Public Comments Received

Total Page:16

File Type:pdf, Size:1020Kb

Public Comments Received Reply to highlands act monitoring plan due September 10, 2017 with specifics I would like to se the word “conservation” changed to “protection” in the entire document. I t is clear that the word “conservation” is a code word used by wildlife murderers to hide their true intent of killing and murdering birds/wildlife, reptiles, etc for their own enjoyment of killing so it is frequently used by hunters to hide their true intent. I think it is time that we protect wildlife fully and totally. They have little land left to live on and their full protection is part of the environmental scheme that provides health and benefits for all of us. This sneak attack is not appreciated by the citizens of nj. Pagd 13 – using as forests for “resource management” is also another sneak word that means whatever we save is just there until some profiteer can come along and log it to death, butn it to death, chemically treat it to death. There is no protection for our forests at all when you use the words “resource management” for our forests. The whole idea of ht eopen space public taxation was to save and protect, not to salt it away until some profiteer or evil govt swamp agency comes along and logs it and make s money off it. We se that happening by the njdffgw and their secret pals, who they have allowed to take the lands we all tried to protect and are logging it for some pretension of a bird species,m meanwile killing our trees that make oxygen for us and killing the hundreds of forest bird species that have made their homes in our forests. The evil mendacity going on in our corrupt nj govt has perverted what is happening to our open space. Non profits are using our open lands to make huge sums for their ownj activities, which activities do not promote the good of all nj citizens, numbering almost 9 million now. We have fake self appointed arborists who will say anything for money. They are after money and see it in the public lands we all paid to save and protect. The intention of open space was to protect, not to allow privileged friends of njdfgw to log it for their own profitability. Toomany fake arborists will say anything for their billings and their own enrichment. Science is not pure anymore. You can find someone who will say anything you want if you pay them. We know that goes on in corrupt nj every single day. Wildlife and bird protection is extremely important to all of us. As to deer killing and murder by the psychos who enjoyh murdering wildlife for their joy at killing, there is no sense to that in congested nj at all. No sense at all. We are the most crowded state in this nation. Unfortuanely we have a state agency njdfgw creatd in the l940s which still operates as if nj is exiting in the l940’s. this agency relies on growing animals to be shot to death for license money. So they will always promote growing deer so they can be killed. I find other state agencies afraid to call this as the mess it is. This agency constantly alters habitat to grow deer populations so it can sell license to kill these animals. And this njdfgw is also lying to the nj public sonstantly to promote their vile, violent activites. The lies are plentiful. Deer are monetized victims from this vile agency – new jersey divison fish & wildlife division. Page 13 – I note use of the words “deer management” when clearly it is deer killing you are after and I find that repugnant, vile, violent and evil. This agency clearly is an advocate of guns, killing, wildlife murder and it is not planning “management” it is planning deer murder so to lie in this use of “deer management “ is a lie to the public citizens of nj. Muderous methods of killing are always what is promoted by state agencies and to misuse words to fool the public is demonstrable criminality. You intend deer killing, not compassion to these animals. You intend murderous methods and don’t want to use accuracy in your plan. If that Is not the case, please set out what compassionate methods you intend to use as part of your “deer management plans Forest restoration is a failure due to so many effects on the forest, not just one animal We have insects eating up and destroying the forest ”. EMERALD ASH BORER, GYPSY MOTH CATERPILLER, OAK WILT, GOUTY OAK GALL, VERTICILLIAM WILT, SOUTHERN PINE BEETLE, HEMLOCK WOOLY ADELGID, EASTERN PIN LOOPER, BACTERIAL LEAF SCORCH, BEECH BARK DISEASE, SCARLET OAK SAWFLY ARE JUST SOME OF THE VIRUSES AND DISEASES ATTACKING TREES.. , VOLES, M OLES, RABBITS, ACID RAIN, TOXIC CHEMICAL USE, LEAD USE, DIRTY AIR, DIRTY WATER, SOIL IMPACTED BY COMPACTION AND OVERBURNING SO THAT IT IS HARMED. STEALING OF TREES