DOCSLIB.ORG

LSA Template

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LSA Template SPECTACLE Copyright Lighting &Sound America December 2017 http://www.lightingandsoundamerica.com/LSA.html 62 • December 2017 • Lighting &Sound America T P%& !l La Perle is Franco Dragone’s most ambitious water show to date D"#By: Sharon Stancavage $ want to provide a little piece of eternity for the dards, and make them their own, so they don’t have re- region, a place of escape that any culture and invent the wheel. If something was good for the CE, it was ethnicity can understand and enjoy. I was so inspired good enough for us; we just had to supply the rules and by Dubai and it is an honor to introduce that vision to the show them that it was the consensus.” world,” explains Franco Dragone, founder and artistic The theatre has a mere 14 rows, but seats a total of director of Dragone Studio, when asked about La Perle , 1,250 patrons. “We wanted it to feel as if you were inside a his new water extravaganza in the United Arab Emirates. grotto or a cave, and we wanted to be able to change the Located in Al Habtoor city, La Perle takes place in the mood of the cave by using video projection,” Marcouiller only purpose-built theatre in the UAE. “In Dubai, there is reports. The lower levels of seating are irregular and based not a tradition of places where you go sit to see a live per - on the curves of the wet stage. “You have curves and lev - “Iformance; there are shows that are based on Arabic tradi - els, so the seating is made in that concept that people are tions and then you have rental spaces in convention cen - sitting on something like a grassy knoll where they sit ters. But there is no theatre dedicated to one show, espe - where they can,” he adds. “cially not that size. We are the first ones to get there with The wet stage area includes a 5.5m (18') wide, 8m any kind of large-scale theatre,” explains Jean Marcouiller, (26.2') deep dive pool in the middle of it. Simon Lemieux, La Perle ’s executive production manager and head of the production technical director, explains, “The whole stage, Dragone Studio. except the dry stage [a 26.8m (80.4') x 13.9m (39.9') rec - The theatre was designed by Dragone, with Jean tangle upstage], can become wet or can retract below and Rabasse as the theatre designer/show scenic designer, led then you just have the 8m well in the middle. It’s a flat sur - by the Dragone theatre development department. The face where we can put about 350mm (13.7 ") of water by architects at Khatib & Alami put everything on paper and transporting water from one tank to the other.” The wet the building was constructed by HLG (Habtoor Leighton stage can drain in a matter of seconds, thanks to a com - Group); both organizations are based in Dubai. The theatre plex draining system built into the theatre. e consultants were Auerbach Pollock Friedlander (APF), who “On this show, we went back to the basic of more real - n o g a r have worked with Dragone on several projects. The ven - istic water effects, like the waterfalls on each side of the D y b dors spanned the globe, including those in the Emirates, proscenium,” Marcouiller says. The waterfalls are an unex - e l r e the EU, and North America. Marcouiller continues: “The pected, stunning effect that did have one major issue. P a L : government leaders were very keen to help us do the “The big challenge was the bounce back into the audi - s o t o show, and get the proper certification. They were very ence; the waterfalls are almost at 17m (55.7') up and you h p l l A open to using common third country community stan - can make every kind of test and simulation that you want, lightingandsoundamerica.com • December 2017 • 63 SPECTACLE The lighting rig features a wide variety of units from Claypaky. but between the accumulation of the waterfall water com - reports Tait Stage Technologies Group CEO Mark Ager. bined with the draft of the theatre between the dry and the The artist fly system includes 20 rigging points; for every wet stage, you never know which way the water drop will three to four performers, there is a rigger. go. With water like this, you can never mock this up; you The scenic system is exponentially larger. “For the sce - turn it on and see what it is. I think we were lucky in that nic, there are 100-plus rigging points. We have 28 scenic the dry stage house has created a very good draw winches, but they vary from four-line winches to ten-line towards the stage, instead of pushing towards the audi - winches, depending on the scenic element,” says Tait ence.” Stage Technologies project manager Brian Malone. The The dive pool, the wet stage area, and effects were project used a variety of winches. “We had 48 BT290, 390, constructed by Ghesa, based in Madrid. Marcouiller and 490 winches that vary in speed up to 4m (13') per explains: “We’ve worked with Ghesa on events before and second for performer flying,” Malone adds. The grid height we know their rental equipment, so we didn’t mind work - is 30m (98'), which is similar to other Dragone shows. ing with them on this project. The water system for the Most of the system is controlled by Tait Stage pool and the water special effects were linked together to Technologies’ proprietary Maxis SI Digital Position Control the same supplier, and effectively, there are not that many System. “We’ve developed this over 10 years and it’s a full- people in the world that can