L’architecture théâtrale en France de la Révolution au Second Empire :théorie, innovation, réglementation, réalisationsA l’avènement de la Révolution, la France connait en termes d’architecture théâtrale une période particulièrement foisonnante. L’impulsion donnée sous Louis XV au théâtre porte ses fruits et la société manifeste pendant les dernières décennies du XVIIIe siècle, et ce malgré l’opposition de l’église, un engouement prononcé pour le spectacle, appelé plus tard théâtromanie. Tout au long du XIXe siècle, le théâtre occupe une place privilégiée dans la vie culturelle et sociale de la France. L’édifice théâtral sert alors à cristalliser les aspirations des différents publics qui le fréquentent et fait l’objet de multiples réflexions, aussi bien du point de vue théorique que dans le domaine de l’innovation. Etant parmi les rares bâtiments civils à accueillir un public aussi nombreux et diversifié, il devient également un lieu privilégié d’expérimentation, en termes de salubrité et de systèmes techniques.Les nuisances qui accompagnent son implantation dans la ville et les multiples incendies qui détruisent différents théâtres à travers l’Europe conduisent aux instances au pouvoir à réglementer, de plus en plus, le fonctionnement des théâtres jusqu’à émettre des préconisations qui ont à trait à la configuration même de son cadre bâti.Ainsi, l’architecture théâtrale de la première moitié du XIXe siècle revêt plusieurs facettes qu’il était nécessaire d’explorer afin de comprendre ce qui contribue à modeler l’image du théâtre « à la française » dont l’Opéra de Paris devient le plus haut représentant en France comme à l’international. / Theatre architecture in France fromFrench Revolution to Second Empiretheory, innovation, legislation, constructionAt the dawn of the Revolution, a vague of theatrical constructions embraces France. The impulse which had been given under Louis XV to theatres bear now fruit. Furthermore, despite the opposition of the Church, the French society expresses a real enthusiasm for spectacles that one will later call “theatremania”. During the whole nineteenth century, theatres occupy a privileged position in the cultural and social life in France. The theatrical buildings contribute to crystallize the ambitions of the attended public. By consequence, theatres are an object of thinking, weather it is on the level of architectural theory, or on the level of innovation. Representing a typology of public buildings which host a very numerous and a very diversified public, the theatre becomes a privileged space of experimentation, in terms of public health as well as in terms of techniques. The noise pollution which accompanies its integration within the city, and the numerous fires that destroy a lot of theatres across Europe, lead the public administration to regulate more and more the functioning of theatres, to a point that these new regulations have an enormous impact on the architectural development of theatres.In this context, the theatrical architecture of the first half of nineteenth century takes several aspects which this work explores in order to illuminate the rise of the so-called theatre « à la française », of which Garnier’s Opéra de Paris will become the most prominent example.

published_or_final_version / Architecture / Master / Master of Architecture

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains vii, 216 p. Includes bibliographical references (p. 195-216). Available online via OhioLINK's ETD Center

Thesis (Ph. D.)--University of Chicago, Department of Music, August 2002. / Includes bibliographical references. Also available on the Internet.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-30T19:52:42Z No. of bitstreams: 1 MESTRADO PAULA FRAGOSO MATTOS UFBA MINTER 24062014.pdf: 13163098 bytes, checksum: 72aa3e558df99f723bde7700f1400e9a (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:18:48Z (GMT) No. of bitstreams: 1 MESTRADO PAULA FRAGOSO MATTOS UFBA MINTER 24062014.pdf: 13163098 bytes, checksum: 72aa3e558df99f723bde7700f1400e9a (MD5) / Made available in DSpace on 2018-09-11T13:18:48Z (GMT). No. of bitstreams: 1 MESTRADO PAULA FRAGOSO MATTOS UFBA MINTER 24062014.pdf: 13163098 bytes, checksum: 72aa3e558df99f723bde7700f1400e9a (MD5) / O presente trabalho constrói uma análise do funcionamento da economia da cultura e da criatividade no campo teatral em Alagoas, tendo como objetivo investigar se a inserção Escola Técnica de Artes no Programa de Incubadora de Empresas existente na Universidade Federal de Alagoas (UFAL) pode vir a constituir, de fato, uma ação positiva como estratégia empreendedora e de consolidação do exercício profissional entre os agentes ligados ao universo teatral, sobretudo os atores formados pela Escola. Para determinar a validade desta hipótese, será empregada a metodologia de pesquisa direta em fonte primária, sendo adotados como parâmetros de avaliação o estudo do perfil do aluno ingresso no curso técnico em Artes Dramáticas e a sua relação com o histórico de criação e gestão da Escola técnica de Artes, no contexto de seus equipamentos culturais e projetos. O trabalho apresenta ainda reflexões sobre o perfil empreendedor dos profissionais do teatro alagoano fundamental para trabalhar por meio de incubadoras culturais, assim como, a apresentação das capacidades, habilidades, comportamentos e procedimentos necessários para este modo de produção teatral. / This work builds upon a functional review of the economics of culture and creativity in the theatrical field in Alagoas, aiming to investigate whether the insertion of Technical School of Arts Program in the Business Incubator hosted by the Federal University of Alagoas (UFAL) could both constitute a positive enterpreneurial action as well as a consolidation of professional practice among agents of the local theatrical universe, with emphasys on actors trained by the school itself. To determine the validity of this hypothesis, a methodology of direct research is used, aiming to conduct the research towards the primary cultural sources, which were adopted as parameters for evaluating the profile of the incoming students in Arts, in order to understand its relation with the history of creation and management of Technical School of Arts and in the context of its cultural facilities and projects. The research conducted in this work shows that the entrepreneurial traits of the local professional theater is an enabler to the theatrical production through cultural incubators, being aligned with most of the capabilities, skills, behaviors and procedures required for this mode of theater production.

