Thesis (M.S.)--University of Wisconsin, 1967. / eContent provider-neutral record in process. Description based on print version record.

This thesis is an exploration of information and theory relative to the development and management of performances within university level theatre and dance study abroad programs. Only U.S. theatre and dance study abroad programs in foreign countries are examined. This research is focused on programs that not only include performance, but also the entire creative and production process within the duration of their time abroad. Even with these constraints, the information provided is applicable to programs of non-U.S. institutions and programs that tour a performance abroad. The core of this thesis is an examination of the 2011 cycle of the University of Texas Theatre in Italy study abroad program. Through online research and e-mail I will also research similar study abroad programs, presenting information on curricula, program host city, program duration abroad and program website. Supporting literature is found in several fields; study abroad program creation, theatre management, production and administration. A synthesis of this knowledge is essential to the success of producing and managing in an abroad academic setting. This research will be a resource for current or potential study abroad program directors interested in integrating a performance in their own program. An introduction of common study abroad models and theatre curricula will be presented to provide context and vocabulary for the remainder of the research. I will define my own role as production manager and describe the responsibilities thereof. The following chapters will cover the management and logistics involved in selecting a performance piece and students, budgeting, travel, and production. For myself, this thesis is only the beginning of my own exploration in producing performances in an international setting. This experience and study was an opportunity for me to encounter some of the challenges common to producing abroad and touring internationally. In addition to this, I believe producing internationally is a positive way to share our own rich culture as well as an opportunity for Americans to discover and appreciate the cultures of others. I hope this to be my first step on a long career path of international collaboration. / text

In this research, following Mintzberg (1979 a), the structuring mode of these small enterprises, which are the theatrical production compagnies, has been named rudimentary adhocracy. In postulating the essential importance of the product itself in the management of these enterprises, the subject of this research is the praxis of the theatre director while structuring the project by which the theatrical representation happens. / In this research we have identified three types of praxis of directing: the first one is characterized by a search for the effectiveness of dramatic representation, the second one by a search for interiority and the third one by a search for new theatrality and theatralization. The first type, which is related to the > action, is characterized by an objective mode of conception of theatrical imaginary, a proactive mode of elaboration of the product within time and an autocratic mode of control in interpersonal relations. The two other types, which are variants of the > action, are characterized by a subjective mode of conception, a reactive mode of elaboration of the product and an allocratic mode of control. These three types of praxis are manifestations of the personal mode of structuring which we have identified as typical of rudimentary adhocracy. In inverting the title: >, this research leads to the application of the particular case of directing to the general one of management in rudimentary adhocracy. The objects of praxis are seen as being at the same time objects of affection and objects of knowledge, and the praxis of management is reconceptualised in the same way as is praxis of directing, in terms of the affective and cognitive dimensions underlying the manager's vision of the end product, the tight interrelation between that vision and its operationalization, and the influence of the internal and external realities of the manager as much as of the enterprise. This exploratory research has been conducted within an holistic perspective, i.e., considering the praxis of directing as a total fact. Participant observation and guided interview has been used to collect the material upon which the discussion is based.

Thesis (M.S.)--Virginia Polytechnic Institute and State University, 1991. / Vita. Abstract. Includes bibliographical references (leaves 76-81). Also available via the Internet.

No description available.

Thesis (Ph.D.)--Tufts University, 2001. / Adviser: Barbara Grossman. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 227-243). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

No description available.

In the month of December, 1904, 420 theatre companies were “on the road” in North America. This volume of touring was made possible only by the centralisation of the commercial theatre business, a feat of organisation accomplished by three partnerships that came to be collectively known as the Syndicate: Marc Klaw and Abraham Erlanger; Charles Frohman and Al Hayman; and Sam Nixon-Nirdlinger and Fred Zimmerman. These men, later in competition with the three Shubert brothers, Lee, Sam S., and J. J., brought a “big business” approach to management into the theatre and employed it to reap considerable profits. My dissertation explores the business organisation of these firms throughout the period 1900–1916. The first two chapters of my dissertation provide a general context and information on theatrical conditions up to the foundation of the Syndicate with special emphasis on tours of North America. In the second chapter, I pay special attention to the makeup of the combination companies that ruled the road during 1900–16. My third chapter investigates the organization of the Shubert main office. Included in this chapter are examinations of the various contracts the corporations used to form and control their empires. My fourth chapter examines the road companies. Topics I cover in this chapter include company operations, route changes, employment of backstage staff and company discipline. My final chapter analyses business practices in road theatres with special emphasis on their communications with the Shuberts or Syndicate. Since there were literally hundreds of road theatres to choose from, I selected circuits that conducted operations in Canada as the basis for the chapter (circuits operated by Ambrose J. Small and Corliss P. Walker). I conclude my dissertation with a discussion of the road in the late 1990s because many of the conditions of touring today are reflective of touring in the early 1890s. The road at the end of the twentieth century is making a comeback in strikingly familiar ways. Information for my dissertation comes primarily from documents in the Shubert Archives. Many of the records there have never been analysed by academics and they provided a fertile field for my investigation. Contemporary periodicals, especially The New York Dramatic Mirror and Variety , also provide a great deal of information on the period. Other sources consulted were the myriad biographies and autobiographies performers and managers published during the era or shortly thereafter. / Graduate

The social definition of the theatre as an expressive art and a place for individual creativity shapes’ the introduction of computers in the theatre. In a study of the development of computer usage in theatre, the issue of creativity must be addressed in order to fully understand technological implementation. In other areas of society, such as business, industry and government, computer implementation does not have to address the issue of creativity. In these areas, the issue is integrating the computer into established activities with the least amount of disruption. In theatre, however, the creativity issue is an underlying concern for the integration of computer systems in some areas. Computers are more readily accepted in administration, where the work tends to be more structured and repeatable. In the design areas, with the emphasis on individual creativity, the computer has been adopted more slowly. / Master of Science

A research report submitted in partial fulfilment of the requirements for the degree of Master of Arts In the field of Cultural Policy and Management Faculty of Humanities University of Witwatersrand, 2016 / Sustainability is a concept that has received a lot of attention in arts management discourse. It is also a concept that many theatre organisations grapple with both in developing and developed countries. Practitioners, managers and scholars have been trying to find solutions to the growing need for sustainability of arts organisations. While a number of strategies have been proffered, most of them have been focusing on financial sustainability. This study argues that if arts organisations are to achieve sustainability, the issue must be looked at from a broader, holistic perspective. In pursuing a holistic perspective on sustainability, the overarching argument is that for a theatre organisation to achieve sustainability, it must be guided by four pillars. These pillars are artistic vibrancy, community relevance, capitalisation and good governance. The focus of the study is on not-for-profit theatre organisations operating in Zimbabwe. Savanna Trust, a theatre organisation based in Zimbabwe is used as a case study. The study starts by looking at the external and internal challenges that are faced by theatre organisations operating in unstable socio-political and economic environments such as Zimbabwe. These challenges are some of the major impediments to organisations that pursue sustainability. The study then uses the four pillars to examine Savanna Trust and its capacity to become a sustainable organisation. This study recommends some strategies that not-for-profit theatre organisations can implement in pursuance of sustainability. It is hoped that the study will also contribute to a body of academic literature on theatre and sustainability with a specific focus on not-for-profit theatre organisations. / GR2017