This research is motivated by the proposition of the legitimacy of applying ¡§little theatre¡¨ as the mode of theatre management. The core context and the judgment of value of theater management today are founded basically on a ¡§large-scare theatre¡¨ paradigm; this causes, for most of the time, prejudice and insufficient result in managing theatrical affairs. To analyze the details of this problem, I started from rediscovering the ideological conflicts between Modernity and Post-Modernity, and tried to solve this dualistic misunderstanding by using ¡§Post-Modern Turn¡¨ as the mode of transcending. Since the term ¡§Post-Modern¡¨ is generally associated with social aspects as post-industry society, information society, organizational behaviors and consumption theory, etc. it is necessary to redefine theatre management as the issue of discussion in the realm of sociology. In order to approach my ideal strategy for today¡¦s theatre management, I developed three major parts as the frameworks of study: 1. the Post-Modern Turn of sociology of art, 2. five faces of modernization of Taiwan¡¦s modern theatre, 3. the Post-Modern Turn of organizational management and Taiwan modern theatre. I believe the difficulty of theatre management today lies not in the issue itself, but in the way we look at it. By relocating this problem in a social context, we can have a rethinking of how art management is possible, of exploring the updated and proper solutions for today¡¦s theatre management.

This dissertation examines three generations of the Beeston family and its revolutionary impact on the developing world of seventeenth-century London theatre management. Like other early modern businesses, the Beeston enterprise thrived on commercial innovation, the strategic cultivation of patronage, and a capacity to perpetuate itself dynastically. England’s mid-century political crisis disrupted the family’s commercial supremacy but its management system would endure as the de facto standard structuring successful theatre business long after the Restoration. Following a critical introduction to the early history of theatrical management, the thesis’s four chapters chart the creation and institution of the Beeston management model. Chapter One examines the early career of Christopher Beeston, a minor stageplayer from Shakespeare’s company in the 1590s who set out ambitiously to reshape theatrical management at Drury Lane’s Cockpit playhouse in 1616. Chapter Two analyzes Beeston’s later career, particularly his unique appointment as “Governor” of a new royal company in 1637. New evidence suggests that the office was a reward for service to the aristocratic Herbert family and that traditional preferment was therefore as important as market competition to the creation of the Caroline paradigm of autocratic theatrical “governance.” Chapter Three explores the overlooked career of Elizabeth Beeston who, upon inheriting the Cockpit in 1638, became the first woman in English history to manage a purpose-built London theatre. New evidence concerning her subsequent husband, Sir Lewis Kirke, an adventurer to Canada, ship-money captain, and Royalist military governor, indicates political ideology motivated their joint effort to keep the Beeston playhouse open during the civil wars. Chapter Four addresses the question of why the larger Beeston enterprise eventually collapsed even as the management system it refined continued to support later theatrical entrepreneurs. During the Interregnum, contemporaries anticipated that William and George Beeston, Christopher’s son and grandson, would eventually dominate a renascent London stage; however, managers such as William Davenant and Thomas Betterton ultimately adapted the Beeston system more efficiently to the political environment after 1660. Thereafter, exhausted patronage, lost assets, and the abandonment of family tradition marked the end of the Beestons’ influential association with the London stage.

This dissertation examines three generations of the Beeston family and its revolutionary impact on the developing world of seventeenth-century London theatre management. Like other early modern businesses, the Beeston enterprise thrived on commercial innovation, the strategic cultivation of patronage, and a capacity to perpetuate itself dynastically. England’s mid-century political crisis disrupted the family’s commercial supremacy but its management system would endure as the de facto standard structuring successful theatre business long after the Restoration. Following a critical introduction to the early history of theatrical management, the thesis’s four chapters chart the creation and institution of the Beeston management model. Chapter One examines the early career of Christopher Beeston, a minor stageplayer from Shakespeare’s company in the 1590s who set out ambitiously to reshape theatrical management at Drury Lane’s Cockpit playhouse in 1616. Chapter Two analyzes Beeston’s later career, particularly his unique appointment as “Governor” of a new royal company in 1637. New evidence suggests that the office was a reward for service to the aristocratic Herbert family and that traditional preferment was therefore as important as market competition to the creation of the Caroline paradigm of autocratic theatrical “governance.” Chapter Three explores the overlooked career of Elizabeth Beeston who, upon inheriting the Cockpit in 1638, became the first woman in English history to manage a purpose-built London theatre. New evidence concerning her subsequent husband, Sir Lewis Kirke, an adventurer to Canada, ship-money captain, and Royalist military governor, indicates political ideology motivated their joint effort to keep the Beeston playhouse open during the civil wars. Chapter Four addresses the question of why the larger Beeston enterprise eventually collapsed even as the management system it refined continued to support later theatrical entrepreneurs. During the Interregnum, contemporaries anticipated that William and George Beeston, Christopher’s son and grandson, would eventually dominate a renascent London stage; however, managers such as William Davenant and Thomas Betterton ultimately adapted the Beeston system more efficiently to the political environment after 1660. Thereafter, exhausted patronage, lost assets, and the abandonment of family tradition marked the end of the Beestons’ influential association with the London stage.

