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Die Anfänge des Kabarets in der Kulturszene um 1900 : eine Studie über den "Chat noir" und seine Vorformen in Paris, Wolzogens "Überbretl" in Berlin und die "Elf Scharfrichter" in MünchenFrischkopf, Rita January 1976 (has links)
No description available.
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An architecture of connection: a place for musicSchorer, Carolyn Jones January 1986 (has links)
Master of Architecture
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The designing and building of two Linnebach projectors for a Readers' Theatre production of A West Wind RisesHawes, Clayton E. January 1965 (has links)
Call number: LD2668 .T4 1965 H39 / Master of Science
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The H.B. Thom Theatre : an evaluation of its potential as a regional arts and cultural centreEsterhuizen, Johan 03 1900 (has links)
Thesis (MDram (Drama))—University of Stellenbosch, 2005. / This study wishes primarily to explore re-positioning the H.B.Thom Theatre as a cultural
amenity in the Stellenbosch region. The first step was to place the building of the H.B.
Thom Theatre in 1966 in the context of the cultural and political dynamics of the time as
well as to trace the cultural politics of the Western Cape in particular during the turbulent
years leading to the first Democratic Elections in 1994. The question is asked, to what
extent do the changes in the political climate and cultural thinking impact on the use of
this important, regional arts facility?
A Cultural Impact Study was made to evaluate the scope of cultural production in the
region. Alongside this regional study, the past and present utilisation of the H.B.Thom
Theatre as such has been thoroughly documented, processed and discussed. Areas of
concern regarding the utilisation of the theatre in particular and possible solutions in
meeting these concerns have been integrated into the study.
The appropriate management structures and artistic vision leading to the establishment of
the H.B.Thom Theatre as a Regional Arts Centre have been researched and detailed as
well as mechanisms for its incorporation into the University of Stellenbosch’s broader
Strategic Framework.
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Kabaret as moontlike teatervorm vir sangers met 'n klassieke sangorientasieDe Villiers, Jacobi 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2008. / ENGLISH ABSTRACT: This study was initiated to gain insight into cabaret as a form of theatre for the
migration of singers with a classical singing orientation. It researches a form of
music theatre known as entertainment cabaret, which is individual by nature, as it
is not bound by convention.
The study entails a discussion of the nature of cabaret as a diverse form of
theatre. It illustrates the role of the artist and the genre’s music style in
researching structure, to determine differences and similarities in the frameworks
of cabaret and opera, with specific reference to classical singing.
Currently there is an abundance of musical theatre genres, and cabaret is not
differentiated as an individual genre. This leads to problems in the definitive
classifying of cabaret, as well as the bridging of a singer with a classical singing
orientation migrating to cabaret.
The study researches the concept of, and reasons for, this migration in South
Africa. The qualitative research method, which makes use of in-depth interviews
to gain insight, generated a wealth of information about the realities in South
Africa. This method introduces a new method of acquiring information, where the
changes of the last few years had a tremendous impact on the careers of
performing artists in South Africa. For this reason, artists with a classical singing
orientation must have a choice to take action; to generate their own opportunities.
The main findings and the need for multi-talented artists to adapt to the different
styles of genres were analysed in the theoretical section, followed by a
discussion of the respondents’ feedback selected to contribute to this study. The
gap in skills between the cabaret artist and the classical singer is identified to
showcase and define the possibility of cabaret as a form of theatre for classical
singers. New categories are generated in which ideas of how development can
be adapted are laid out. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om insig te verkry in kabaret as moontlike
teatervorm vir die migrasie van sangers met ’n klassieke sangoriëntasie. Dit
ondersoek die vermaaklikheidsvorm kabaret, ’n eiesoortige vorm van
musiekteater deurdat dit nie deur konvensies begrens word nie.
Die studie behels ’n bespreking van die aard van kabaret as diverse teatervorm,
en illustreer die rol en vaardighede van die kabarettis asook die genre se
musiekstyl om die ooreenkomste en verskille in die raamwerk van kabaret en
opera, met betrekking tot klassieke sangoriëntasie, te ondersoek.
Tans oorvloei die musiekteatergenres, en word kabaret nie as eiesoortige genre
onderskei nie. Dit maak die onderskeid van kabaret, asook die oorbrugging van
’n klassieke sanger wat na kabaret migreer, uiters problematies.
