Directing texts are inadequate in their various approaches to teaching the concepts of stage-composition. The goal of this thesis was to show that, for an approach to stage composition to be judged adequate, it must systematically provide the student of directing with a firm grounding in design and compositional principles as they relate to the total stage picture. Nineteen texts were studied and their presentations of compositional principles were analyzed. Eight texts are included in an in-depth structural analysis. The texts analyzed are Fundamentals of Play Directing by Alexander Dean, The Art of Play Production by John Dolman, Play Direction by John Deitrich, Principles of Theatre Art by H. D. Albright, W. P. Halstead, and Lee Mitchell, Directing Methods by Albert and Bertha Johnson, Play Directing by Francis Hodge, Creating Theatre by August Staub and Creative Play Directing by Robert Cohen and John Harrop. The analysis of these texts includes a detailed comparison of terminology· and approaches to the presentation of compositional principles. Of the nineteen texts included in this investigation, only one, Creating Theatre by August Staub, presented a systematic approach to design fundamentals and compositional principals as they relate to the director's function. Also included in this thesis are the writer's criteria for judging the adequacy of approaches to composition in any directing text. The conclusion reached by the writer is that the authors of texts on directing, as well as the schools that offer programs in theatre arts, need to emphasize design fundamentals as an essential element in any theatre student's training.

Considered apart from the concrete; general; theoretical; hence, difficult; ideal. 2. A summary of epitome; a generality, in law, a compendium; in logic, an abstract idea or term; in grammer, an abstract noun, as virtue, goodness, etc.* / Department of Architecture

This thesis represents the written portion of the Degree Requirements of the Master of Fine Arts in Theatre Design. The Thesis production of HAMLET, by Wm. Shakespeare (edited by Brian C. Parkinson), was the University of Lethbridge Department of Theatre and Dramatic Arts third show of the 2011 – 2012 Mainstage Theatre season, running February 14 – 18, 2012, performed at the University Theatre in the University of Lethbridge Centre for the Arts, Lethbridge, Alberta. HAMLET was directed by Brian C. Parkinson, with the assistant direction of L. Jay Whitehead and Yvonne Mandel. Contained within this written portion of the thesis is a discussion of the design concepts for this production, along with photographic records of models, technical drawings, and other pertinent information. / viii, 176 leaves : col. ill. ; 29 cm

The career of Danny Daniels was significant for its contribution to dance choreography for the stage and screen, and his development of concept choreography. Danny's dedication to the art of dance, and the integrity of the artistic process was matched by his support and love for the dancers who performed his choreographic works.

The purpose of this project is to assess the production level one person can achieve when directing, designing, and managing all aspects of a major theatrical production. It will identify strategies and techniques which are crucial for success in the areas of theatrical design and management.