FROM OUR FORESTS IS ALSO RAMPANT. SO THAT THE IMPACTS ON OUR FORESTS ARE MAJOR, AND TO SIMPLY BLAME DEER IS VILE, VIOLENT NONSENSE. PAGE 24 – All golf courses should be mandated to only use recycled water on their grounds. This state should not allow use of virgin waters for watering golf course grounds. The u se of roundup, chrlorpyrifos, atrazine, paraquat, 1,3 dichloroproene should not be permitted anywhere in this area of the highlands.in addition there aremany others listed here that are bringing about death of life: https://utz.org/wp-content/uploads/2015/12/EN_UTZ_List-of-Banned- PesticidesWatchlist_v1.0_2015.pdf pg 27 goals – we need to include the protection of wildlife in these area as a desired goal. Senior scientists all over this world have warned about the sixth extinction of wildlife> THE EXTINCTION CRISIS It’s frightening but true: Our planet is now in the midst of its sixth mass extinction of plants and animals — the sixth wave of extinctions in the past half-billion years. We’re currently experiencing the worst spate of species die-offs since the loss of the dinosaurs 65 million years ago. Although extinction is a natural phenomenon, it occurs at a natural “background” rate of about one to five species per year. Scientists estimate we’re now losing species at 1,000 to 10,000 times the background rate, with literally dozens going extinct every day [1]. It could be a scary future indeed, with as many as 30 to 50 percent of all species possibly heading toward extinction by mid-century [2]. Unlike past mass extinctions, caused by events like asteroid strikes, volcanic eruptions, and natural climate shifts, the current crisis is almost entirely caused by us — humans. In fact, 99 percent of currently threatened species are at risk from human activities, primarily those driving habitat loss, introduction of exotic species, and global warming [3]. Because the rate of change in our biosphere is increasing, and because every species’ extinction potentially leads to the extinction of others bound to that species in a complex ecological web, numbers of extinctions are likely to snowball in the coming decades as ecosystems unravel. Species diversity ensures ecosystem resilience, giving ecological communities the scope they need to withstand stress. Thus while conservationists often justifiably focus their efforts on species-rich ecosystems like rainforests and coral reefs — which have a lot to lose — a comprehensive strategy for saving biodiversity must also include habitat types with fewer species, like grasslands, tundra, and polar seas — for which any loss could be irreversibly devastating. And while much concern over extinction focuses on globally lost species, most of biodiversity’s benefits take place at a local level, and conserving local populations is the only way to ensure genetic diversity critical for a species’ long-term survival. In the past 500 years, we know of approximately 1,000 species that have gone extinct, from the woodland bison of West Virginia and Arizona’s Merriam’s elk to the Rocky Mountain grasshopper, passenger pigeon and Puerto Rico’s Culebra parrot — but this doesn’t account for thousands of species that disappeared before scientists had a chance to describe them [4]. Nobody really knows how many species are in danger of becoming extinct. Noted conservation scientist David Wilcove estimates that there are 14,000 to 35,000 endangered species in the United States, which is 7 to 18 percent of U.S. flora and fauna. The IUCN has assessed roughly 3 percent of described species and identified 16,928 species worldwide as being threatened with extinction, or roughly 38 percent of those assessed. In its latest four-year endangered species assessment, the IUCN reports that the world won’t meet a goal of reversing the extinction trend toward species depletion by 2010 [5]. What’s clear is that many thousands of species are at risk of disappearing forever in the coming decades. Pg 32 – agriculture has in fact become a toxic chemical polluter dangerous to all life on earth. The use of toxic chemicals on farms is major. Their use of nitrates is damaging to water so that we need to institute Regulations that prevent the use of such life alterning, life damaging chemicals In nj. Farms also have adopted factory farming practices which brutalize animals, giving them short lives of extreme stress and torture and feeding them endless quantities of toxic chemicals to make them grow fast, produce more. Cows are forced to give at least six times the quantity of milk they used to give. Such brutality alters the physical condition of the cows. When we save farms, I see a desired goal of saving farms that use Organic methods of growing.