O trabalho ora apresentado constrói uma interpretação da geografia das salas de cinema contemporâneas do município de São Paulo. Desde seu estabelecimento enquanto equipamento de lazer e cultura, o cinema desempenhou fundamental papel na produção e reprodução do espaço urbano paulistano, engendrando, em diferentes momentos, distintos significados sociais e diversas formas de sociabilidades. Em anos recentes, especialmente no decorrer das décadas de 1990 e 2000, o mercado exibidor cinematográfico paulistano foi modelado por pelo menos dois equipamentos, deveras distintos entre si: os cinemas multiplex, comumente localizado em shopping-centers, pertencentes a grandes redes empresariais, e os cinemas voltados para uma programação alternativa ou de arte, via de regra instalados em vias públicas ou em galerias, fomentando uma apropriação do espaço que podemos alcunhar de territorialidade. Considerando tal constructo social, o objetivo primordial foi analisar o significado das salas de cinema, as ações e apropriações desenvolvidas por seus freqüentadores, na e para a (re)produção do espaço urbano paulistano a partir da década de 1990, elaborando, para tanto, uma compreensão teórico-conceitual embasada nas concepções de redes geográficas e nas territorialidades decorrentes de apropriações espaciais.. A proposta epistemológica foi criar um amalgama complexo, que não mitigasse nem a relevância dos fatores culturais, interpretativos e apropriativos, causa e conseqüência dos cinemas, tampouco desconsiderasse a estruturação e as motivações econômicas dos agentes que coordenam a organização destes equipamentos. Crê-se, nesse sentido, que o trabalho, apresentando e refletindo acerca de um dos mais importantes elementos de lazer e cultura existentes no município de São Paulo, possa subsidiar uma crítica densificada de fenômenos e processos responsáveis, em grande medida, pela produção do espaço urbano contemporâneo e seus significados sociais. / The work for now presented builds an interpretation of the geography of the contemporary movie theaters of the municipal district of São Paulo. From the establishment of the movie theaters while leisure equipment and culture, this element played fundamental part in the production and reproduction of the São Paulo urban space, engendering, in different moments, different social meanings and several forms of sociabilities. In recent years, especially in elapsing of the decades of 1990 and 2000, the market cinematographic from São Paulo exhibitor was modeled for at least two equipments, really different amongst themselves: the multiplex movie theaters, commonly located in shopping centers, belonging to great business nets, and the movie theaters especialized in alternative programming or of art, rule installed in public roads or in galleries, fomenting an appropriation of the space that we can name of territoriality. Considering such a social product, the primordial objective went to analyze the meaning of the movie theaters, the actions and appropriations developed by their visitors, in the and for the (re)production of the from São Paulo urban space starting from the decade of 1990, elaborating, for so much, a theoretical-conceptual understanding based in the conceptions of geographical nets and in the current territories and space appropriations. The theoretical proposal went to create one amalgamates complex, that it didn\'t mitigate nor the relevance of the factors cultural, interpretative and of appropriation, it causes and consequence of the movie theaters, either disrespected the structuring and the agents\' economical motivations that coordinate the organization of these equipments. It is believed, in that sense, that the work, presenting and contemplating concerning one of the most important leisure elements and existent culture in the municipal district of São Paulo, it can subsidize a dense critic of phenomena and responsible processes, in great measure, for the production of the contemporary urban space and their social meanings.

