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Buildings for the Performing Arts This Page Intentionally Left Blank Buildings for the Performing Arts a Design and Development Guide
Buildings for the Performing Arts This page intentionally left blank Buildings for the Performing Arts A design and development guide Second Edition Ian Appleton AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Architectural Architectural Press is an imprint of Elsevier Press Architectural Press is an imprint of Elsevier Ltd Linacre House, Jordan Hill, Oxford OX2 8DP 30 Corporate Road, Burlington, MA 01803 First published 1996 Reprinted 1997 Second edition 2008 Copyright © 2008 Ian Appleton. Published by Elsevier Limited. All rights reserved The right of Ian Appleton to be identified as the author of this work ha been asseted in accordance with the copyright, Designs and Patents Act 1988 No part of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic, mechincal, photocopying, recording or otherwise without the prior written permission of the publisher Permission may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone (ϩ44) (0) 1865 843830; fax (ϩ44) (0) 1865 853333; email: [email protected]. Alternatively you can submit your request online by visiting the Elsevier web site at http://elsevier.com/locate/ permissions, and selecting Obtaining permission to use Elsevier material Notice No responsibility is assumed by the publisher for any injury and/or damage to persons to property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions or ideas contained in the material herein. Becuse or rapid advances in the medical sciences, in particular, independent verification of diagnoses and drug dosages should be made. -
Angles of Reflection
Angles of Reflection Collected Edition Angles of Reflection Collected Edition Volume I – 2007 Too Close for Comfort? (March) ......................................................................................................4 Wider is Better, Right? (April) ...............................................................................................................7 Reflecting Brilliance (May) .......................................................................................................................11 Brightness VS. Contrast (June) ........................................................................................................14 Uniformity - Revisited (July) ................................................................................................................18 Ambient Light, Transmit or Reflect? (August) ..............................................................22 Sizing Up 16:10, Why and Where? (September) ........................................................ 26 Volume II – 2009 3D – The Final Frontier? (May) .......................................................................................................30 Gain Again (September) .........................................................................................................................36 The Right-Sized Screen (November) ......................................................................................40 The Twilight of the AV Myth: Light (December).......................................................44 Volume III – -
A Theater of the Senses: a Cultural History of Theatrical Effects in Early Modern England
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 A Theater of the Senses: A Cultural History of Theatrical Effects in Early-Modern England Kevin Matthew Carr Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES A THEATER OF THE SENSES: A CULTURAL HISTORY OF THEATRICAL EFFECTS IN EARLY-MODERN ENGLAND By KEVIN MATTHEW CARR A Dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2013 Kevin Carr defended this dissertation on May 22, 2013. The members of the supervisory committee were: Elizabeth Spiller Professor Directing Dissertation Robert Crew University Representative Bruce Boehrer Committee Member Gary Taylor Committee Member The Graduate School has verified and approved the above listed committee members, and certifies that the Dissertation has been approved in accordance with university requirements. ii TABLE OF CONTENTS ABSTRACT ................................................................................................................................... iv INTRODUCTION ...........................................................................................................................1 CHAPTER ONE From Stagecraft to Science: Pyrotechnical Effects in Early Modern England ..............................14 CHAPTER TWO “All Fish and No Water”: -
Herbert Blau: Directing a Revolution in American Theatre, 1952-1965
HERBERT BLAU: DIRECTING A REVOLUTION IN AMERICAN THEATRE, 1952-1965 BY AMY ELIZABETH POYNTON DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Theatre in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Associate Professor Esther Kim Lee, Chair Robert Graves, Dean, College of Fine and Applied Arts Assistant Professor Valleri Hohman Associate Professor Kathryn Oberdeck ABSTRACT Herbert Blau is more widely known in theatre history as a theorist and less as a director who strove to identify his directorial style during a time when American values were evolving and American regional theatres were gaining recognition, specifically 1952-65. Using many of Blau’s books and articles - most notably his first book, The Impossible Theater: A Manifesto - plus a wide range of newspaper critiques, personal interviews, articles on Blau and on the Cold War, this dissertation examines Blau as a practical director behind the theory and defines the Blauian style of directing. It explores the journey of Blau from theatre novice to professional director and ponders whether he effectively engaged his personal theories, thoughts and political views to his work on stage. And, in the process, did he maintain, service, and advance the artistic integrity of the work itself? The chapters highlight Blau’s attempts to realize his theoretical ideas through his practical directorial work onstage through three key productions: Bertolt Brecht’s Mother Courage and Her Children (1956); Samuel Beckett’s Waiting for Godot (1957-58); and, Georg Büchner’s Danton’s Death (1965).