Scenic construction requires a strong understanding of a range of principles related to construction including: materials strength properties, mechanical components, electrical motor systems, fluid power systems, and finishing techniques. A manager of scenic construction, or a Technical Director (TD), is required to take artistic designs and ideas and create magical elements on stage that are safe for performers, installers, operators, and audiences. In order to create these onstage spectacles, a great deal of planning, engineering, and careful fabrication must take place. There are several ways for a Technical Director to gain the knowledge required to effectively work at any level of entertainment production. This mixed-methods research study asks: what are the ethical standards that guide how a TD’s work is completed? The thesis begins with a review of the job of the Technical Director in Live Entertainment and data from a survey conducted of professionals in scenic technology. Results from the survey were analyzed to provide both quantitative data, in the form of statistics, and qualitative response data. Additional discussion addresses a sample of the resources for structural design support available currently to the field, as well as challenges that some professionals confront in their typical practice. The thesis concludes a review of literature around engineering ethics and liability in engineering practice and recommendations for the incorporation of new ethical standards in live entertainment scenic production. / text

Call number: LD2668 .T4 1965 H39 / Master of Science

“The Self: Towards A Method for Queering death” is an identity testament, a speculative method for designing the space of your own funeral before you die. It is a format to create a fair memorial of a person’s identity that does not feel welcome or fits in the current formats of burial ceremonies we have in Sweden today, usually connected to Christianity or other religious traditions. Even the secular burial traditions of Sweden today have a very clear traditional format and aesthetic that can be intimidating to a lot of members of society. “The Self” is also a method to relegate the power of narrative to whom it belongs.  “The Self “is executed through this thesis, a sacred document, a spatial installation and a film, showing a possible scenario of a burial ceremony as a result of the method of the identity testament. This thesis demonstrates and problematizes the secular burial traditions in Sweden and how the common rituals are still based on the norms of Christianity, heteronormativity and traditional values, and why this is oppressing a lot of individuals in society. It does so by using a speculative method of an identity testament, which gives every human the right to own the narrative about their persona and who they were to the afterlife. It also problematizes the hierarchies and norms in society of what “family” means, and how consanguinity is valued by state and law. The term “queer” or “queering” is used in multiple ways, both as an adjective (being queer, a queer community, a queer sexual identity) but also as a verb or an adverb, as in the method used by the Queer Death Studies Network. The content of this thesis consists of texts, pictures, research in form of written sources and interviews, queer theory, descriptive design methods and descriptions of a sculptural exploration and spatial installation as well as a motion picture. The thesis asks and answers questions such as: How could a new type of burial ceremony - based on our secular beliefs in contemporary Sweden – look, feel and be arranged to be more connected to what we can relate as religion today? Is it possible to create an organized system to collect information about a person´s identity to be used as a formal ground to create a fair burial ceremony after the person’s death? The analysis focuses upon speculative ideas about what could happen if every person had a right to state a will for their intangible possessions and assets as well as their physical ones. The thesis also goes through multiple examples of cases of queer deaths where there have been strong needs to arrange an alternative funeral to feel safe and comfortable. Finally, the thesis reflects upon how this method could be used and if it really could be applied to society, and if so, who would be able to use it?

Made available in DSpace on 2015-03-05T17:04:35Z (GMT). No. of bitstreams: 0 Previous issue date: 19 / Nenhuma / Em mercados competitivos e complexos como os de commodities, ter a capacidade de planejar cenários e vislumbrar o comportamento do preço em cada um deles, constitui-se em uma grande vantagem competitiva para as organizações. Dentro deste contexto, esta pesquisa teve por objetivo desenvolver um método para o entendimento dos fatores chaves que impactam a precificação de commodities, através de uma abordagem sistêmica, permitindo a estimação/avaliação de preços futuros em diferentes cenários. A metodologia de pesquisa adotada foi a pesquisa-ação, caracterizada pela aprendizagem coletiva e contínua. Uma adaptação do método PSPC – Pensamento Sistêmico e Planejamento de Cenários - aos objetivos desta pesquisa foi elaborada e aplicada em uma indústria do mercado de minérios de ferro. A primeira fase gerou o entendimento das principais variáveis associadas ao preço; na segunda este aprendizado foi materializado em um modelo computacional de dinâmica de sistemas que na terceira e última etapa foi utilizado para a est / In competitive and complex environments, like commodity markets, the ability to plan alternative scenarios and foreseen pricing behavior represents a competitive advantage. Within this context, this research aims to build a method that uses a systemic approach to understand the key factors that impact in commodities pricing, in order to visualize prices in different future scenarios. Action research is chosen as research method, by its characteristics of continuous and collective knowledge constructions. Based on PSPC – Systems Thinking and Scenario Planning – it proposes a method with three steps to be applied in the iron ore market. The first step leads to a collective awareness of the main variables related with pricing. In the second one, this knowledge is transferred to the dynamic system model, which, in the third phase, is used to visualize prices behavior in future scenarios. Along with quantitative evaluation, interviews with the participants give the inputs to accept and improve the proposed method.