do that.” feature, multi-user, complex system that allows multi-dimen - sional flying and other movements. In this case, we’re doing Staging a lot of two and three-dimensional flying, which is all pro - For the fly system, the rigging, and several of the major grammed into this motion system, and then controlled by scenic pieces, Dragone turned to TAIT Stage Technologies, our front end,” Ager explains. The automation system has located in London, another firm that has a long relation - been a challenge throughout the process. “They [Dragone ship with Dragone. “One of our fortes is providing high- Studio] have two years to develop what they’re going to do, performance flying systems and rigging systems. We tend so consequently, it’s a more complex show and a lot more to need to work at high speeds and high acceleration and effects are used throughout the show, simply because they with someone like Dragone, it’s 4m or 5m a second,” have more time to integrate them,” he adds. 64 • December 2017 • Lighting &Sound America While the way artistic director Franco Dragone works is are four 22m (72') high by 4m (13') wide doors that weigh legendary—much of the production is created extempora - 6.5 tons each, and they run on a rolling beam system. The neously during rehearsals—another aspect of the show 24-ton doors open and close in a mere 30 seconds. It’s makes it very different from standard theatrical fare. “In a quite a good reveal when you see the entire proscenium big musical, they’ll do a tech run, and start from the begin - just disappear into the wing.” The doors needed to be ning and run all the way through to the end, and that takes done in four pieces so that they could store offstage. two or three weeks. We do West End musicals, and they Although La Perle is filled with acrobatics and unexpect - will spend maybe the first two days getting four minutes ed elements, it also includes two traditional circus feats. into the show,” notes Ager. “The Wheel of Death is rigged using two of our CH:Is, That type of schedule does not work for La Perle . “In which is our intelligent chain hoist. With that, we can have acrobatic shows, you can’t do that,” Ager says. “You have variable speed control and synchronization. We synchro - to allow the acrobats to do their work out every day on nize the hoists with each other, so one doesn’t go off faster equipment, and they can only do it for a certain length of than the other and cause the effect to tip,” Malone time. If you have a Dragone show, where there are 20 peo - explains. ple doing somersaults in the air, they are probably going to The death (as in “death-defying”) theme continues with rehearse that for an hour and a half, and then they have to the Globe of Death act, using a rigged globe designed by break. They put the show together into acts, and then they Rabasse. “The Globe of Death effect is absolutely phenom - work out the changes. Of course, that does mean that it’s a enal, it’s the show-stopper for me,” Malone says. The lot harder to build up the final sequencing, because you effect is popular in circuses around the world, and has have to make sure everyone is in the right place. Basically, been re-imagined for La Perle . “Normally, this is a ground- you’re building the show in parallel, rather than series, supported apparatus, where the bottom stays static and which is a challenge.” then the top lifts. We do it differently,” Lemieux says.
Load more

Recommended publications
  • Stagehand Course Curriculum
    Alaska Center for the Performing Arts Stagehand Training Effective July 1, 2010 1 Table of Contents Grip 3 Lead Audio 4 Audio 6 Audio Boards Operator 7 Lead Carpenter 9 Carpenter 11 Lead Fly person 13 Fly person 15 Lead Rigger 16 Rigger 18 Lead Electrician 19 Electrician 21 Follow Spot operator 23 Light Console Programmer and Operator 24 Lead Prop Person 26 Prop Person 28 Lead Wardrobe 30 Wardrobe 32 Dresser 34 Wig and Makeup Person 36 Alaska Center for the Performing Arts 2 Alaska Center for the Performing Arts Stagecraft Class (Grip) Outline A: Theatrical Terminology 1) Stage Directions 2) Common theatrical descriptions 3) Common theatrical terms B: Safety Course 1) Definition of Safety 2) MSDS sheets description and review 3) Proper lifting techniques C: Instruction of the standard operational methods and chain of responsibility 1) Review the standard operational methods 2) Review chain of responsibility 3) Review the chain of command 4) ACPA storage of equipment D: Basic safe operations of hand and power tools E: Ladder usage 1) How to set up a ladder 2) Ladder safety Stagecraft Class Exam (Grip) Written exam 1) Stage directions 2) Common theatrical terminology 3) Chain of responsibility 4) Chain of command Practical exam 1) Demonstration of proper lifting techniques 2) Demonstration of basic safe operations of hand and power tools 3) Demonstration of proper ladder usage 3 Alaska Center for the Performing Arts Lead Audio Technician Class Outline A: ACPA patching system Atwood, Discovery, and Sydney 1) Knowledge of patch system 2) Training on patch bays and input signal routing schemes for each theater 3) Patch system options and risk 4) Signal to Voth 5) Do’s and Don’ts B: ACPA audio equipment knowledge and mastery 1) Audio system power activation 2) Installation and operation of a mixing consoles 3) Operation of the FOH PA system 4) Operation of the backstage audio monitors 5) Operation of Center auxiliary audio systems a.
