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In this research, following Mintzberg (1979 a), the structuring mode of these small enterprises, which are the theatrical production compagnies, has been named rudimentary adhocracy. In postulating the essential importance of the product itself in the management of these enterprises, the subject of this research is the praxis of the theatre director while structuring the project by which the theatrical representation happens. / In this research we have identified three types of praxis of directing: the first one is characterized by a search for the effectiveness of dramatic representation, the second one by a search for interiority and the third one by a search for new theatrality and theatralization. The first type, which is related to the > action, is characterized by an objective mode of conception of theatrical imaginary, a proactive mode of elaboration of the product within time and an autocratic mode of control in interpersonal relations. The two other types, which are variants of the > action, are characterized by a subjective mode of conception, a reactive mode of elaboration of the product and an allocratic mode of control. These three types of praxis are manifestations of the personal mode of structuring which we have identified as typical of rudimentary adhocracy. In inverting the title: >, this research leads to the application of the particular case of directing to the general one of management in rudimentary adhocracy. The objects of praxis are seen as being at the same time objects of affection and objects of knowledge, and the praxis of management is reconceptualised in the same way as is praxis of directing, in terms of the affective and cognitive dimensions underlying the manager's vision of the end product, the tight interrelation between that vision and its operationalization, and the influence of the internal and external realities of the manager as much as of the enterprise. This exploratory research has been conducted within an holistic perspective, i.e., considering the praxis of directing as a total fact. Participant observation and guided interview has been used to collect the material upon which the discussion is based.

This thesis has explored the relationship between the seven strong characters in The Lion in Winter and the dialogue through which Goldman reveals them. Each character is examined with the use selected sections of the dialogue to support the assertions.The second and third chapters discuss the procedures and evaluation of the production The Lion in Winter in Ball State University's Studio Theatre on February 14-17, 1973. Included in these sections are the director's ideas, problems, solutions, and suggestions.The appendices contain the production book and all the designs which were necessary to produce The Lion in Winter. In addition, photographs of the actual production are included.

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This thesis will take the reader through the production process for Romeo and Juliet, one of Southern Illinois University School of Theater and Dance’s productions. The primary focus of this thesis will follow the technical director’s role during preproduction, design development, and the production process. By discussing the process of this production, readers should gain insight to the work and steps involved in creating live theater.