No description available.

Dans les récits médiévaux, la réalité littéraire du décor est avant tout l'expérience imaginaire qu'introduit l'acte de lecture, avant d'être instrument qui permet au lecteur de réaliser l'image. Dans notre étude, il nous importe de préciser les éléments descriptifs, naturels et architecturaux, ou les visions du décor servant de cadres aux romans médiévaux. Avec une grande économie de moyens, la langue médiévale dit tout sur le sujet. En effet le stéréotype fonctionne toujours parfaitement, mais nous avons aussi de belles, brèves – mais énergiques – descriptions de châteaux et de villes. Les éléments du paysage peuvent s'ordonner en un panorama cohérent qui sait se mettre au service de l'action. Répondant aux nécessités du récit et sous forme de mentions généralement brèves, nous voyons apparaître peu à peu les éléments constitutifs des décors, naturels et urbains. Les rapides indications sont celles qui font apparaître le mieux la réalité d'un château ou d'une ville des XIIe et XIIIe siècles, telle qu'un romancier pouvait les présenter et les donner à voir à son public. / For a reader of medieval narratives the literary of the scenery, is in the first place an imaginary experience introduced by the act of reading and only subsequently it serves the role of an instrument necessary to reconstruct the image. In the present study, I discuss and reflect upon the natural and architectural elements of description and also the visions of the scenery recurrent in the medieval novel. The medieval language is extremely efficient in its descriptions of subject. The stereotypes are ever present, though punctuated by beautiful, short, yet vivid, descriptions of castles and cities. The elements of the landscape at times form a coherent panoramic setting for the action. Brief descriptions and mentions of the elements of the scenery, both natural and urban, appear as they are called for by the narrative. Such short indications appear to best show the reality of the castles or cities of XII and XIII century.

This thesis details the evolution of my scenic design for VCU’s 2018 production of Into The Woods. The document explains key factors for my design concept featuring a unit set instead of implementing traditional staging methods for James Lapine and Stephen Sondheim’s classic musical, based on the fairytales of the Brothers Grimm.

Scenic and Lighting Design

A collection of work from the graduate tenure of Kevin Loeffler at the University of Iowa Department of Theatre.

This dissertation is a micro-analysis of one particular type of communicative practice, the "mise-en-scène communication," which emerges as people talk and build scenery in their everyday work experiences in a theater consulting company in Taiwan. This dissertation engages in interaction analyses of participants' naturally occurring talk and face-to-face interaction in the set design meetings. Three findings are documented. First, mise-en-scène communication is multimodal. The participants use visual representations to communicate. These visual representational tools include architectural drawings, scale models, miniature props, and 3-D models and animations. The use of visual representations and communicative resources of language, gestural and postural conduct, the material surround, and physical objects enable the participants to visually communicate, envision, and construct scenes in and through talk and interaction. Second, mise-en-scène communication concerns three key organizing, work practices of creating an entirety of the theatrical space, including the scene-setting practice, the staging practice, and the measuring practice. This study finds that in these three major mise-en-scène practices identified, the theater artists express and formulate scenes and dramatic ideas in their talk. At the same time, they also frequently turn to bodily conduct as a source of insight into configuring, expressing, and formulating dramatic scenes. Third, the architectural drawings, the scale models, the props in miniature, and the computer simulations of theater space provide a material, perceptual field, which shapes embodied interaction systematically performed within it. The architectural drawings enable the participants to project the perceivable space through language and bodily behaviors. The miniature model and objects in a set create a full stage of symbolic communication in which scenes are arranged and dramas are spoken and created. Moreover, the theater artists manage to use language, gestures, and semiotic resources of the computer program, Maya, and its design interface to communicate and build 3-D scenes together. This research concludes that the plurality of channels exists in human communication. The micro-analysis of mise-en-scène communication reveals such a communicative process in which the participants draw on multiple modalities to visually construct theatrical meaning out of the set of visualization objects. / text