AN ABSTRACT OF THE THESIS OF Jesse Crouch, for the Masters of Technical Direction degree in Theater, presented on April 6, 2010, at Southern Illinois University Carbondale. TITLE: The Technical Direction of Lysistrata MAJOR PROFESSOR: Robert Holcombe The Technical Direction of Lysistrata encompasses the process of managing and organizing the technical production of Lysistrata A Woman's Translation, by Drue Robinson Hagan and directed by Jessica Johnson Frohling. It is also a representation of the organization of staff, personnel and student crews involved in the construction to achieve the vision of the director and scenic designer. Included are the script analysis, statement of personal goals, process and evaluations, technical paperwork and photographs.

The theatrical scenic design process does not end at a picture on paper or with the presentation of a scale model. The design must be translated to the stage. There are a myriad of questions to be answered and decisions regarding construction style, process, material choices, structure, safety, etc. that must be made in order to fully realize the design. In a common, contemporary American production hierarchy, the person that is most often responsible for this translation process is the technical director. Often, the technical director is stereotyped as solely a craftsman or a technician following a set of pre-established directions and not as an artist in his own right. Even I, as a technical director, am guilty of promoting this stereotype for the majority of my theatrical career. However, through reflection on my professional experiences in combination with my education and research over the last two and a half years, I began to recognize the art inherent in the field of technical direction. I have gained a greater appreciation for and understanding of the importance of the artistic contributions made by every participant in a theatrical production. The practice and research based journey chronicled in this document serves to move beyond stereotypes and expose the technical director as a conscientious, collaborative theatre maker and artist.

In October 2023, the Southern Illinois School of Theater and Dance produced Ride the Cyclone. This thesis documents the participation of the technical director, Leonard Lively, in this collaborative production process. The project involved multimedia construction, CNC technology to manufacture custom components, curtain fabrication, engineering inspiration from anatomical structures, and advanced AutoCAD drafting techniques. Chapter one explores the play’s text, past productions, and the production’s possibilities. The design process is documented in the second chapter. The third chapter covers the production process and the fourth chapter reflects and evaluates the effectiveness of the production.

This thesis document is a revisiting of the technical direction of Southern Illinois University's production of RENT. In it, in Chapter One, you will see background on the production itself with a table illustrating a breakdown of scenes from the script and technical challenges for each. Following this, Chapter Two begins discussion of the process I, as the technical director, went through, including preparation, the build itself, and the strike process. The final chapter of this document is a self-reflecting section where the issues I encountered during the process are addressed, and ways I can improve as a technical director are indicated.

This thesis is intended to guide the reader through the production process for Southern Illinois University Department of Theater’s 2021 production of Tuck Everlasting: The Musical. The document follows the journey of a technical director’s process through preproduction, design development, production process, and postproduction reflection. By joining the adventure through the backstage experience of the production process one should come to understand the work needed to produce a theatrical production.

This thesis will take the reader through the production process for Romeo and Juliet, one of Southern Illinois University School of Theater and Dance’s productions. The primary focus of this thesis will follow the technical director’s role during preproduction, design development, and the production process. By discussing the process of this production, readers should gain insight to the work and steps involved in creating live theater.

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In February 2024 Sewanee Theatre and Dance produced Tennessee Williams’ A Streetcar Named Desire. This thesis documents the role of the technical director from pre-production through closing. 3D Printing technology was used for this production to create scenery that evoked the imagery of 1940s New Orleans. This thesis also discusses the roles of a technical director and the challenges they face in the industry. A portion of this project was done remotely which provides a unique perspective of the role of a Technical Director.

BRYCE DALE ALLEN, for the Master of Fine Arts degree in Theater, presented on March 30, 2010, at Southern Illinois University Carbondale. TITLE: MANAGING THE MAGIC: TECHNICAL DIRECTION OF THE SECRET GARDEN MAJOR PROFESSOR: Robert Holcombe This project, Managing the Magic: Technical Direction of The Secret Garden, is a detailed description of the process I used as the technical director to help produce the Department of Theater's production of The Secret Garden at Southern Illinois University Carbondale in April 2009. This work is also a study of the artistic collaboration that took place between the design team and me during the execution of the production. Through this project I was able to polish skills that I had learned through careful goal setting and evaluation. Working on The Secret Garden also gave me the opportunity to broaden my experience and develop my strengths as a technical director.

This document, A TD’s Awakening: A Technical Direction Thesis on Spring Awakening, is a detailed description of the technical direction process for Southern Illinois University Department of Theater’s Fall 2017 production of Spring Awakening: A New Musical. Chapter One dives into script analysis and includes a scene breakdown and technical requirements for the production as well as a discussion of the goals I wished to accomplish with this project. Chapter Two details the development of the design for the production and examines the monetary and time budgets for the scenic units. Chapter 3 is a detailed account of the production process, including any challenges that arose and how they were resolved. Chapter 4 reflects on the goals mentioned in the first chapter and what aspects of the production I would have done differently. Also included in this document are appendices that include the build schedule, the budget sheets, scenic designer’s drafting, construction and assembly drawings, and production photos.