In a growing digital economy, the possibilities for newly established companies are immense, and the market for innovative, disruptive products has grown exponentially. In this environment, single-person start-ups exist alongside billion-dollar organizations with thousands of employees. Somewhere in the middle, scale-ups have become an increasingly interesting topic of study as they can be seen as the "successful" start-ups that are experiencing the transitional challenges of establishing themselves in an increasingly competitive market. As fast-growing scale-ups juggle customer's demand for new, innovative products/services alongside investor's demand for a viable business model, a need for a fast and adaptive product/service development environment arises. Here the concept of cross-functional teams becomes increasingly interesting as a tool for facing the challenges that such scale-ups face. This paper is an exploratory case-study following a cross-functional team at a tech scale-up in the Stockholm region. The company currently inhabits the gaming market and offers B2C products/services to thousands of customers. This case study follows the cross-functional team from its early inception to the later stages of its progress. This paper draws conclusions for optimal conditions and success factors that allow for cross-functional teams to reach their full potential. Being a case study, this paper is also able to analyze how different contextual factors have implications on how crossfunctional teams operate. In the end, success factors are laid out, both generally and contextually, giving readers insights into the benefits and challenges that go hand-inhand with cross-functional teams at high growth scale-ups. / I en snabbväxande digital ekonomi är möjligheterna för nyetablerade bolag enorma. Efterfrågan efter innovativa och disruptiva produkter har vuxit exponentiellt. I denna miljö existerar det både små start-ups och miljardbolag med tusentals anställda. Någonstans i mitten mellan start-ups och miljardbolag finns det ett bolagsstadie som benämns scale-up. Scale-up kan ses som framgångsrika start-ups som handskas med de utmaningar som kommer med att snabbt växa och samtidigt konkurrera i en tuff marknad. Snabbväxande scale-ups behöver balansera kundernas efterfrågan för innovativa produkter/tjänster samtidigt som eventuella investerare kräver bevis på att företaget har en lönsam affärsmodell. För att uppfylla allt detta krävs det en snabb, innovativ och adaptiv utvecklingsmiljö för företagets produkter och tjänster. Crossfunctional teams är en intressant modell för att hantera några av de utmaningar som scale-ups står inför. Denna studie är en explorativ fall-studie som följer ett cross-functional team på en svensk scale-up i baserad i Stockholmsregionen. Företaget är en leverantör till gamingindustrin och erbjuder B2C produkter och tjänster till tusentals kunder. Dennastudie följer ett cross-functional team från initierandet av teamet och under flera veckors tid. Studien bidrar med slutsatser gällande vilka förutsättningar och framgångsfaktorer som bidrar till att ett cross-functional team kan uppnå sin fulla potential. Denna fall-studie bidrar också med insikter kring hur olika kontextuella faktorer påverkar arbetet för crossfunctional team. Slutligen, presenterar studien olika framgångsfaktorer, både generella och kontextuella för cross-functional teams. Studien bidrar även med insikter gällande de olika fördelarna och utmaningarna som uppkommer om man arbetar med crossfunctional teams.

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Né en 1727 à Briançon, Jean-Antoine Morand a 14 ans lorsqu’il se lance, suite à la mort de son père, dans une carrière artistique. C’est à Lyon qu’il s’installe et fonde, en 1748, un atelier de peinture. Il reçoit des commandes officielles et privées, travaille régulièrement pour la Comédie, se spécialise dans la peinture en trompe-l’œil et la scénographie, y compris les machines de théâtre. À la fin des années 1750, encouragé par Soufflot, il se tourne vers l’architecture et l’embellissement, ainsi que l’y disposent différents aspects de sa première carrière.Architecte autodidacte, Morand souffre d’un déficit de légitimité et tente d’y remédier en recherchant la reconnaissance publique. Mais ses succès, en particulier la construction à titre privé d’un pont sur le Rhône, n’y suffisent pas. La carrière de Morand est tiraillée entre fierté entrepreneuriale et appétence institutionnelle. Son image pâtit de l’opposition entre spéculation foncière et promotion du bien public. Cela concerne en particulier son grand œuvre, un projet d’agrandissement de Lyon sur la rive gauche du Rhône, compris dans un plan général donnant à la ville la forme circulaire.Morand a peu construit et il ne subsiste presque rien de son œuvre pictural. On dispose en revanche d’un fonds d’archives privé d’une grande richesse, sur lequel s’appuie cette thèse, afin de mettre au jour les intentions, les relations et la psychologie d’un architecte autrement méconnu. / Born in 1727, Jean-Antoine Morand is 14 years old when he embraces an artistic career, following his father’s death. Having settled down in Lyon, he establishes his own painter’s workshop in 1748. Receiving public and private commissions and working for the theatre on a regular basis, he specializes in trompe l’œil painting and stage-setting, including machinery. In the late 1750s, spurred on by Soufflot, he turns to architecture and city-planning, as various aspects of his previous career could have prompted him to.As an autodidactic architect, Morand suffers from a lack of legitimacy against which he pursues public recognition. But his successes, which include the building of a privately-owned bridge across the Rhône, aren’t enough. Morand’s career is torn between entrepreneurial pride and his longing for tenure. His public image is marred by the alleged opposition between land speculation and the defense of public good. This concerns mostly his great work, a project for the extension of Lyon on the left bank of the Rhône, included in a circular general city plan.Morand hasn’t built much and very little remains of his pictorial work. This thesis is based on an extensive private archive that allows us to explore this otherwise unsung architect’s intentions, relations and psychology.