    [Show full text]
  • Technical Theatre Class
    Technical Theatre Class Instructor: Mrs. Tabitha Peck Classroom: Theatre Email: [email protected] Telephone: 850‐617‐5700 x.2390 website: www.leonperformingarts.org click on “Theatre Tech” Dear Student and Parent: I would like to take this time to welcome you to the 2012‐2013 Technical Theatre class. I am excited about this year, and look forward to working with each of you. As you read over this syllabus with your student; please make note of any questions that you have concerning this information. I hope that when you have completed studying the syllabus, you will have a strong understanding of what will be required from the student, as well as what the student can expect from me. I want to personally invite each parent to take an active role in helping the student, and myself, have a productive and successful experience in class this year. The last page of the syllabus is the individual student contract, which must be returned to me, signed by both the parent, and student. This gives me a written confirmation that both the parent and student have read the syllabus, understand procedures, rules, consequences, and will abide by them. So please read each page of the syllabus carefully before signing the contract. This contract will be kept in the student’s personal information file. Once again let me welcome you to the class, it’s going to be an exciting year! Technical Theatre ‐ 0400410 Syllabus Objective: Students focus on developing the basic tools and procedures for creating elements of technical theatre as listed below.
    [Show full text]
  • John's List of Tech Theater Terms
    Department of THEATER & DANCE Office of the TECHNICAL DIRECTOR Tech Theater Terms file last updated: 7.29.2010 (JDE) All information contained in this document is original material copyright © 2005 by John D. Ervin and is intended for the use of my students. Please contact me at [email protected] for permission to use this material in any other way. This is a work-in-progress and will be occasionally appended. Apron – The portion of the stage or playing space that is downstage of the proscenium arch. In traditional proscenium-style theaters, acting on the apron was a big “no-no” because it violated the stage picture being created by the proscenium arch. Thus many older theaters have very shallow aprons. Nowadays though, Directors can’t get enough of having their actors as close to the audience as possible; despite how uncomfortable it makes some audience members. This is all done under the umbrella of ‘intimacy’ and we all know how much artists love that stuff. Sometimes the apron is referred to as the “Forestage”. (See Figure 1 and 2) Arbor – Part of a fly system. A device mounted in one of the wings, which is connected to the lift lines at the opposite end from the batten. Stage weights are stacked on the arbor to balance the load suspended from the batten. In the case of a counterweight fly system, a rope hand line is connected to the top of the arbor, passes sequentially through the head block and tension block, and is terminated to the bottom of the arbor, forming a loop.