Recommended publications
  • Volume 2: Ptolemy II Software Architecture)
    Heterogeneous Concurrent Modeling and Design in Java (Volume 2: Ptolemy II Software Architecture) Christopher Brooks Edward A. Lee Xiaojun Liu Stephen Neuendorffer Yang Zhao Haiyang Zheng Electrical Engineering and Computer Sciences University of California at Berkeley Technical Report No. UCB/EECS-2007-8 http://www.eecs.berkeley.edu/Pubs/TechRpts/2007/EECS-2007-8.html January 11, 2007 Copyright © 2007, by the author(s). All rights reserved. Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. To copy otherwise, to republish, to post on servers or to redistribute to lists, requires prior specific permission. Acknowledgement This work was supported in part by the Center for Hybrid and Embedded Software Systems (CHESS) at UC Berkeley, which receives support from the National Science Foundation (NSF award #CCR-0225610), the State of California Micro Program, Rome AFRL, and the following companies: Agilent, DGIST, General Motors, Hewlett Packard, Infineon, Microsoft, National Instruments, and Toyota. PTOLEMY II HETEROGENEOUS CONCURRENT MODELING AND DESIGN IN JAVA Edited by: Christopher Brooks, Edward A. Lee, Xiaojun Liu, Steve Neuendorffer, Yang Zhao, Haiyang Zheng VOLUME 2: PTOLEMY II SOFTWARE ARCHITECTURE Authors: Shuvra S. Bhattacharyya Department of Electrical Engineering and Computer Sciences University of California at Berkeley Christopher Brooks I T Y • O F S • C R A http://ptolemy.eecs.berkeley.edu E A L V Elaine Cheong I I F N O U R • L John Davis, II N E E L T IG H T T I H H A E T R E BE • Mudit Goel Document Version 6.0 • •1 8 6 8• Bart Kienhuis for use with Ptolemy II 6.0 Edward A.
    [Show full text]
  • Introduction to Scene Design COURSE SYLLABUS: Spring 2014
    THE 366.001 – Introduction to Scene Design COURSE SYLLABUS: Spring 2014 Instructor: Michael G. Knight, Jr., Assoc. Professor of Theatre Design & Technology Office Location: PAC rm. 104 Office Hours: by appointment Office Phone: 903.886.5311 Office Fax: 903.468.3250 University Email Address: [email protected] COURSE INFORMATION Materials – Textbooks, Readings, Supplementary Readings: Textbook(s)/Materials Required: 1. (1) package printer paper 2. 3 ring binder (2”) 3. Plenty of pencils 4. Plenty of paper (notes) 5. White card stock paper (8.5 x11) 6. Black foam core (5 sheets) 7. Vellum drafting paper (will be provided) 8. Balsa wood/Model wood 9. Art supplies 10. Acrylic Paper (8.5 x 11) Course Description: The basic techniques of the principles and practices of scenic design for stage. Included are design functions, construction, painting, modeling, history and theories of design. Pre-requisite THE 215 or instructor approval. Student Learning Outcomes: 1. The student will be able to understand the basic skills and theoretical practices involved in scenic design. 2. The student will be able to identify and understand the use of scenic design equipment and tools associated with design. 3. The student will be able to practically apply the skills learned in a completed scenic design (conceptual). COURSE REQUIREMENTS Instructional / Methods / Activities Assessments: Students will be graded on a series of quizzes, exams, type-written/hand written assignments, drafting projects, model projects, painting projects, and theoretical essay responses. Grading: Quizzes: 5 20 pts. 100 pts. Topic Assignments: 10 10 pts. 100 pts. Final Project 1 100 pts. 100 pts.
    [Show full text]
  • (Purple Masque) Scenic Design Checklist
    SECOND STAGE (PURPLE MASQUE) SCENIC DESIGN CHECKLIST MANDATORY ATTENDANCE AT: All director/designer meetings Minimum of two meetings with Faculty Scenic Designer: one prior to preliminary deadline, and one prior to final deadline. All production meetings Minimum of one run-through rehearsal prior to crew watch Crew watch All technical and dress rehearsals Strike Any conflicts with attending the above meetings/rehearsals must be cleared ahead of time with the faculty designer and the director. IMPORTANT INFORMATION There is a very limited time frame for installation and painting of scenery in the masque. Therefore, it is extremely important for you to be organized prior to your load in date. Some things to consider: You will be working late nights/weekends during load in and tech, so plan ahead to have papers/homework/studying done ahead of time. “I had to write a paper so the set didn’t get done until opening night” is not a valid excuse. EVERYTHING needs to be built prior to load in. It is best if you can paint pieces beforehand, also. If you are building a large unit, make sure it will fit through all doors. Large units in pieces should be “dry fit” in the scene shop to make sure they assemble as planned. Make sure you arrange for help ahead of time. People will be more willing to assist you if they know a week or two beforehand. This is not just your show. Having the scenery unfinished not only affects the actors, but the lighting and costume designs as well. ROUGH DESIGNS Rough designs will include research image boards of conceptual, architectural and detail inspirations for the set.
