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."

La tesi ricostruisce la storia teatrale cittadina di Bergamo tra Sei e Settecento, attraverso una ricognizione dei luoghi adibiti allo spettacolo profano, preposti ad accogliere l'opera in musica e le compagnie di attori professionisti. Si definiscono i rapporti delle istituzioni cittadine e del pubblico con la diffusione del teatro a pagamento delineando il tema da un punto di vista politico e sociale. A tale scopo si determinano i modelli produttivi diffusi nella città e l'eventuale circolazione di artisti e/o impresari attivi nel resto della Terraferma Veneta. Il dato peculiare della vicenda bergamasca è, infatti, la mancanza di un riconoscimento architettonico al fenomeno: con l'eccezione del teatro Secco Suardo (1686-1695), il primo teatro stabile risale al 1791. Un ritardo dovuto a motivazioni molteplici: culturali e politico-istituzionali, oltreché geografiche. Il sistema teatrale bergamasco consisteva in edifici provvisori, costruiti annualmente per le due principali stagioni (Carnevale e fiera d'agosto). La tesi è, infine, corredata da un'appendice documentaria e da una cronologia dei principali eventi spettacolari della città nel periodo in questione. / The thesis reconstructs the Bergamo's theatrical city history between the XVIIth and the XVIIIth centuries, through the finding of the places used for secular theatre's performances, like opera/melodramma and comedian professional troupes. The relations between the civic institutions and the public on one side, with the spreading of commercial theatre on the other side, are defined by a political and social point of view. In order to that are researched the productive patterns arrived in the city and the presence of artists and opera producers working in the Terraferma veneta. Bergamo's peculiarity is the absence of an architectonical recognition to the phenomenon: with the exception of Secco Suardo's theatre (1686-1695), the first permanent theatre goes back to 1791. A delay due to cultural, political and geographical reasons. The Bergamo's theatres system consisted in temporary buildings raised every year for the two main theatrical seasons (Carnevale and the summer fair). The thesis ends with a documentary summery and a chronology of the main spectacular events performed in the city in the age of antico regime.

This dissertation aims to analyse the re-creation and transformation of animated films into theatrical spectacles, by examining two Walt Disney animations and productions as case studies: Beauty and the Beast (1991 & 1994) and The Lion King (1994 & 1997), designed by Stanley Meyer (Beauty and the Beast [1994]) and Julie Taymor (The Lion King [1997]), respectively. Through a semiotic analysis of the productions viewed in the Monte-Teatro in Johannesburg (Beauty and the Beast [2007]) and the Lyceum in London (The Lion King [2010]), the scenographic choices of the designers are examined to ascertain the ways in which the re-creation and transformation from animation to theatre occurs. A study of the different styles is conducted, as the case studies were visually different from each other, and from their animated counterparts. Each case study contributes to an understanding of the process whereby an animated film can be transformed and re-created for the theatre. An investigation into The Walt Disney Company, from its inception to its present day theatrical productions, is undertaken to illustrate how The Walt Disney Company has become an influential force in the international performance industry. Responses by reviewers are used to demonstrate how The Walt Disney Company was influenced to alter the conceptual approach for its subsequent theatrical production. To aid in the analysis of the scenographic designs, the theoretical writings of Martin Esslin (1987) and Keir Elam (1980) are consulted to develop an understanding of how designs are integral to the reception of any production. Developments of scenography are explored from Aristotle who states that theatre does not need any spectacle (design) to portray the poetry of the performance, to Sternfeld’s analysis of megamusicals which illustrates the spectacular designs that have become integral to the development of certain productions, and genres. Using Wickstrom’s article on The Lion King an examination of how the commodities produce meaning from the production is undertaken. This dissertation provides insight into the development of scenographic designs and the recreation and transformation of specific elements from animated film to theatrical spectacle through an appropriation of theories about transposing theatre into film (Egil Tornqvist, 2009). This, in conjunction with Guy Debord’s theories (1995) on the society of the spectacle, aids in the analysis of the spectacle/scenography. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2010.

