This thesis represents the written documentation and evaluation of the lighting design for the Southern Illinois University Carbondale Department of Theater's production of Ken Ludwig's musical Crazy for You. It was produced on the McLeod Theater stage in October of 2010. The first chapter lays out my personal and artistic goals for the project, as well as my initial plan for the design process. The second chapter discusses my analysis of the text and my further research into the text, dance and musical styles found within the work. It includes a scene breakdown, a character breakdown, discussion of the theme, and use of metaphor in our production. The third chapter shines light on my design process and collaboration with the director and other designers. The final chapter is a self-evaluation of my design process and an assessment of the design and its implementation. It details my successes and shortfalls on the project and their implications for my future work as an artist and designer. The appendices of this document include the essential paperwork, and light plot.

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2017-06-27T23:08:07Z No. of bitstreams: 1 Veridianna Cristina Teodoro Ferreira.pdf: 1387845 bytes, checksum: fd455bb82a02be9b491b3f6650cc01fa (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2017-07-05T19:53:31Z (GMT) No. of bitstreams: 1 Veridianna Cristina Teodoro Ferreira.pdf: 1387845 bytes, checksum: fd455bb82a02be9b491b3f6650cc01fa (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2017-07-05T19:57:04Z (GMT) No. of bitstreams: 1 Veridianna Cristina Teodoro Ferreira.pdf: 1387845 bytes, checksum: fd455bb82a02be9b491b3f6650cc01fa (MD5) / Made available in DSpace on 2017-07-05T19:57:13Z (GMT). No. of bitstreams: 1 Veridianna Cristina Teodoro Ferreira.pdf: 1387845 bytes, checksum: fd455bb82a02be9b491b3f6650cc01fa (MD5) Previous issue date: 2016-03-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present paper focuses on the contribution to fashion design, through the use of existing technologies in the tissues, which associated with an appropriate modeling, whose objective is in the attribution of comfort to the user, respect for the health of his body and its skin freedom of movement. The work, especially, intend to present a way to respect for the different existing body forms, without the body having to change its forms to suit a garment. The propose is reach this through the use of technological fabrics. The work propose a dialogue between textile technology and ergonomic, mainly related to anthropometric measures, to develop a dress that respects the architecture of the user's body. This study analyzed how ergonomics defends the user's pleasure in using the product and what characteristics should be contained in a garment, in order to the user perceives the space occupied by the clothing. To support this discussion and these forms of designing a garment, the works "Torchon" and "Pli Plá" by Nanni Strada (2008) and "Pleats Please" by Issey Miyake (2012) were presented, because both fashion designers start from these concerns with the individual, in developing their dress designs. In addition, is correct to say that their works fit the premises of a universal ergonomic design, whose purpose is precisely to tailor clothing to different bodies, heights and body shapes. In this sense, this work aims to discuss the existing technologies in the textile market, whose purpose is to favor clothing in contact with the body, respecting their forms, mobility, health, comfort and tactile perception of clothing to the body. It also discusses proposals that deal with dressing whose concern is the suitability of clothing in different body shapes, whose solution tool is the technological innovations in the textile field. / O presente trabalho tem como foco discutir a contribuição para o design de moda através do uso de tecnologias existentes nos tecidos, que associadas a uma modelagem adequada, tem como objetivo a atribuição do conforto ao usuário, respeito à saúde do seu corpo e da sua pele, liberdade de movimentos e, principalmente, respeito às diferentes formas corporais existentes, sem que o corpo tenha que alterar suas formas para se adequar a uma vestimenta , isto se dá através do uso de tecidos tecnológicos. O trabalho propôs um diálogo entre a tecnologia têxtil e a ergonomia, principalmente relacionada às medidas antropométricas, para se desenvolver uma vestimenta que respeite a arquitetura do corpo do usuário. Este trabalho analisou como a ergonomia defende o prazer do usuário no uso do produto e quais características devem conter em uma vestimenta, para que leve o usuário a perceber o espaço ocupado pela roupa. Para fundamentar esta discussão e estas formas de se projetar uma vestimenta, foram apresentados os trabalhos Torchon e Pli Plá de Nanni Strada (2008) e o Pleats Please de Issey Miyake (2012), uma vez que ambos os designers de moda partem dessas preocupações com o indivíduo, ao desenvolverem seus projetos de vestimentas. Além disso, pode-se dizer que seus trabalhos se encaixam nas premissas de um projeto universal ergonômico, cujo intuito seja justamente adequar a roupa a diferentes corpos, alturas e formas corporais. Nesse sentido, este trabalho objetiva discutir as tecnologias existentes no mercado têxtil, cujo intuito seja favorecer a roupa em contato com o corpo, respeitando suas formas, mobilidade, saúde, conforto e percepção tátil da vestimenta ao corpo. Discute-se também, propostas que tratam do vestir cuja preocupação seja a adequação da vestimenta em diferentes formas corporais, cuja ferramenta de solução sejam as inovações tecnológicas no campo têxtil.

M.Tech. (Fashion) / This study is an investigation of Japanese designers, Issey Miyake, Yohji Yamamoto and Rei Kawakubo, who are widely regarded as leading innovators in the fashion world (Kawamura 2004:36; Niessen 2003:216; Sudilc 1990:84). Collectively they have been described as avant-garde designers (Sudjic 1990:13; Breward and Gilbert 2006:58), creators of the Japanese fashion revolution in Paris (Kawamura 2005:96), and exponents of anti-fashion design (Kondo 1997:118). These designers defied the prevailing fashion norms and produced clothes referred to as "wearable art" through the use of advanced technology (Leventon 2005:25). While there are volumes of articles crediting them as revolutionary designers over the years, there is limited literature material that clearly articulates what these designers did differently. Various scholars have tried to uncover what it was that Japanese designers brought to international fashion (Koren 1984; Koda 1987; Coleridge 1989; Evans and Thornton 1989), yet none have been conclusive enough to provide the "recipe for success" that Miyake, Kawakubo and Yamamoto have achieved…