    [Show full text]
  • Sean Michael Savoie ˘ Lighting Designer 7358 Pershing Ave
    Sean Michael Savoie ˘ Lighting Designer 7358 Pershing Ave. Apt 2W z St. Louis, MO 63130 z 513.319.8407 [email protected] Professional Vita Employment Washington University in St. Louis St. Louis, MO Lighting Designer / Production Manager (Summer 2007 ˘ Present) • Teach all Lighting Design courses and others as assigned • Lead Designer for main stage productions and supervisor of student designs • Production Manager for Performing Arts Department • Design / Technology Coordinator The Muny St. Louis, MO Production Manager ( 2008 ˘ 2011) • Manage build, installation and tech of a very demanding seven show summer season • Coordination between IATSE crew and Broadway designers, directors and stage managers • 11,000 seat performance venue; over $7 million budget; Broadway’s top performers • Oversee design internship company • Nation’s oldest and largest outdoor musical theatre University of Cincinnati, College Conservatory of Music Cincinnati, OH Production Manager / Adjunct Instructor (Autumn 2005 ˘ Summer 2007) • Technical coordinator of all CCM Dance & Preparatory Department concerts • Technical coordinator of all CCM Unsupported (non-mainstage) workshops for Drama, Opera and Musical Theatre • Average academic year will include about 14 productions • Coordinate and manage student crews for any non-university performance group • Instructor of Stage Lighting I in BFA curriculum (full year course) • Instructor of Introduction to Lighting (quarterly) • Numerous lectures on Architectural Lighting Design & Practice Cincinnati Fringe Festival Cincinnati,
    [Show full text]
  • Scenic Design: a Compilation Kelly Meredith Paysinger Hart University of South Carolina - Columbia
    University of South Carolina Scholar Commons Theses and Dissertations 2014 Scenic Design: A compilation Kelly Meredith Paysinger Hart University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Theatre and Performance Studies Commons Recommended Citation Hart, K. P.(2014). Scenic Design: A compilation. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/2593 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. SCENIC DESIGN: A COMPILATION by Meredith Paysinger Hart Bachelor of Arts Sweet Briar College, 2010 Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts in Theatre College of Art and Sciences University of South Carolina 2014 Accepted by: Nic Ularu, Director of Thesis Lisa Martin-Stuart, Reader Steven Pearson, Reader Lacy Ford, Vice Provost and Dean of Graduate Studies © Copyright by Meredith Paysinger Hart, 2014 All Rights Reserved. ii ABSTRACT Scenic Design: A Compilation ventures into the process of creating three productions including, Boeing Boeing, Fusions and Three Sisters. Exploring the foundations of each design, the content covers all aspects from the beginning to the implementation of each production. Supported through historical research, inspiration, function of space and the endless possibilities of creation, this thesis will reveal the growth of each design in great detail. Theatre is about collaboration, creating a world from a script and transforming it into an art of performance and design.
    [Show full text]
  • Theatrical Scenic Design: Creating the Physical World of the Play
    10th Annual Faculty Research & Creative Activities Symposium Presentation Title: Theatrical Scenic Design: Creating the Physical World of the Play Presenters: Sarah J. Fabian, Assistant Professor, Department of Communication, Media, and Theatre Abstract: Scenic design is an important component of any theatrical production as almost every production will have some form of a set, however minimal. Scenery can be abstract, photo-realistic, or anywhere in between. The primary function of the scenic design is to provide the audience with some context of location(s) for the theatrical work. However, the most important element of any scenic design is to impart a point of view about the story and the world of the play, sharing an emotional and textural experience to the production – Are there moments of surprise, something that suddenly appears that wasn’t previously there? Does the physical world of the play transform to reveal new layers to the story? As a scenic designer, you must be creative, innovative and visionary all while working within the director’s vision. Additionally, scenic designers must understand how to take their artistic vision and make it into a reality through the work executed by the scene shop staff and artisans. For the 10th Annual Faculty Research & Creative Activities Symposium, I will share my design process from page-to-stage, and present two contrasting examples of my scenic design work from the past year – Kate DiCamillo’s The Miraculous Journey of Edward Tulane adapted for the stage by Dwayne Hartford at Filament Theatre in Portage Park, and Fulfillment Center by Abe Koogler at A Red Orchid Theatre in Old Town.