Made available in DSpace on 2016-12-08T16:52:06Z (GMT). No. of bitstreams: 1 DissertacaoFlavia.pdf: 873949 bytes, checksum: 651f1217af2333f2894a070f10d3d2c3 (MD5) Previous issue date: 2008-08-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation is a reflexion on production procedures related to Group Theatre. Developed research analyses group production procedures regarding the ways of autonomous management associated to articulation in the areas of autonomy which are characteristic to group work. Therefore, I analyse procedures of three national groups: Galpão Group (MG); Imbuaça Group (SE); Carona Company (SC). These groups constitute a polyvalent universe as to working procedures, and at the same time, they represent distinct cultural zones of a certain theatre produced in the largest Brazilian capitals RJ and SP. The dissertation intends to draw a profile of these groups, highlighting affinities and differences in order to identify production and anagement organization strategies that work as basis in the construction of the autonomy of these groups. Following the principle that the Producer and Theatre Manager are seen as a link between the market, the artists, the State and the public. And that they producer and manager constitute a management nucleus of group theatre with the role of thinking about production strategies as well as distribution of cultural goods strategies, and that this nucleus is closely related to the process of artistic creation of the groups. The main question to be anwered is: how will the producer/manager overcome the logic of art goods into meaningful art? By making the artistic project to define the financing means and not that the financing means define the artistic Project. On a second level, I try to draw production strategies that look for financial autonomy as well as artistic autonomy of group theatre / A presente dissertação apresenta uma reflexão sobre os procedimentos de produção relacionados com o Teatro de Grupo. A pesquisa desenvolvida analisa os procedimentos de produção grupais enquanto formas de gestão autônoma associadas à articulação de zonas de autonomia características do trabalho de grupo. Para tanto analiso os procedimentos de três grupos nacionais: Grupo Galpão (MG); Grupo Imbuaça (SE); Companhia Carona (SC). Estes grupos constituem um universo polivalente no que se refere aos procedimentos de trabalho, e ao mesmo tempo representam zonas culturais distintas de um certo teatro produzido nas mega-capitais brasileiras RJ e SP. A dissertação se propõe a delinear um perfil destes grupos, destacando suas afinidades e diferenças para identificar estratégias de produção e de organização administrativas que sirvam de alicerce na construção de autonomia destes grupos. Partindo do princípio de que o Produtor e Administrador Teatral são vistos como um elo entre o mercado, os artistas, o Estado e o público. E que estes - produtor e administrador constituem o núcleo administrativo do teatro de grupo com a função de pensar estratégias de produção e distribuição do bem cultural, e este núcleo está intrinsecamente ligado ao processo de criação artística do mesmo. A principal questão a ser respondida é: como este produtor/gestor vai ultrapassar a lógica da arte de mercadoria para a arte com significação? Fazendo com que o projeto artístico defina o financiamento e não o financiamento defina o projeto artístico. Em segundo plano procuro delinear estratégias de produção que busquem a autonomia financeira e artística do teatro de grupo

The subject of this thesis is to present the characteristics of stagione type of theatre as part of a comprehensive typology of theatres in the Czech Republic presented on example of the Municipal Theatre Jablonec nad Nisou. The theoretical part of the work that is created based on the evaluation of secondary data, describes the legal base of theatres, their funding opportunities, both from public and private sources, further managerial style and the specifics of cultural marketing. The theoretical part is followed by the practical part, which deals primarily with the analysis of the Municipal Theatre Jablonec nad Nisou, along with a glimpse at the activities of the F. X. Šalda Theatre in Liberec and comparison of both theaters. The analytical part is based on in-depth interviews and questioning of the author, and is complemented by research on the perception of the theatre by its visitors. The aim is to determine whether the stagione type of theatre is a perspective for the Czech theatre culture in the future, whether it plays supporting role or merely is only a transitional form.

