Abstract The Photographic and Spatial Survey Method for Video Projection Jeffrey Paul Kurihara, M.F.A. The University of Texas at Austin, 2013 Supervisor: Richard M. Isackes The process and practices that are described in this document were used in several realized video installation projects over the course of 2011-2013. These installations all encompassed the use of Architectural Video Projection Mapping techniques to create transformative animated video projections upon the pre-existing architecture of multiple locations. The process used to achieve this required the integration of multiple practices to obtain and translate specific spatial data to be used in the artistic content creation process. Particular to this method uses a photographic and spatial survey to map the video content accordingly to the architecture of the space. The projects included an installation on a building facade for the Art Alliance Austin’s Holiday Stroll in 2011, another installation on the architecture of an interior wall of a museum space for an event at the Austin Museum of Art in 2013, a site-specific musical theater piece called Almost Invincible in the University of Texas Co-op’s Cohen New Works Festival 2013, and multiple stages of a live music venue named Cheer-up Charlie’s in Austin, Texas form 2011 to 2013. / text

Abstract This project was in the Dorothy Somerset Studios on the University of British Columbia Campus during the week of April 14th till the 20th, 2008. I was advised by Professor Alison Green and Professor Richard Prince. The project’s title was When I’m in it… . It consisted of three groupings of sculptures set within the black box theatre space (see Illus. 1A, B and C). The Pattern Bubbles sculpture consisted of hollow tissue balls suspended from the ceiling, each containing a small and suspended object. These bubbles were suspended in a line, at different heights, and they were lit from within (see Illus. 2A and B). The entire theatre space was also lit using the lights on the grid in the theatre. A Silhouetted Cast consisted of Styrofoam cutouts shaped like dress forms covered with muslin and padding (see Illus. 3A, B and C). These cutouts were about 4ft X 2ft X 3inches. On one side I had a mixed media collage of imagery pinned to the muslin covering and on the other side were phrases stenciled right onto the muslin. These forms stood on the floor atop actual iron dress form stands. There were eight of these silhouettes, each one representing a character from a theatre production for which I had designed the costumes and the information on each one came from that experience. Costume Aprons, the final sculpture in the space, was also suspended from the ceiling. It had eight aprons made from cottons, silks and burlap hanging from a laundry carousel. The aprons were hung from the lines with silver bulldog stationary clips. I had hand-embroidered words on the aprons using embroidery threads of many different colors. In the pocket of each of the aprons was the title page from a script on blue paper (see Illus. 4A, B, C, and D). The black curtains were drawn around the square perimeter of the theatre stage, and you could still see the audience seating and the theatre booth. There was a soundtrack playing constantly within the space.

Abstract This project was in the Dorothy Somerset Studios on the University of British Columbia Campus during the week of April 14th till the 20th, 2008. I was advised by Professor Alison Green and Professor Richard Prince. The project’s title was When I’m in it… . It consisted of three groupings of sculptures set within the black box theatre space (see Illus. 1A, B and C). The Pattern Bubbles sculpture consisted of hollow tissue balls suspended from the ceiling, each containing a small and suspended object. These bubbles were suspended in a line, at different heights, and they were lit from within (see Illus. 2A and B). The entire theatre space was also lit using the lights on the grid in the theatre. A Silhouetted Cast consisted of Styrofoam cutouts shaped like dress forms covered with muslin and padding (see Illus. 3A, B and C). These cutouts were about 4ft X 2ft X 3inches. On one side I had a mixed media collage of imagery pinned to the muslin covering and on the other side were phrases stenciled right onto the muslin. These forms stood on the floor atop actual iron dress form stands. There were eight of these silhouettes, each one representing a character from a theatre production for which I had designed the costumes and the information on each one came from that experience. Costume Aprons, the final sculpture in the space, was also suspended from the ceiling. It had eight aprons made from cottons, silks and burlap hanging from a laundry carousel. The aprons were hung from the lines with silver bulldog stationary clips. I had hand-embroidered words on the aprons using embroidery threads of many different colors. In the pocket of each of the aprons was the title page from a script on blue paper (see Illus. 4A, B, C, and D). The black curtains were drawn around the square perimeter of the theatre stage, and you could still see the audience seating and the theatre booth. There was a soundtrack playing constantly within the space.