    [Show full text]
  • Usitt Scenicdesign and Technicalproduction Graphicstandard
    A S U P P L E M E N T T O T H E S P R I N G 1 9 9 3 I S S U E O F T D & T U S I T T S C E N I C D E S I G N A N D T E C H N I C A L P R O D U C T I O N G R A P H I C S T A N D A R D USITT Education Commission Graphic Standards Board - Scenic Drafting Subcommittee Members Greg Bell James Brewczynski Dennis Dorn Jonathan Darling Ming Cho Lee Mark Shanda Frank Silberstein Robert F. Wolin Stephan M. Zapytowski (Chair) 18 March 1992 (reissued 15 April 1999) USITT SCENIC DESIGN AND TECHNICAL PRODUCTION GRAPHIC STANDARD 1.0 GENERAL. obvious that there will need to be whether the drawing is being prepared subsequent revision to this standard for a rigging crew, stage manager, 1.1 INTRODUCTION. as new assemblies and fabrication director, prop master, or one of the techniques become available and as other many specialty areas of the This first revision of the Scenic Design our understanding of standards performing arts which communicate and Technical Production Graphic becomes more refined. through the use of graphics. Whatever Standard is the result of many choices are made, however, each exchanges, both written and verbal. These revisions have been made based choice must be in the form of The initial document was published in on the assumption that the majority of communication that is clear, the 1982 Spring volume of the USITT scenic drafters will be using standard consistent, and efficient for both journal, Theatre Design & drawing tools rather than CADD drafter and reader.
    [Show full text]
  • A Little Night Music"
    University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 7-2020 The Scenic Design of "A Little Night Music" Kathleen Holmes University of Arkansas, Fayetteville Follow this and additional works at: https://scholarworks.uark.edu/etd Part of the Art and Design Commons, and the Other Theatre and Performance Studies Commons Citation Holmes, K. (2020). The Scenic Design of "A Little Night Music". Theses and Dissertations Retrieved from https://scholarworks.uark.edu/etd/3777 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected]. The Scenic Design of “A Little Night Music” A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre by Kathleen Holmes Louisiana Tech University Bachelor of Arts in Theatre, 2017 July 2020 University of Arkansas This thesis is approved for recommendation to the Graduate Council. _____________________________ Michael Riha M.F.A Thesis Director _____________________________ _____________________________ Shawn Irish M.F.A Jason Burrow M.F.A Committee Member Committee Member Abstract A Little Night Music by Hugh Wheeler and Stephen Sondheim was produced by the University of Arkansas Department of Theatre in 2018-2019 academic school year. The scenic design process entailed a series of private meetings, design meetings, independent research, and analysis that all culminated into a full scenic design package. The show itself has many locations that quickly transition into one another. It was my challenge as the designer to cohesively design the scenery so that it could be transitioned easily and in time with the music.
    [Show full text]
  • Scenic Designer Contract
    Longwood University 2013 Scene Designer The Design Process: • Determine the production schedule and budget. • Read, assimilate, and understand the material being designed. • Find out as much as you can about: o The material in the script. o The director's concept. o The production circumstances (Type of stage, budget, etc.) • Decide on the show's “ism” (realism, expressionism, etc.) • Do background research (books, periodicals, paintings, etc,) • Do conceptual research (Create as many potential designs as possible) • Start by doing thumbnail sketches or models. • Choose the design that fits the best (this may be a mash-up of several designs) • Create the following: o A ground plan o Front elevations o Models o Detail drawings o Paint elevations o Properties lists o Property sketches • Evaluate the scenic design for safety. • Discuss masking placement with the technical director. Pre-Production: • Attend pre-production meetings with the director and other design team members. • Keep in mind that other people rely heavily on the scenery and it is therefore important to keep in contact with the director, technical director, stage manager, and other designers. • Meet with the technical director to discuss your budget. • The technical director will price your design. • If you are over budget you are responsible for lowering your overall cost. • There will be several scenic workshops held, supervised by you: o Scene shop safety and equipment, held by the technical director § All properties crew and carpenters should attend. o Painting, held by the scenic charge § All painters should attend. Rehearsal Process/Tech Week: • You are required to attend production meetings. o Give a brief statement about the progress of the show's set.