Die studie stel ondersoek in na die konsep van en redes vir die migrasie van
sangers met ’n klassieke sangoriëntasie na kabaret in Suid-Afrika. Die
kwalitatiewe metode, wat met behulp van diepte-onderhoude insig verkry, het ’n
magdom inligting oor die werklikhede in Suid-Afrika opgelewer. Hierdie
metodologie is ’n nuwe manier om inligting in te samel, veral in die lig van
veranderinge in die laaste paar jaar in die land, wat ’n geweldige impak op die
loopbaan van Suid-Afrikaanse uitvoerende kunstenaars gehad het. Kunstenaars
met ‘n klassieke sangoriëntasie moet kan kies om tot aksie oor te gaan; om hulle
eie geleenthede te genereer.
Die hoofbevindinge en die behoefte dat veelsydige kunstenaars by verskillende
genrestyle moet kan aanpas word in die teoretiese afdeling ondersoek, gevolg
deur ’n bespreking van die respondentterugvoering wat vir die doel van die studie
geselekteer is. Die gaping tussen die vaardighede van die kabarettis en klassieke
sanger word geïdentifiseer om sodoende die moontlikheid van kabaret as
teatervorm vir klassieke sangers te definieer. Nuwe kategorieë word geskep waarin idees vir die moontlike aanpassing van
ontwikkeling neergelê word.
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Kabaret as sosiale en politieke kommentaar : 'n ontleding van die aanwending van die komiese, satire en parodieVan Zyl, Annelie 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2008. / ENGLISH ABSTRACT: This study examines cabaret in South Africa, and more particularly the use of a
personation in cabaret. Cabaret employs a variety of comedic forms that combine to
comment on social and political issues. The personation is often a manifestation of
current social and political values, and the cabaretist uses such personation to
deride these values and expose society. Themes such as human nature and life are
foregrounded by means of comedy, parody and satire in order to highlighted
weaknesses and malpractices.
The personation often serves as a shield, affording the cabaretist the freedom of
speech to assume a critical stance; it serves as a mouthpiece for enquiring societal
mores and norms. The cabaretist not only entertains the audience in a comical way,
but also strives to make audiences aware of social and political irregularities.
Comedy, parody and satire are found in various forms of entertainment and
literature, but in the cabaret genre it is purposefully applied to voice socio-political
criticism. The success of cabaret is indebted to each caberetist’s unique style. South
African performers such as Pieter-Dirk Uys, Casper de Vries and Hennie Aucamp
apply these means successfully to entertain their audiences and encourage
reflection.
The cabaret persona, drawing upon comedic devices, is used to present reality as
opposed to the human ideal, while treating the audience to a lighter view of life.
Apart from the fact that cabaret, like comedy, parody and satire, is difficult to define,
these forms often overlap, as they serve the same purpose, namely to entertain and
to comment. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek kabaret in Suid-Afrika en in die besonder die gebruik van ’n
karakter in kabaret as sosiale en politiese kommentator. Kabaret gebruik ’n
verskeidenheid komiese vorme wat saamspan om sosiale en politieke kommentaar
te lewer. Die karakter verteenwoordig dikwels ’n gemeenskap se sosiale en politieke
waardes en die kabarettis gebruik so ’n karakter om hierdie waardes te bespot en
kommentaar op die gemeenskap te lewer. Temas soos die menslike natuur en die
lewe word met behulp van die komiese, parodie en satire in die kalklig geplaas om
swakhede en wanpraktyke te beklemtoon.
Die karakter dien ook dikwels as ’n skild waaragter ’n kabarettis skuil en waarmee hy
sodoende vryheid van spraak verkry met die doel om te kritiseer; dit dien as
spreekbuis vir sosiale waardes en norme. Die kabarettis vermaak nie net ’n gehoor
op komiese wyse nie, maar probeer ook om die gehoor van sosiale en politieke
wantoestande bewus te maak.
Die komiese, parodie en satire kom in verskeie vorme van vermaak en die literatuur
voor, maar in kabaret word dit doelgerig as middel gebruik om sosio-politiese
kommentaar te lewer. Die sukses van kabaret word gemeet aan elke kabarettis se
unieke styl. Suid-Afrikaanse kunstenaars soos Pieter-Dirk Uys, Casper de Vries en
Hennie Aucamp slaag daarin om hierdie middele aan te wend en sodoende hul
gehore te vermaak en tot nadenke te stem.
Die kabaret-karakter word met behulp van komiese vorme aangewend om die
werklikheid teenoor die menslike ideaal op te weeg en aan gehore ’n ligter sy van die
lewe te wys.
Buiten dat kabaret en ook die komiese, parodie en satire moeilik gedefinieer kan
word, oorvleuel hierdie vorme dikwels en word dit vir dieselfde doel gebruik, naamlik
om te vermaak en kommentaar te lewer.