The aim of this dissertation is to comparatively analyse the set designs for Wolfgang Amadeus Mozart’s (1756-1791) opera, The Magic Flute (1791), with specific reference to selected set designers from the 18th to the early 21st century. The selection was made in light of each set designer’s unique design concepts for The Magic Flute which were all realised as stage settings in a proscenium arch theatre. In order to analyse the designs, it is necessary to trace theatrical practices and chronologically examine the reforms that affected the visual and spatial representation of scenography from the 18th to the 20th Chapter one provides a brief overview of the development of the proscenium arch stage. It examines the architectural reforms that were made to the proscenium arch in order to accommodate deeper stages and changes in stage settings. In addition, Chapter one investigates methods that theatre architects used to alter the proscenium arch and forestage in order to create a unity between the audience members and the performance. century. The set designs for The Magic Flute by Emanuel Johann Schikaneder (1791), Karl Friederich Schinkel (1816), David Hockney (1978) and William Kentridge (2007) will be analysed within the context of this investigation. Chapter two further considers the architectural modifications that were made to the stage and auditoria of opera theatres in more detail, from the first U-shaped auditorium onwards. It is essential to consider the different architectural structures of opera theatres because in order for each designer to initiate their design concept, they would be required to consider the architectural limitations of their chosen auditoria. The architectural structure would be determined by the foyer area, the style and arrangement of seating and the size of the proscenium arch and stage. Chapter three, by means of a comparative analysis, considers the social and cultural influences on the design concepts of Schikaneder, Schinkel and Hockney and how they informed those of Kentridge for The Magic Flute. It also provides a brief overview of stage lighting, scenic styles and stage machinery used in opera from the 16th to the 20th Chapter four classifies the theatrical spaces used in opera theatres by examining three key areas in an opera theatre, in relation to the foyer, auditorium and stage area. This investigation will be conducted with specific reference to the Theatre Auf Der Wieden, The Royal Opera House, the old Glyndebourne Opera House and The Artscape Opera House. In addition to this it will examine the selected designers’ approach to their design concepts by comparatively analysing the stage settings of Schikaneder, Schinkel, Hockney and Kentridge for The Magic Flute and the stage technology that was used to realise their design concepts. Thereafter, the set designs for Kentridge’s production and how they were conceptualised from a South African perspective will be examined. century Chapter five summarises the ways in which scenography is influenced by architectural, cultural and theatrical discourses, from the analysis of the designs and concepts for The Magic Flute. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2013.

Over the next few years, major investments in healthcare buildings is to be performed. Most surgical theaters are in need of technological upgrades as the technology is outdated. In most cases not only a refurbishment is performed but also an expansion. The basis for expansion, is due to a large increased number of patients, but also to the complexity of the refitment. Partly it's because evacuations are difficult to implement and the disturbance that occurs in conjunction with the refitment. Löwenströmska hospital undergoing a technical upgrad. The hospital has a relatively small operation department, and during the summer the business may be closed. Rebuilding in stages is done to rehabilitate the department technically. Work is underway for four summers and covers a total refurbishment of the premises. Although shutdown is possible, the project is still complex. The purpose of this study is to examine whether other construction methods than rebuilding had been of value to the surgical department at Löwenströmska hospital. The goal is to overlook the efficiency of production, reduce the complexity added through the conversion, and compare the methods economically. Methods that have been examined are a new construction of a department, new construction with partial conversion and modules. The work is also carried out to facilitate the choice of method for future projects. The basis of the work lies in discussions and interviews with persons involved in the project. And review of blueprints and technical specifications . The conclusion of this study is that depending on the chosen construction method various advantages is gained. Depending on the circumstances and opportunities provided , all results provide beneficial solutions. Therefore, all investigated methods individually reviewed for similar projects.

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."

No description available.

Esta tese se propõe a investigar as potencialidades estéticas e críticas vinculadas à presença dos atores do cotidiano no âmbito das artes cênicas contemporâneas, com recorte em criações produzidas no Brasil e na Europa neste início de século XXI. O termo compreende pessoas que não necessariamente possuem formação artística e são convidadas a participar de uma criação a partir de uma perspectiva autorreferencial. Parte-se da hipótese de que a incorporação dos atores do cotidiano colabora para alterar o próprio \"regime de visibilidade\" (RANCIÈRE, 2009) dos corpos e subjetividades no âmbito das artes cênicas, ao ampliar as possibilidades sobre quem pode atuar no teatro e na dança. A partir do diálogo com os conceitos de teatros do real (SAISON, 1998; FERNANDES, 2010; MARTIN, 2013), teatralidade expandida (DIÉGUEZ, 2014; SÁNCHEZ, 2015) e teatralidade do público (CORNAGO, 2015), a pesquisa centra-se na análise da trajetória e de obras específicas de artistas da cena contemporânea que se destacam pelo trabalho com os atores do cotidiano, como o diretor francês Jérôme Bel, a brasileira Cia. Hiato, o coletivo suíço-alemão Rimini Protokoll e o diretor catalão Roger Bernat. A partir dessa análise, são traçadas algumas potencialidades vinculadas aos trabalhos, com destaque para a subversão de tradicionais códigos cênicos da representação, a intensificação da partilha de experiências com o espectador, a aproximação das artes cênicas com os campos da realidade e do cotidiano, a problematização de questões relativas à alteridade, a irrupção de uma teatralidade do coletivo, a projeção de espelhamentos com o público e sua participação na obra e, finalmente, o diálogo com o contexto onde o espetáculo acontece. Esse tipo de participação reflete um modo específico de expansão de linguagem do teatro e da dança. E mostra como a presença dos atores do cotidiano colabora para transformar as \"maneiras de fazer\" e os \"modos de pensabilidade\" (RANCIÈRE, 2009) das artes cênicas contemporâneas. / This thesis aims to investigate the aesthetic and critic potentialities related to the presence of the actors of everyday life in the context of contemporary performing arts, addressing creations produced in Brazil and Europe at the beginning of 21st century. The term includes people who do not necessarily have artistic training and are invited to take part in current creations from a self-referential perspective. We start from the hypothesis that the incorporation of actors of everyday life collaborate to change the \"regime of visibility\" (RANCIÈRE, 2009) of bodies and subjectivities in the context of performing arts, by broadening the possibilities about who acts in theatre and dance. From the dialogue with the concepts of theatres of the real (SAISON, 1998; FERNANDES, 2010; MARTIN, 2013), expanded theatricality (DIÉGUEZ, 2014; SÁNCHEZ, 2015), and audience theatricality (CORNAGO, 2015), this research focuses on the analysis of the trajectory and of specific works of artists from the contemporary scene who stand out by their work with actors of everyday life, such as French director Jérôme Bel, the Brazilian Cia. Hiato, the Swiss-German collective Rimini Protokoll, and Catalan director Roger Bernat. From this analysis, we outline some some potentialities linked to their works, focusing on the subversion of traditional theatrical codes of representation, the intensification of experience sharing with the spectator, the approach of the performing arts with the fields of reality and everyday life, the questioning of issues relating to otherness, the irruption of a theatricality of the collective, the projection of mirrors with the audience and its participation in the work, and, finally, the dialogue with the context in which the spectacle takes place. That kind of participation reflects a specific way with which theatre and dance have been working their language expansion. And it shows how the presence of everyday actors collaborates to transform the \"ways of doing\" and the \"ways of thinking\" (RANCIÈRE, 2009) of the contemporary performing arts.