    [Show full text]
  • Marcos Viñals Bassols Scenographer - Art Director
    marcos viñals bassols ! Marcos Viñals Bassols Scenographer - Art director M +32 475 54 97 30 E [email protected] S marcosvbskype W www.marcosvb.com CURRICULUM VITÆ Born in Barcelona in 1967, Marcos Viñals Bassols graduated with a Master of Fine Arts degree in scenography at the Superior National School of Visual Arts of La Cambre in Brussels, Belgium. During the past 25 years he created scenic designs for theater and show in Belgium, France, The Netherlands, and abroad, working for several famous directors like Franz Marijnen or Dirk Decloedt. In 1998 he received the Belgian Theatre Award of the best scenographer. Marcos’ unique vision enabled him to be nominated for this award on four other occasions. Marcos expresses his visual poetry and his meaningful interpretations by creating fascinating scenic environments for large scale events and exhibitions. Some of them were awarded with the Silver Benelux Event Awards, and two Silver Awards at the 2014 European Best Event Awards. Marcos has been collaborating as a scenographer in various occasions with Franco Dragone, for whom he has created scenic designs like for Philip Kirkorov’s musical show at the Kremlin Theatre in Moscow and on tour, or The Land of Legends in Turkey, a large-scale Family Entertainment Center, where he designed a monumental poetic gate that became the set for Dragone’s permanent show. As a free lance scenographer and art director, Marcos created, designed and directed several shows in different countries of the Middle-East, like the Bayan Palace Show, the opening ceremony of the Kuwait Museums, or TV sets for musical shows like Hala Layali Febrayer, in the presence of His Highness the Emir of Kuwait and broadcasted live on the national television.
    [Show full text]
  • CV Phenix 23-06-2020 EN
    Phénix (Sheau-Fon) Lin CHOREOGRAPHER / STAGE DIRECTOR HONOURS YEAR PRIZE SHOW ORGANIZATION Finalist, Masque for special contribution, Silence et cris (Director: Gilles Maheu; production: 2002 Soirée des Masques (Quebec Theater Academy), 8th Gala choreographies Carbone 14, Montreal) SHOWS YEAR FUNCTION PROJECT THEATRE/PRODUCER DIRECTOR Character staging and choreographic/acrobatic movement Splendor Dragone Show Creation, Wuxi China Amy Tinkham designer 2019 Show and choreography concept Lagoon show Apex parks and Entertainment services, Shenzhen China Phenix Lin development Choreographer X-The Land of Fantasy X-The Land of Fantasy, Hangzhou China Hugo Bélanger Choreographer Rixos Land of Legends Dragone Show Creation, Turkey Franco Dragone 2017-2018 Assistant to the director Destiny, Macau ScénoPlus productions, Macau Martin Genest, Pamela Schneider Choreographer Rixos Land of Legends, Closing of the Gate Dragone Show Creation, Turkey Franco Dragone 2016 Associate Director Rixos Land of Legends Dragone Show Creation, Turkey Franco Dragone 2015 Associate Director The Dai Show Dragone, Xishuangbanna China Andre Kasten, Leah Moyer Assistant to the director The Han Show Dragone, Wuhan China Franco Dragone 2014 Follow-up choreographer TaBoo Dragone, Macau Franco Dragone 2013 Choreographer Man Chi ''Immortal Chi- The ultimate quest for Balance'' Novalux and CPAA, Beijing China Érick Villeneuve Notre-Dame de Paris (Musical by Luc Plamondon and 2011-2012 Assistant to the director NDP Project, France Gilles Maheu Richard Cocciante), Asian tour Notre-Dame
    [Show full text]
  • Voices of Italy
    Belcanto VOICES OF ITALY Belcanto Voices of Italy Belcanto VOICES OF ITALY Dragone Creation is our core. Spectators are our passion. Franco Dragone is one of the most sought-after artistic directors in In 2010, Macau became home to Dragone’s first permanent show the world. Since the 1980’s, the shows he created have conquered in Asia, The House of Dancing Water, a show mastering water on a American, European and global audiences with shows such as Ô, scale unimagined before. The House of Dancing Water is the very Alegria, Mystère and many more. With these shows, Franco re-in- first show of its kind to have won the hearts of Asian audiences. The vented a genre by mixing human performance, dance, the four ele- astonishing success of the show established Dragone as a truly uni- ments of life, choreography, technology and music, all tied together versal cultural Company, humbly embracing local cultures to wow by a story told without a single spoken word. The shows he created audiences. during his early days forever changed the face of live entertainment in Las Vegas and decades later, these shows still receive standing In June 2013, Yves Delacolette became the President of Dragone. To- ovations every night. gether, Franco and Yves are on a mission to take the Company well beyond the existing, charted waters, and make Dragone the greatest In 2000, Franco founded his own Company, Dragone, marked by cultural creation company in the world. With shows soon opening in two big successes in Las Vegas: first, A New Day… with Céline Dion, Mainland China, Paris, Dubai and Jakarta, just to name a few, the and then Le Rêve.