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An adaptive reuse proposal for the Farmland, Indiana, Opera HouseCompton, Catherine Renae January 2002 (has links)
Farmland, Indiana, located approximately twenty (20) miles east of Muncie, has been successfully engaged in a revitalization effort since the early 1990s. Although several significant historic buildings have been adaptively reused, others, including the Opera House, are only partially occupied. The continuation of future redevelopment efforts rests on whether these buildings can be preserved and adaptively reused in a manner that supports the revitalization goals the town has established and in which they are committed.The structure was constructed in 1889 and owned by P.M. Bly. Bly and John H. Thornburg, owned a drugstore together in the north retail space on the first floor and the south retail space was rented out to other businesses. Presently the first floor of the Opera House, which was constructed in 1889, is occupied by a Pizza King, which has been there for since the early 1990s. The second floor, which was originally used as an opera house, has been sitting vacant for over twenty years.This creative project documents the current condition of the building and proposes two options of adaptive reuse for the building owner to consider. The format and content of this project was modeled after adaptive reuse studies by two Indianapolis, Indiana architecture firms. Also, a synopsis of several interviews the author had with professionals who deal with the adaptive reuse of historic buildings is included. Architects, contractors, historic preservationists, and a market analyst were among those interviewed and their views afford the reader an insight into current attitudes among professionals involved in historic preservation and adaptive reuse.The project portion of this proposal includes: a brief history of the building; a conditions assessment through photographs and written text; existing floor plans and elevations; a synopsis of the American Disabilities Act (ADA) accessibility evaluation; and preservation and adaptive reuse recommendations. In addition, two schemes, or concepts, of adaptive reuse are included, with each containing: floor plans and elevations; a preliminary cost estimate and pro forma; and a summary of historic tax credits and grant programs that are applicable. Furthermore, the option which is most desirable for the historic context of the building and the future economic development of Farmland has been developed through design with an interior design package, which includes a furniture plan, furniture options, and a color scheme.This project is primarily an academic exercise intended to help the author learn the process of preparing a comprehensive adaptive reuse proposal. However, this project was also chosen with the hopes of inspiring the current building owner to develop the property by providing a substantial amount of objective and professional quality information and documentation. Thus, the format developed is that which a professional design firm would use, as opposed to an academic format. Through dissemination of this project to local leaders of preservation and redevelopment efforts, it is also hoped that it will aid in garnering public support to preserve and reuse. / Department of Architecture
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Apropriação de texto: um jogo de imagens / Apropriação de texto: um jogo de imagensArruda, Rejane Kasting 22 September 2009 (has links)
Esta pesquisa surge de um desejo de sistematizar a prática com a Memorização Através da Escrita em função do processo de criação do ator com o texto dramático. Utilizo a noção de ¨jogo¨ spoliana e proponho o foco como instância organizadora do traballho. Investiguei duas modalidades de jogo distintas que contam com a Memorização Através da Escrita como procedimento introdutório. A primeira implica a transformação de partituras físicas em ações físicas. A segunda implica uma sucessão de revesamentos do ¨foco¨ onde estas ações são resgatadas no ¨lugar do espontâneo¨. Uma seqüência de ¨palavras inventadas¨ divide o foco com a enunciação do textodado e com ¨regras¨ que organizam o corpo no espaço. Monta-se, assim, um esquema dinâmico de revesamentos do foco que mantém ativos os impulsos para a fala e para a inscrição das ações. / This research came from a desire of systematize the practical work of the actor beyond memorizing the dramatic text from writing at the process of actors creation. Actually I use the notion of game from Viola Spolin and I do suggest the focus as manner of organize the entire work. I investigated two kind of distinguished modalities of game based on the memorization from writing at the beginning of the work. The first implicates the transformation of physical scores into physical actions. The second implicates in a succession of focus setbacks where this actions are rescued replacing the spontaneous. An invented word sequence divides the focus with the text enunciation and with some rules that organize the body on the space. In this way is possible to put on the stage a dynamic schedule of focusing that keep active the impulses to speech and for the insertion of actions.
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An opera house for Boston : the documentation of a design process.Grimshaw, Rosemary Danehy January 1978 (has links)
Thesis. 1978. M.Arch--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaves 90-91. / M.Arch
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Charlestown Working Theater : new uses for old spaces.Alex, Ronald John January 1978 (has links)
Thesis. 1978. M.Arch.--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaves 103-105. / M.Arch.
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