This thesis examines key developments in theatre design in Britain between 1935-1965 through the lens of the praxis of the design trio known as Motley (active 1932-78) and of theatre designer Jocelyn Herbert (1917-2003). Analysis of their roles in the creation of the four theatre productions that are used as case studies, Romeo and Juliet (1935), Three Sisters (1938), The Kitchen (1959 & 1961) and Happy Days (1962) enables an evaluation of the complex threads of influence on Motley and Herbert both from within the UK and from the USA and Europe. Furthermore, it offers a close study of their working process including their relationships with directors and playwrights considering not only what they designed, but how and why. Critical engagement with theatre design practice has increased since the early 1990s but there is still very little evaluative literature about British theatre design during the period of this study, 1935-1965. To date there are only three books and three journal articles that specifically cover the seminal designers Motley and Herbert so there is scope for a broadened analysis and contextualisation of their practice. One of the original contributions to knowledge of this thesis is that it assesses the confluence of influences on Motley and Herbert and draws together the threads of connections between British, European and American theatre and the ethos of Michel Saint-Denis illustrating how these fed into Motley’s and Herbert’s work. Whilst acknowledging the complexity of theatre practice and of reconstructing past events, this thesis assesses a combination of archival design material, such as set and costume renderings and sketches, as well as written texts, press reviews and recorded interviews, and draws on my own experience as a theatre design practitioner. The four case studies enable an in-depth investigation of Motley’s and Herbert’s processes and practice, the circumstances in which they operated and how they negotiated these conditions, as well as indicating how the role of the theatre designer developed across the period 1935-1965. In approaching the four case studies from the point of view of design the thesis contributes a new layer to their intricate histories. By emphasising the significance of the professionalisation of the role of the theatre designer during this time and by revealing the connections between Motley, the London Theatre Studio, Herbert and the Royal Court Theatre it expands understanding of the period and reinforces the substantial contribution of design to British theatre history.

Abstract This project was in the Dorothy Somerset Studios on the University of British Columbia Campus during the week of April 14th till the 20th, 2008. I was advised by Professor Alison Green and Professor Richard Prince. The project’s title was When I’m in it… . It consisted of three groupings of sculptures set within the black box theatre space (see Illus. 1A, B and C). The Pattern Bubbles sculpture consisted of hollow tissue balls suspended from the ceiling, each containing a small and suspended object. These bubbles were suspended in a line, at different heights, and they were lit from within (see Illus. 2A and B). The entire theatre space was also lit using the lights on the grid in the theatre. A Silhouetted Cast consisted of Styrofoam cutouts shaped like dress forms covered with muslin and padding (see Illus. 3A, B and C). These cutouts were about 4ft X 2ft X 3inches. On one side I had a mixed media collage of imagery pinned to the muslin covering and on the other side were phrases stenciled right onto the muslin. These forms stood on the floor atop actual iron dress form stands. There were eight of these silhouettes, each one representing a character from a theatre production for which I had designed the costumes and the information on each one came from that experience. Costume Aprons, the final sculpture in the space, was also suspended from the ceiling. It had eight aprons made from cottons, silks and burlap hanging from a laundry carousel. The aprons were hung from the lines with silver bulldog stationary clips. I had hand-embroidered words on the aprons using embroidery threads of many different colors. In the pocket of each of the aprons was the title page from a script on blue paper (see Illus. 4A, B, C, and D). The black curtains were drawn around the square perimeter of the theatre stage, and you could still see the audience seating and the theatre booth. There was a soundtrack playing constantly within the space. / Arts, Faculty of / Theatre and Film, Department of / Graduate

archives@tulane.edu / 1 / Samantha Johnson

In this document I explore the history of African Americans backstage, detail the types of technical theatre training currently provided to young technicians and offer a program that targets African American high school students. The focus is on students who are already engaged and interested in the performing arts but may not have the resources or opportunity to explore design and technology. I spend time discussing models of mentoring, apprenticeship and coaching as examples of the types of training that my program will provide. This document concludes with the proposal of a program that will help educate young African Americans about careers in technical theatre and design. It is my desire to combine two ideas that have been with me my entire life, mentoring and performing arts education, into a program that helps to provide opportunity, ignite ambition, and guide students to success. / text

Market with sound systems can at first sight look like congestion. In reality is there all the time what detect, search new solving and thereby longing, or perhaps visa come at quantity with somebody‘s original. My project try eliminate disadvantage today‘s home theatres and bring at the same time into this branch new technical cogitations with the view of improve the quality of produce. Whole designed in sightly dateless style, which will not be liable to fashion paper, nevertheless will impact modern spirit, originally and innovative. All ideas and realized innovations is possible split to the several imaginary points. First innovation rests in used materials. Next diversity consist in connection subwoofer with DVD tape deck to the one‘s whole to optical eliminate number of parts, that is necessary in area dislocate. Third idea is improve the quality of acoustic manifestation system, which is restricted.

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The question of why there is gender disparity in the field of theatre design continues to be an issue that has been widely debated in the field of theatre; scholars such as Tish Dace argue that workplace environments and family support are two of the main reason women leave the field of design. However, there are works, articles, arguments and perspectives that have not been adequately addressed regarding why the issue of why gender disparity in theatrical design still exists. My thesis addresses the issue of gender disparity in theatre design with special attention to the underlying issues that exists. Specifically, in my project, I will be looking at the history of women in the workforce, and women in theatrical design in order to show the severity of gender disparity that still exists in theater design. I will discuss harassment and gender discrimination and juxtapose them against growth and job security of women in theatre design. I argue that gender disparity in theater design fields still exists today, preventing women from growing and maintaining a job in this field. In conclusion, this project closely examines gender disparity of Women in theater design, shedding new light on this issue and acknowledging the effects it has on the industry of theatre, while also, presenting some viable solutions to this very important issue.