    [Show full text]
  • Renaissance and Baroque Stage Technology and Its Meaning for Today's Theatre
    Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1-1-2004 Renaissance and baroque stage technology and its meaning for today's theatre Stan Kubalcik Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Theatre and Performance Studies Commons Recommended Citation Kubalcik, S. (2004). Renaissance and baroque stage technology and its meaning for today's theatre. https://ro.ecu.edu.au/theses/792 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/792 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
    [Show full text]
  • Creativity Driving Innovation FDEG
    THE ANTWERP FORUM – Linking business between China and Europe Inspirational Session: Creativity driving innovation FDEG – A creative instrument unto itself The Franco Dragone Entertainment Group is the culmination of the artistic and entrepreneurial life’s work of its founder; Franco Dragone - whose impact on the field of entertainment spans well beyond the walls of the theatres and touring structures in which his dozens of shows have literally touched the world and left an indelible and ground breaking imprint on an entire new language over the past 25 years - from the creation of the Cirque du Soleil as well as works produced by the FDEG since 2000 and to date. The fact of operating these types of shows for years or even decades figures into the very nature of the way we develop the architecture and concepts all the way down to the sustenance of the marketing – imagine playing the Olympic ceremonies 10 times per week for years on end; that is not the same approach to the conception/production. Literally thousands of people’s lives have been touched by the personal and artistic engagement that Franco has made – be they audience members, designers, producers or performers. It is important to us to create shows that have a true reason for being. They must always contain of course the root idea – a pretext, a vision. The creative process starts in a very concentrated group and is transmitted step by step, person by person, sector by sector to include teams of hundreds who give birth to these ambitious and challenging productions. Creation, Innovation and Technical Design Prowess The Creative vision must be developed via a mix of innovation and expertise – and the sophisticated technical element is integrated into the design language of the shows and not as a mere support.
    [Show full text]
  • Facility Information
    Revised August 17, 2016 Facility Information Temple Theatre 203 N. Washington Ave. Saginaw, MI 48607 Phone: (800) 754-SHOW Fax: (989) 754-9039 [email protected] Temple Theatre Staff Administrative Executive Director Stacey Gannon (989) 600-1231 Controller Sue Kuck (989) 754-7469 ext. 33 Event Coordinator Anne Schroeder (989) 754-7469 ext. 32 [email protected] Front-Of-House Manager Tom McGarrity (989) 754-7469 [email protected] Technical Staff Technical Director Rich Hazzard (989) 737-2733 Head Projectionist Paul Finn (989) 754-7469 ext. 27 Theatre Consultant Ken Weupper (989) 754-7469 1 Saved: F://Facilities Revised August 17, 2016 Temple Theatre – Past, Present, Future The Temple Theatre is Saginaw’s only remaining vaudeville and silent movie theatre and was reopened in November 2003 after an extensive restoration of both the exterior and interior of the building. During the six-month restoration period, the interior and exterior were refurbished, the power supply was increased, modern conveniences were added, and the connected banquet facilities were renovated. Since reopening, it has been used as a performance space for choral groups, symphony orchestras, dance and jazz performances, as well as parties and meetings. The Temple was built in 1927 in a Classic Revival style. Originally part of the Butterfield Theatre chain it was used as a vaudeville/silent movie house for several years and then as a first-run movie theatre until 1976. At that point it passed through the hands of several promoters and community arts organizations during which it served as a venue for live performances and movies. Dr.
    [Show full text]
  • A Lighting Design Process for a Production of Stephen Schwartz’S Working
    A LIGHTING DESIGN PROCESS FOR A PRODUCTION OF STEPHEN SCHWARTZ’S WORKING 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 Matthew Dale McCarren, B.A. The Ohio State University 2008 Masters Examination Committee: Approved By Mary A. Tarantino, M.F.A., Advisor Daniel A.Gray, M.F.A. Advisor Graduate Program in Theatre Maureen Ryan, M.F.A. ABSTRACT Stephen Schwartz’s Working was produced at The Ohio State University Department of Theatre during the spring quarter of 2008. Included in this document is all of the documentation used for the implementation of the lighting design for this production. The need to work forces humans to interact with one another daily and requires us to deal with the added stressors that being in contact with other humans creates. This theme is central to the story of Working and is a major point of emphasis for our production of Working. Chris Roche in his Director’s Concept states, “The construction of Working at first glance seems isolated and solitary, so many different stories – but very little unifying factor. I believe the common thread is the workers themselves. Who do we meet on a daily basis, and how does each of those domino-like moments affect the greater whole of our lives?” In support of the director’s concept, the lighting design for Working aimed to create two separate lighting environments one of reality and the other of fantasy. The challenge was to then connect the separate environments into one seamless world where the line of reality and fantasy are blurred.