    [Show full text]
  • Designer Guidelines [List]
    Designing theatrical productions requires a great amount of time. If you are asked to design a departmental production you must be prepared to devote a great amount of time toward research, collaboration, designing, as well as fabrication and installation. While it is impossible to gauge in advance how much time any particular production will take, you should expect that the production, after class attendance and homework, will take a lead priority in your schedule. NYU-TSOA-UG DRAMA – Production & Design Studio REQUIREM ENTS OF THE SOUND DESIGNER The Sound Designer is expected to attend design/production meetings as required throughout the design/installation period of the production. Equally important, the Sound Designer is expected to regularly attend rehearsals and continue the design communication throughout the process. As a designer you will be called upon to help guide the educational experience of associate and assistant designers assigned to this project. When designs are due, the following is expected: • All designs for pre-recorded music and or sound effects andenhancement of “live” voices, musical instruments and sound elements, • Full sound equipment lists and a sound plot drawn to 1/2" = 1'-0" scale from Scenic Design and theatre drawings provided by NYU-TSOA Drama. (If necessary 3/8” = 1’-0” scale is acceptable.) Sound plot is to be coordinated with lighting and projection plots. • Design a sound delivery system that will properly execute the needs of the production. Provide a Signal Flow” that illustrates the connectivity of this system. • Participate in the installation of the sound delivery system. • A design presentation to acting company as well as to the production department and area staff.
    [Show full text]
  • Design for Performance: Scenic, Lighting and Costume Design Spring 2012 Unique #26040 Tuesdays and Thursdays 9: 30Am -11:00Am SCENIC: WIN Rm
    The University of Texas at Austin Department of Theatre and Dance TD 314C - Design For Performance: Scenic, Lighting and Costume Design Spring 2012 Unique #26040 Tuesdays and Thursdays 9: 30am -11:00am SCENIC: WIN rm. 2.138 * LIGHTING: WIN rm. 1.164 * COSTUME: WIN rm. 1.139 SCENIC DESIGN: Rowan Doyle [email protected] Office:Win B.204 (Grad design studio) Office Hours: TBA Scenic TA: Jocelyn Pettway [email protected] LIGHTING DESIGN: Rachel Atkinson [email protected] Office: Win B.204 (Grad design studio) Office Hours: Tues: 11-12, Thurs:11-12 and by appointment COSTUME DESIGN: Barbara Pope [email protected] Office: Win 1.113 Ph: 512-232-4436 Office Hours: Wed. 11:30-1:00, Thurs: 11:00-1:00 Costume TA: Kaitlyn Alyward [email protected] COURSE DESCRIPTION: This course is an introductory overview of design for performance from the perspective of the scenic, costume and lighting designer. You will learn about the design process and the artists and technicians involved in bringing a design to life. The class will be divided into three groups and will rotate through each design area. You will be asked to participate in various roles throughout this course, including researcher, designer and critic. Students’ success in this class requires active learning, and participation. Upon successful completion of this course you will be eligible to take more advanced courses in the respective design disciplines. COURSE GOALS: *To explore the design process through a variety of approaches and techniques. *To use critical thinking to investigate and analyze a text from the perspective of the designer.
    [Show full text]
  • Lighting Design Concept and Development of Spring Awakening by Frank Wedekind
    Lighting Design Concept and Development of Spring Awakening By Frank Wedekind A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Alex Kyle-DiPietropaolo Graduate Program in Theatre The Ohio State University 2011 Thesis Committee: Professor Mary Tarantino, Advisor Assistant Professor Jimmy Bohr Assistant Professor Janet Parrott Copyright by Alex Kyle-DiPietropaolo 2011 Abstract This thesis documents the design process for the production Spring Awakening by Frank Wedekind, as translated by Jonathan Franzen. The show was produced in The Ohio State University‟s Thurber Theatre from February 24th through March 13th, 2011. The design concepts for the production were developed as informed by an adolescent‟s perspective on the world, and the representation of that viewpoint through lighting design. Modern theatre techniques were employed to address issues raised in the play. One such modern technique was the use of live video to reinforce the emotional impact in key scenes, which required researching lighting design for the medium of film, and how to adapt it to the stage. Working within these design ideas, color and the positions of instruments were used to develop a hyper-reality where the adolescents‟ emotions and feelings are echoed in the world around them. ii Dedication This document is dedicated to those people who never let me get away with mediocrity. iii Acknowledgments First, I would like to acknowledge my parents. They accepted my floating through reality after reality, and only momentarily balked at my choice to make a career in theatre.
    [Show full text]