No abstract available. / Thesis (Ph.D.)-University of Natal, Durban, 1979.

This document is a written report that reviews and examines aspects of production involved in the presentation of a full-length ballet based on J.M. Barrie's classic adventure tale Peter Pan presented by Ballet Victoria at the MacPherson Playhouse in Victoria on February 5, 6 and 7, 2004, for which I was commissioned to compose an original musical score and co-direct the stage. This report reviews directorial, compositional, and choreographic strategies and techniques that were empolyed in the process of production. The different methods of collaboration between composer and choreographer are also examined, and a scene-by-scene synopsis, accompanied by details of problems that arose and the manner in which they were solved, is given. The report closes with a section that details the response of cast, critics, and audience that the production elicited. / Graduate

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.

Thesis (M.F.A.)--Boston University. Graduate thesis production [book presented] as partial fulfillment for the Master of Fine Arts degree requirements, Boston University, School of Fine and Applied Arts, 1961.

Using the research methods from grounded theory and action research, the study examines a research method used for the development of a Group Devised Performance Piece. It details and analyses the process used in the transactional system of change and action/interaction resulting from the specific conditions that surrounded the Group Devised Performance, and examines the products of that process: the written script and the final performance. The study was conducted with a group of HSC 2 Unit Drama students at a non-government high school in March 1996. The performance formed part of an assessment program for these students and was student devised and student driven. The research methods included the collection of data in questionnaires, the maintaining of detailed daily records, video tapes, photographs and the compilation of the written script. Like any series of rehearsals, the process produced surprising and unplanned consequences (outcomes) and provided an environment that encouraged interaction and involvement, companionship and competition, / Master of Arts (Hons) (Performance)

No description available.

No description available.

Doctor of Philosophy / 'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."

Doctor of Philosophy / 'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."

The following thesis document examines the production process for the lighting design of Temple University Theatre Department's production of Brigadoon. It will explore the analytical, conceptual, and technical aspects of my personal process as a lighting designer, as well evaluate the department's Master of Fine Arts program and how it contributed to my development as a fine artist in the field of lighting design. / Theater