Since 1945, there has been a proliferation of armed groups in conflict theatres across the globe. Although these groups exist outside of the regular forces of States, they are in most instances supported and controlled by States. Despite this, the complicit support of States in the commission of international crimes by armed groups is not recognised under international law and the tests of control through which the conduct of individuals could be attributed to States are almost impossible to meet. This allows States to maintain compelling roles in international crimes committed by armed groups with impunity. Despite this, the role played by States in modern international conflict has received only intermittent attention in the literature. This thesis seeks to address this disparity by addressing the critical role of State support of armed groups in the commission of international crimes by challenging the existing tests of attribution of conduct to States under the present rules of international responsibility. Therefore this thesis asks whether there can be variation to the current tests for attribution of conduct of individuals who are members of non-State armed groups to States which provide support to them, by approaching the interpretation of "control" in a purposive, less literal manner. It argues this by analysing the limitations of the current law through selected case studies. It further examines alternative approaches in the fields of international human rights law and international criminal law, again through selected case studies with a view to determining whether they can assist in crafting more purposive approaches towards the determination of State control over armed groups. This will augment the current corpus of literature by suggesting improvements that can, hopefully, pass into the lex lata and stymie continued State impunity in this area.

Ο ήχος είναι ένα αρκετά παλιό πεδίο έρευνας, όμως μέχρι και σήμερα πολλές πτυχές του παραμένουν ανεξερεύνητες. Έτσι ακόμη και στις μέρες μας, παραμένει ελκυστική ερευνητική περιοχή για αρκετούς επιστήμονες. Ορισμένα από τα σύγχρονα επιστημονικά πεδία της ακουστικής είναι: η ακουστική χώρων, η ψυχοακουστική, η μουσική ακουστική, η ανάλυση φωνής, η ηλετρoακουστική, η ψηφιακή επεξεργασία ακουστικού σήματος, η υποβρύχια ακουστική, η ακουστική οικολογία, η περιβαλλοντική ακουστική, η αρχιτεκτονική ακουστική και άλλα. Κύριο αντικείμενο της διατριβής αποτελεί η μελέτη των συντονιστών Helmholtz. Για τον σκοπό της μελέτης αυτής υλοποιήθηκαν εξομοιώσεις σε περιβάλλον πεπερασμένων στοιχείων, μελετήθηκε η συμβολή των συντονιστών στην ακουστική των αρχαίων θεάτρων και υλοποιήθηκαν μοντέλα με τη βοήθεια ψηφιακών φίλτρων. Οι διαφορετικές προσεγγίσεις στη μελέτη των συντονιστών έχουν μεγάλο ενδιαφέρον, αφενός για την περαιτέρω γνώση των αρχών λειτουργίας τους, αφετέρου, για τη δημιουργία νέων υπολογιστικών εργαλείων, που χωρίς να απαιτούν μεγάλη υπολογιστική ισχύ προβλέπουν με σχετική ακρίβεια την συμπεριφορά τους στο ακουστικό πεδίο. / Sound is considered to be an old research field, but till now many of its aspects remain unexplored. Thus, it is found to be an attractive research area by several scientists. Some of the modern scientific fields of acoustics are: room acoustics, psychoacoustics, musical acoustics, speech analysis, electroacoustics, digital audio signal processing, underwater acoustics, acoustic ecology, environmental acoustics, architectural acoustics and other. The main object of this thesis is the study of Helmholtz resonators. In this study simulations in finite element environment were carried out and it was studied the contribution of the coordinators of the acoustics of ancient theaters as well as the implementation of complex models by using digital filters. The different approaches to the study of the resonators are of great interest both for further knowledge of the principles of their acoustic behavior and for creating new computational tools that they do not require large computational power to predict with fairly accuracy their behavior in the acoustic field.