Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Typescript. Vita. Includes bibliography.

Thesis (M.F.A.)--West Virginia University, 2009. / Title from document title page. Document formatted into pages; contains v, 66 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 42).

Thesis (Honors)--College of William and Mary, 2010. / Includes bibliographical references (leaves 34-35). Also available online.

During the early 20th century, artists associated with Beijing Opera reformed various elements of the performance to reflect contemporary events. Attempts at reform were deemed unsuccessful since most traditional components of the Beijing Opera were obscured. This thesis explores the use of theatrical stage lighting with specific emphasis on the use of stage lighting to support the aspects of time, space, and mood which are inherent in the performance. The ultimate objective is to do this without destroying the original performance style associated with Beijing Opera. The practical component of this thesis is based on the McCandless method of stage lighting and the application of this method to the lighting design created for Murder of a Concubine, a traditional piece of repertory of the Beijing Opera. The culminating performance was presented on December 1st, 2013 on the Academic Hall stage in the Department of Theatre of the University of Ottawa.

No description available.

This Thesis presents the various materials that evolved while designing the lighting for the Theatre Arts - University Theatre's production of A Little Going Away Party. Through various meetings with production staff the design objectives and styles of the premiere production were established. We determined that the production was dealing with an upcoming death in a positive manner and that the production elements should reflect this. The lighting design created a coolly lit cellar that was warmed progressively to reflect the growth of one of the characters as the story developed. The design also aided in drawing the audience's focus to different areas of the stage when action and dialogue required it. / M.F.A.

Performances of multimedia works are hampered by the difficulty of controlling large numbers of incandescent lamps rapidly and accurately. The instrument described in this document is aimed at alleviating this problem. Chapter I describes the design and operation of the voltage-controlled dimmer unit and the DC controller. Chapter II describes step-by-step procedures for building the instrument. Schematics, wiring diagrams, and illustrative photographs are included. Chapter III discusses some of the aesthetics and philosophy of multimedia composition, and then describes various scenarios which utilize the instrument. Included are the connection of peripheral control equipment, audio/Video interfacing, and the potential for constructing prepared tapes which will automatically drive the dimmers. The prototype was built at the NTSU Electronic Music Center.

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.

Thesis--University of Wisconsin, 1966. / Description based on print version record. Includes bibliographical references.

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