Cette étude prend pour objet les salles de cinéma et la relation des spectateurs avec elles. Pour pouvoir embrasser toutes les facettes de la salle de cinéma à l’ère de la multiplication des écrans, le travail s’insère pleinement dans une perspective socio-économique qui articule méthodes quantitatives et qualitatives et s’organise en trois grandes parties. La première décrit les lignes générales de l’expérience cinématographique avec ses écrans et ses sites, la deuxième aborde directement le contexte du paysage cinématographique en Turquie, et la troisième partie s’attache à décrire la place des spectateurs dans ce contexte particulier. Il essaye de construire, à la manière d’un puzzle, le portrait du spectateur-type en Turquie, tout en espérant que ce portrait sera révélateur pour comprendre le spectateur actuel. Les observations par immersion faites dans le cadre de cette étude témoignent de l’existence d’une ligne commune qui traverse tous les types de salles, que ce soit des multiplexes, des salles de quartier ou des espaces de visionnement alternatifs, et de la continuation de l’expérience en salle à domicile. / The object of this research is the movie theaters and the relationship of the audience with them. To embrace all aspects of the movie theaters in the era of proliferation of screens, the study which follows up a socio-economic perspective articulating quantitative and qualitative methods is organized into three parts. The first part describes the general lines of the cinematic experience with its screens and sites, the second directly addresses the context of the film industry in Turkey, and the third sets out to analyze the place of the movie spectators in this particular context. It thus tries to build up like a jigsaw puzzle, a portrait of the typical spectator in Turkey, hoping that this portrait would be relevant to understand today’s audience. The field observations made within the framework of this study demonstrate the existence of a common line cutting across all types of movie theaters, whether it be multiplexes, neighborhood cinemas or alternative screening areas, and illustrate the continuation of the theater experience at home.

This thesis deals with an arts marketing with a focus on musical theater. The theoretical part defines basic elements of the marketing process, with the main emphasis placed on marketing mix and its specifics in context of musical production. In this part of the thesis there is also description of marketing research. In favour of smooth transition to practical part, at the very end of theoretical part there is a summary of main competitors. The practical part is focused on the company operating in the theater Hybernia and on its marketing and communication activities. Based on the theoretical presumptions the marketing research had been realized and it had examined the customers of this company. The output of the research, analysis of the marketing mix and analysis of the competitors serve as basis for creating innovations in marketing mix.

This thesis deals with a relatively new issue in the Czech Republic, which is valuing cultural organizations. The general framework for the valuation of non-profit cultural organization is analysed in the theoretical part. It includes a discussion of the importance of culture for society, the characteristics of non-profit organizations and subsequently defining the potential value of the concept of cultural organizations, reasons and methods for valuation of such organizations. Special focus is paid to the transformation of the Prague theater net. The aim of the practical part is to determine the approximate value which the czech society would lose, if the prague theatre Činoherní klub terminates its activities due to financial reasons. Contingent valuation method is applied as a procedure, which is based on detection of individual willingness to pay (WTP) or willingness to accept compensation (WTA), through a questionnaire survey. There is also a determination of the status of the valued theater at the Prague theater market in the practical part.

Orientador: Paulo Roberto Gardel Kurka / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Mecanica / Made available in DSpace on 2018-08-04T02:13:27Z (GMT). No. of bitstreams: 1 MenezesJunior_LuizFerreira_M.pdf: 3960270 bytes, checksum: 542b501adbaca7fc3d8ff80120fab0d3 (MD5) Previous issue date: 2004 / Resumo: Este trabalho apresenta um método de controle automatizado de scanners de luz baseado no posicionamento dos projetores. É desenvolvida ainda uma estratégia de posicionamento dos focos de luz, através de acionamento sincronizado por sinais de áudio. Todos os modos de controle desenvolvidos são incorporados a um software de gerenciamento. No processo de controle toma-se necessário também a construção de uma interface de dados baseada no protocolo PC-DMX512. O trabalho contempla ainda uma descrição detalhada de tal protocolo e do hardware construído. O resultado final é ilustrado através de exemplos e do manual de operação do software de controle / Abstract: The work presents a method for automatically positioning of the light beam scanners. A strategy for synchronizing their positions based on the audio signals is also developed All control modes developed are incorporated into a managing system software. The controlling process requires the construction of a digital data interface to the hardware on the basis of the DMX512 protocol. The work includes a detailed description of the DMX512 protocol and the implemented hardware. Final results are illustrated through examples and operation manual / Mestrado / Mecanica dos Sólidos e Projeto Mecanico / Mestre em Engenharia Mecânica