    [Show full text]
  • Visual Spectacular La Perle by Dragone Is the First Permanent Show in the Middle East
    DESTINATIONS MIDDLE EAST | LA PERLE Dubai Visual spectacular La Perle by Dragone is the first permanent show in the Middle East. Laura French went to check it out Water comes crashing down in huge, gushing torrents, turning the stage into a giant, shimmering pool, illuminated in fluorescent blue lights. Strobes of glaring white flash like forks of lightning, and the music builds to a crescendo, the beat of the drum ricocheting around the theatre so I feel like I’m in a real-life thunderstorm. A pearl drops into the water, turning it a vibrant, cobalt blue, and acrobats glide, ethereally across the glistening stage. I’m watching La Perle, the highly acclaimed, incredibly staged acrobatics show that, in true Dubai style, takes Cirque du Soleil and raises it several notches. It’s the brainchild of Franco Dragone – the mastermind behind Le Reve in Las Vegas, as well as several Cirque du Soleil shows – and you can see the Cirque influence with wonderfully creative staging, impressively choreographed acrobatics and plenty of light-hearted, comic moments (in the form of a rotund, bumbling jester) that give it appeal for kids as well as adults. It’s Dubai's first resident show, scheduled to run for at least the next 10 years in a purpose-built ‘aqua theatre’ that allows for impressive theatricality, with water, floods and fire. The acrobatics and stunts are seriously impressive; at one point a man from the audience suddenly jumps onto a giant BOOK IT spinning wheel and starts performing tricks that don’t look La Perle by Dragone humanly possible (turns out he’s not your average Joe).
    [Show full text]
  • Virtual Reality in Theatre Spaces
    VIRTUAL REALITY IN THEATRE SPACES by Sherouk Mohamed Shehab El Din Saad Badr A Thesis submitted to the Faculty of Engineering at Cairo University in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE in ARCHITECTURE ENGINEERING FACULTY OF ENGINEERING, CAIRO UNIVERSTIY GIZA, EGYPT 2012 VIRTUAL REALITY IN THEATRE SPACES by Sherouk Mohamed Shehab El Din Saad Badr A Thesis submitted to the Faculty of Engineering at Cairo University in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE in ARCHITECTURE ENGINEERING Under the Supervision of: Prof. Dr. Mohamed Moemen Afifi Prof. Dr. Ayman Hassan Ahmed Professor of Architecture Professor of Architecture Cairo University Cairo University Faculty of Engineering Faculty of Engineering FACULTY OF ENGINEERING, CAIRO UNIVERSTIY GIZA, EGYPT 2012 VIRTUAL REALITY IN THEATRE SPACES by Sherouk Mohamed Shehab El Din Saad Badr A Thesis submitted to the Faculty of Engineering at Cairo University in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE In ARCHITECTURE ENGINEERING Approved by the Examining Committee Prof. Dr. Mohamed Moemen Gamal el Din Afify, Thesis Main Advisor Prof. Dr. Ayman Hassan Ahmed Mahmoud, Thesis Advisor Prof. Dr. Khaled Mohamed Ragheb Dewidar, Member Prof. Dr. Mohamed Medhat Hasan Dorra, Member FACULTY OF ENGINEERING, CAIRO UNIVERSTIY GIZA, EGYPT 2012 ACKNOWLEDGMENTS First I would like to thank my dear grandfather, Dr Mohamed Mahmoud El Emam, for being so supportive and encouraging in this study and also for helping me in translating and analyzing highly specialized and complicated papers and theses. Also I would like to thank my supervisors, Dr Momen Afif and Dr Ayman Hassan for accepting the thesis subject and giving me such chance to study into two more fields rather than architecture; theater and technology.
    [Show full text]