Au sein d’un établissement hospitalier, le bloc opératoire représente un des secteurs les plus emblématiques et les plus coûteux. Le fonctionnement du bloc opératoire est orchestré par un programme opératoire qui consiste à construire un planning prévisionnel des interventions chirurgicales à réaliser pendant un horizon donné. La littérature abondante sur le sujet est unanime sur le fait que la construction du programme opératoire est une tâche complexe, car il s’agit non seulement de planifier et d’ordonnancer les interventions, mais aussi de satisfaire des exigences souvent antagonistes. Ce projet est le fruit d’une collaboration entre la Communauté d’Agglomération de Sarreguemines Confluences et la Région Lorraine, des membres du secteur hospitalier (Hôpital Robert Pax de Sarreguemines) et l’équipe Gestion Industrielle et Logistique (GIL) du Laboratoire de Génie Industriel, de Production et de Maintenance (LGIPM). L’objectif de cette recherche est d’apporter une aide aux gestionnaires du bloc opératoire, qui ont besoin de plus en plus des méthodes et des outils d’aide à la décision en vue d’optimiser leur fonctionnement. Pour répondre à ce besoin nous nous intéressons dans la première partie de cette thèse à la gestion des opérations électives en prenant en compte différentes contraintes et en particulier la disponibilité des chirurgiens. Nous nous plaçons dans le contexte d’une stratégie « open scheduling » et nous proposons deux modèles mathématiques permettant d’élaborer le programme opératoire. La complexité des modèles mathématiques et leur explosion combinatoire rendent difficile la recherche de l’optimum pour des tailles réalistes. Ceci nous a donc amené à proposer une heuristique constructive utilisant le modèle proposé et permettant d’obtenir des solutions là où la méthode exacte ne nous le permettait pas. Dans la seconde partie de cette thèse, nous considérons l’intégralité du processus opératoire (brancardage vers le bloc opératoire, préparation et anesthésie, acte chirurgicale et réveil). Nous modélisons ce processus comme un flow shop hybride à 4 étages avec contrainte de blocage de type RSb, et nous le résolvons à l’aide d’un algorithme génétique dont l’objectif est de synchroniser toutes les ressources nécessaires, en respectant au mieux le programme opératoire prévisionnel. Outre les opérations électives, nous nous intéressons dans la dernière partie aux opérations urgentes. Nous proposons un outil d’aide à la décision pour la gestion des opérations urgentes. En prenant en considération la pathologie et la gravité de l’état du patient, nous distinguons principalement 3 degrés d’urgences et proposons pour chacune un algorithme permettant d’intégrer en temps réel ces opérations dans le programme prévisionnel, tout en minimisant différents critères (temps d’attente avant affectation, heures supplémentaires, décalage par rapport aux anciennes dates de débuts) / The operating theater is one of the most critical and expensive hospital resources. Indeed, a high percentage of hospital admissions are due to surgical interventions. Rising expenditures spur health care organizations to organize their processes more efficiently and effectively. This thesis is supported by the urban community of Sarreguemines-France and the region of Lorraine-France, and is carried out in collaboration with the Centre Hospitalier de Sarreguemines - Hôpital Robert Pax. In the first part of this work, we propose two mathematical programming models to help operating theater managers in developing an optimal operating rooms scheduling. We also propose a constructive heuristic to obtain near optimal results for realistic sizes of the problem. In the second part of our work, the whole scheduling process is modeled as a hybrid four-stage flow shop problem with RSb blocking constraint, and is solved by a genetic algorithm. The objective is to synchronize all the needed resources around the optimal daily schedule obtained with the proposed mathematical model. The last part of our work is dedicated to non-elective surgeries. We propose a decision support tool, guiding the operating room manager, to handle this unpredictable flow of patients. Non-elective patients are classified according to their medical priority. The main contribution of the proposed decision support tool is to provide online assignment strategies to treat each non elective patient category. Proposed assignments are riskless on patient’s health. According to non-elective surgery classes, the proposed adjusted schedule minimizes different criteria such as patient’s waiting time, deviation from the firstly scheduled starting time of a surgery and the amount of resulting overtime