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Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: In this thesis I attempted to analyse the four adaptations I created between 2004 and 2010. The first two products (texts and productions) were created in 2004 and 2005, while I was a student at the Stellenbosch University Drama Department. The third adaptation (text only) was created in 2007, while I was a freelance stage manager. In 2010, I collaborated with a choreographer for the first time to adapt a Shakespeare text into a dance theatre production. The process of adapting a text always starts with an interpretive reading. Extracting information and meaning from a text can also be referred to as ‘decoding’. In the process of creating the adaptation new meaning is written, or ‘encoded’, into the product that must in turn be decoded by the reader or audience member. A term for this decoding and encoding process that is often encountered in the field of video editing (an aspect of my current profession) is a ‘codec’. In video editing a codec is responsible for the decoding of a computer file into a video program that a viewer/audience can engage with, as well as the encoding of a video program into a file. Since I function as the ‘codec’ in these adaptation scenarios, I thought it appropriate to label my approach to the adaptation process, the ‘Conradie codec’. The aim of this reflexive study is to analyse my four adaptations, the processes as well as the products, in order to determine if such a codec truly exists. Research done in adaptation studies was presented in an attempt to define adaptation as both process and product – Linda Hutcheon’s A Theory of Adaptation was particularly useful. This created a framework for the study of each of the four adaptations in chronological order, according to the year in which they were created. The study also draws very generally on the principles of semiotics, especially with respect to the notion of coding. Firstly, the 2004 adaptation of Luigi Pirandello’s Six Characters in Search of an Author into Twintig akteurs op soek na ‘n [beter] Regisseur was analysed. This was followed by onsindroom (sic), an adaptation of August Strindberg’s A Dream Play. The third adaptation was iForest, which was created in 2007. This was an adaptation of (primarily) Eugene Ionesco’s The Killer. Lastly, the adaptation of Shakespeare’s Troilus and Cressida into When in Love… was studied. It was concluded that, while the ‘Conradie codec’ does exist and was applied in the creation of the four adaptations, its efficiency was limited – predominantly by time constraints. In all four the cases analysed the rehearsal process started when a complete draft of the adapted text was not yet finished. This put enormous pressure on the rehearsal process. While this is accepted when creating a workshop style production, more time is needed to develop the adaptation in order for it to be cohesive. By going through the process of analysing these four adaptations, the Conradie codec has been adapted (or updated) to version 2.0. / AFRIKAANSE OPSOMMING: In hierdie tesis het ek gepoog om my vier verwerkings tot op hede te analiseer. Die eerste twee produkte (tekste en produksies) was in 2004 en 2005 geskep terwyl ek ‘n student was. Die derde verwerking (slegs die teks) was in 2007 geskep terwyl ek ‘n vryskut verhoogbestuurder was. In 2010, het ek vir die eerste keer saam met ‘n choregraaf gewerk om ‘n Shakespeare teks te verwerk na ‘n dansteaterproduksie. Die verwerkingsproses van ‘n teks begin altyd met die lees van die teks op ‘n interpreterende wyse. Hierdie proses, om betekenis uit ‘n teks te ontgin, kan ook ‘dekodering’ genoem word. Tydens die verwerkingsproses word nuwe betekenis in die produk ingeskryf, of ‘geënkodeer’. Die leser of gehoorlid moet weer op hul beurt die nuwe produk dekodeer. Hierdie dekodering en enkodering word in videoredigering (‘n aspek van my huidige beroep) ‘n ‘codec’ genoem. In videoredigering is ‘n ‘codec’ verantwoordelik vir die dekodering vanaf ‘n rekenaarlêer na ‘n videoprogram wat deur iemand gekyk kan word, sowel as die enkodering vanaf ‘n videoprogram na ‘n leêr. Aangesien ek tydens die verwerkingsproses as die ‘codec’ funksioneer, het ek dit goed gedink om met die term die ‘Conradie codec’ vorendag te kom. Die doel van hierdie refleksiewe studie was om my vier verwerkings, die prosesse sowel as die produkte, te analiseer en sodoende te bepaal of so ‘n ‘codec’ wel bestaan. Navorsing op die gebied van verwerkings was voorgelê in ‘n poging om die konsep van verwerking as beide proses en produk te definieer – Linda Hutcheon se A Theory of Adaptation was ‘n nuttige bron gewees. Dit het gehelp om ‘n raamwerk vir die bestudering van elk van die vier verwerkings te skep – wat dan uitgevoer was in chronologiese volgorde. Die studie maak ook gebruik van die beginsels van semiotiek, in ‘n baie algemene wyse, veral ten opsigte van die begrip van kodering. Eerstens was die 2004 verwerking van Luigi Pirandello se Six Characters in search of an Author na Twintig akteurs op soek na ‘n [beter] Regisseur ontleed. Dit was gevolg deur onsindroom, ‘n verwerking van A Dream Play deur August Strindberg. iForest wat in 2007 geskep is, was ‘n verwerking van (hoofsaaklik) The Killer deur Eugene Ionesco. Laastens was die verwerking van Shakespeare se Troilus and Cressida na When in love… bestudeer. Die gevolgtrekking was dat daar iets soos die ‘Conradie codec’ bestaan en dat dit wel toegepas was in die skepping van die vier verwerkings. Die effektiwiteit daarvan was wel beperk – hoofsaaklik as gevolg van tydsbeperkings. In al vier die gevalle het die repetisieproses reeds begin voordat ‘n volledige weergawe van die teks voltooi was, wat enorme druk op die repetisieproses geplaas het. Terwyl dit aanvaarbaar is in die konteks van ‘n werkswinkelproduksie word meer tyd benodig vir die verwerking van ‘n teks om samehangend te wees. Deur die vier verwerkings te bestudeer, was die Conradie ‘codec’ self in die proses verwerk (of bygewerk) tot weergawe 2.0.

This creative project has explored a staging of Eugene Ionesco's The Bald Soprano that incorporated motion-picture film as a technical device. Drawing from the full body of Ionesco's works and their amplification of themes, theatrical techniques and use of language, this study considered The Bald Soprano as an Absurd play. The use of motion-picture film and slides in other theatrical productions was analyzed in order to justify the attempt to marry live actors and film on-stage in lonesco's play. In addition, this study discussed the director's approach to the production of The Bald Soprano: the rehearsal process, the light and set design, the use of film. Finally, it evaluated the attempt in terms of four principles of criticism: unity, communication, truthful projection of the playwright's emphasis and rhythm.The creative project also contains: a copy of the script annotated with the actions of the actors, the stage movements, light and sound effects, photographs of the play; a scenario of the film used and photographs lifted from individual frames of the film.