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This dissertation analyses the influence theatre space and the dramatic genre have on the design process, by examining three designs of Greg King: Aladdin (2007), a pantomime presented at the Playhouse Drama Theatre, Oleanna (2008) a drama at the Seabrooke's Theatre, and The Wizard of Oz (2008), a musical presented at the Elizabeth Sneddon Theatre. Through a semiotic analysis of the productions, the scenographic choices of King are interrogated to ascertain the ways theatre space and dramatic genre affected his design choices. The theories around sign systems in the theatre of Keir Elam (1980), Martin Esslin (1987), and Elaine Aston and George Savona (1991) are examined and used to decode King's designs. This dissertation theorises that the theatre space has influenced and continues to influence the decisions and choices of the scenographer, and it is this linkage that informs the discussion around the historical development of the proscenium arch theatre and the scenographer. The case studies offered in this dissertation highlight the challenges involved with the physical limitations of the theatre space, as each venue selected differs in size, shape, and the technical equipment available for the designer. The dramatic text provides the primary basis for both the director and the designer to develop a production concept. However, dramatic texts can be divided into many different genres and the following three genres, namely drama, musical and pantomime, provide the focus for this study. As these three genres have evolved from earlier forms, the historical development of the three genres is examined to ascertain how the genre affects the scenographic process. Atheatre production is the result of a collaboration between many specialists and therefore, the relationship between the designer and other member of the production team is examined. A set design is a visual image of an imagined environment and many designers use symbols, consciously or subconsciously, to communicate their ideas. A theatre production is the result of a collaboration between many specialists and therefore, the relationship between the designer and other member of the production team is examined. A set design is a visual image of an imagined environment and many designers use symbols, consciously or subconsciously, to communicate their ideas. The work of three international designers, Josef Svoboda, Ming Cho Lee and Ralph Koltai is examined further to understand the influence theatre space and the dramatic genre have on the design process. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2012.

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There is no abstract available for this thesis.

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Contemporary operatic scenography has been undergoing broad aesthetic, theatrical and technological transformations. My dissertation analyzes the work of three key designer-directors—Robert Wilson, Achim Freyer, and Karl-Ernst Herrmann—in order to investigate the changing relationship between the visual and the theatrical in contemporary opera, as well as opera’s place within current trends in theatrical design and broader visual culture. Combining an analysis of current productions with wide-ranging archival research, I reconstruct and explore these artists’ individual stylistic development and their mutual influence. Through this focus on the hybrid figure of the contemporary designer-director, I address two key historical changes in operatic culture: first, the greatly increased importance of scenography and visuality in global opera and second, the emergence of new scenographic idioms, which have rapidly displaced the dominance of historicist and realist conventions in staging. Throughout, I show how Wilson, Freyer, and Herrmann’s work has been central to the development of a “new international style” in operatic scenography. Combining close visual analysis with historical contextualization, I examine how this style—characterized by abstraction, rich colors, striking lighting and radical theatrical effects—has transformed the look of opera, while also framing these developments within the longer history of modernist scenography, and the long-standing tensions between stylistic innovation and aesthetic traditionalism.

Call number: LD2668 .T4 1965 H39 / Master of Science

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This dissertation is a micro-analysis of one particular type of communicative practice, the "mise-en-scène communication," which emerges as people talk and build scenery in their everyday work experiences in a theater consulting company in Taiwan. This dissertation engages in interaction analyses of participants' naturally occurring talk and face-to-face interaction in the set design meetings. Three findings are documented. First, mise-en-scène communication is multimodal. The participants use visual representations to communicate. These visual representational tools include architectural drawings, scale models, miniature props, and 3-D models and animations. The use of visual representations and communicative resources of language, gestural and postural conduct, the material surround, and physical objects enable the participants to visually communicate, envision, and construct scenes in and through talk and interaction. Second, mise-en-scène communication concerns three key organizing, work practices of creating an entirety of the theatrical space, including the scene-setting practice, the staging practice, and the measuring practice. This study finds that in these three major mise-en-scène practices identified, the theater artists express and formulate scenes and dramatic ideas in their talk. At the same time, they also frequently turn to bodily conduct as a source of insight into configuring, expressing, and formulating dramatic scenes. Third, the architectural drawings, the scale models, the props in miniature, and the computer simulations of theater space provide a material, perceptual field, which shapes embodied interaction systematically performed within it. The architectural drawings enable the participants to project the perceivable space through language and bodily behaviors. The miniature model and objects in a set create a full stage of symbolic communication in which scenes are arranged and dramas are spoken and created. Moreover, the theater artists manage to use language, gestures, and semiotic resources of the computer program, Maya, and its design interface to communicate and build 3-D scenes together. This research concludes that the plurality of channels exists in human communication. The micro-analysis of mise-en-scène communication reveals such a communicative process in which the participants draw on multiple modalities to visually construct theatrical meaning out of the set of visualization objects. / text

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