of Side Show. The process is chronicled from the first assignment of the production, to reading the play, then through the process of gathering research, the initial design process and subsequent revisions, the final renderings, and into the process of building and implementing the author’s designs into a fully realized production. Subjects include the historical life of the Hilton Twins, the realities of side show performers, the changing fashions of the 1920s and 1930s, the process of creating unique, unconventional costumes, and the process of collaborating with costume shop staff. The author will reflect on the successes and difficulties of mounting a large, unique musical. / Theater

Made available in DSpace on 2016-03-15T19:42:22Z (GMT). No. of bitstreams: 1 Veronica DAgostino Piqueira.pdf: 959865 bytes, checksum: af3af03c97b9613293c5dcfac01b96ee (MD5) Previous issue date: 2013-01-23 / Universidade Presbiteriana Mackenzie / Hoping to contribute to broaden the discussion on the issue of popular American cultural imaginary, the objective of this dissertation is to reflect on the concept of normality and abnormality featured in the movie Freaks (1932), dedicated to the representation of the social and cultural universe of sideshows. We will present the influences that pierced the way director Tod Browning, searching referrals for the formation of his author cinema in his history since his youth as itinerant artist until the dimension of slapstick actor, director and writer of his own films. We'll also discuss some of the reasons that led to the emancipation of the horror genre during the Great Depression, seeking aesthetic, literary and political references in the narrative of his major classics. Based on these studies, this research transits in an interdisciplinary way by languages History of Culture and Film, presenting an encounter between monsters and humans and the way how they are expressed in the body exposed in Freaks. / Esperando contribuir para ampliar as discussões sobre a questão do imaginário cultural popular americano, o objetivo da presente dissertação é refletir sobre o conceito de normalidade e anormalidade apresentado no filme Freaks (1932), dedicado à representação do universo social e cultural dos sideshows. Apresentaremos as influências que transpassaram o caminho do diretor Tod Browning, buscando referências para a formação do seu cinema autoral em sua história vivida desde a juventude como artista itinerante até a dimensão como ator de pastelão, diretor e roteirista de seus próprios filmes. Discutiremos também algumas razões que levaram à emancipação do gênero de horror no período da Grande Depressão, buscando referências estéticas, literárias e políticas na narrativa de seus principais clássicos. Baseando-se nesses estudos, esta pesquisa transita de forma interdisciplinar pelas linguagens História da Cultura e Cinematográfica, apresentando o encontro entre monstros e humanos e o modo como são expressos no corpo exposto em Freaks.

This thesis redresses the lack of scholarly attention paid to painted circus banners produced in the United States during the first half of the twentieth century by exploring the extent to which American folk art painting scholarship, methodologies, and objects can be used to articulate the meaning and significance of banner painting. This study expands the disciplinary treatment of banner painting by introducing domesticated art as a means of representing non-academic art produced in the U.S. The thesis also presents a model for exploring banner painting after identifying traditional American folk art painting methodologies, which fail to investigate banner painting style, format, and artistic training associated with banner work.

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