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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 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.

Call number: LD2668 .T4 1959 P57

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