Graduate thesis production book: "A View Fron The Bridge" by Arthur Miller

Thesis (M.F.A.)--Boston University. Note: Page 19 is missing

A production of Madge Miller's The land of the dragon

The purpose of this thesis was to analyze the script by studying the Chinese classical theatre and the script itself, to produce the play, and to evaluate the production. Chapter I includes the following! (l) background analysis of the play, including a history of the Chinese classical theatre; (2) stylistic analysis of the play, including a discussion of the adaptation of Chinese classical theatre techniques to a children's play; (3) character descriptions and analyses; (4) analyses of costumes and makeup; (5) a discussion of the function and mood of the set; and (6) justification for the choice of script and interpretation. Chapter II contains the director's prompt book for the production of The Land of the Dragon, as performed on October 26, 28, 29, 30, 31, and November 1 and 2, on the main stage of Taylor Building at the University of North Carolina at Greensboro. Types of notations included are; (l) movement, composition, and picturization; (2) stage business; and (3) sound cues. Ground plans and photographs supplement this record. Chapter III consists of the director's critical evaluation of the finished production. Discussed in this chapter are: (l) achievement of interpretation in the production as compared with the stated goals, (2) actor-director relationships during the rehearsal period, (3) audience reaction to the production, and (4) personal observations by the director

The politics of struggle in a state–civil society partnership: a case study of a South Korean workfare partnership programme

This research investigates the dynamics of the on-going conflict in the state–civil society partnership in South Korea. In recent decades, partnership has become a central strategy for welfare provision worldwide. In accordance with this trend, the Korean government has invited numerous civil society organisations to become local welfare agencies. The workfare programme (called the SSP) is a typical example of such partnerships. Because a large number of anti-poverty organisations have become frontline SSP Centres, the SSP is widely regarded as an icon of participatory welfare. However, contrary to the ideals of democratic governance, some critical studies have argued that collaboration with the state can render civil society agencies susceptible to state demands, gradually undermining their role as advocates for disadvantaged people. In light of such claims, this study has explored the actual politics of the SSP partnership by: 1) analysing policy documents; 2) conducting interviews with 42 actors in the SSP system; and 3) observing a Centre. This research confirms that partnership does not always guarantee a democratic relationship. SSP Centres have gradually been subjected to state intervention, and their open confrontation with the state has evidently abated. Yet SSP Centres have not completely lost their autonomy and spirit of resistance: rather, they have adopted informal and unofficial forms of resistance while maintaining apparent conformity with the state. These street-level activities constitute SSP Centres’ emancipatory role in defending the life-world of poor people against the capitalist state. The implication of this study for the politics of partnership is that current forms of state–civil society partnership need not entail the ‘mutual coproduction’ or the ‘complete co-option’ of civil society to the state. Partnership can be a site of ‘complex struggles’ where civil society actors continue to counteract the control of the dominant system in inflected ways

Bowdoin Orient v.119, no.1-25 (1989-1990)

https://digitalcommons.bowdoin.edu/bowdoinorient-1990s/1000/thumbnail.jp

Sonic Explorations in Divergent Landscapes

This document presents a portfolio of ten composition projects produced between September 2010 and June 2014 created by composer Jon Hughes working in collaboration with a number of artists and researchers. Each individual chapter deals with a separate project, and is accompanied by a Data Drive presented alongside the text as an integral part of the submission. This contains audio, video and other supplementary material. There is also an introductory essay, Chapter 1: Footprints and Philosophy: Sonic Explorations in Divergent Landscapes, designed to set the composition portfolio in context. Although contrasting in terms of content and media, the ten works presented here share a number of common conceptual threads. They all involve the use of sound to reveal, uncover, communicate, and to map hidden aspects of the subject matter explored with each individual project, whether that be mathematical principles (Phase Revival), the shared experience of landscape (Terrarium, Hydrology, Another Place), principles from evolutionary biology (Transmission), or the rich complexity of shared acoustic space (A Dip in the Lake). A further related common thread is the use of large-scale ambisonic speaker arrays (Terrarium, A Dip in the Lake, Phase Revival, Sonic Horizons, Hydrology). This gave production teams the ability to create fully immersive audio/visual environments in which hidden themes and concepts referred to above could be better communicated. Working together with fellow collaborators, it thus became possible to create cultural interventions in the form of portable, immersive public spaces. Other themes explored in the portfolio include the use of found sound, and the exploration of landscape narrative. Found sound is used extensively, in combination with instrumental and vocal material

Proceedings of the 21st International Congress of Aesthetics, Possible Worlds of Contemporary Aesthetics Aesthetics Between History, Geography and Media

The Faculty of Architecture, University of Belgrade and the Society for Aesthetics of Architecture and Visual Arts of Serbia (DEAVUS) are proud to be able to organize the 21st ICA Congress on “Possible Worlds of Contemporary Aesthetics: Aesthetics Between History, Geography and Media”. We are proud to announce that we received over 500 submissions from 56 countries, which makes this Congress the greatest gathering of aestheticians in this region in the last 40 years. The ICA 2019 Belgrade aims to map out contemporary aesthetics practices in a vivid dialogue of aestheticians, philosophers, art theorists, architecture theorists, culture theorists, media theorists, artists, media entrepreneurs, architects, cultural activists and researchers in the fields of humanities and social sciences. More precisely, the goal is to map the possible worlds of contemporary aesthetics in Europe, Asia, North and South America, Africa and Australia. The idea is to show, interpret and map the unity and diverseness in aesthetic thought, expression, research, and philosophies on our shared planet. Our goal is to promote a dialogue concerning aesthetics in those parts of the world that have not been involved with the work of the International Association for Aesthetics to this day. Global dialogue, understanding and cooperation are what we aim to achieve. That said, the 21st ICA is the first Congress to highlight the aesthetic issues of marginalised regions that have not been fully involved in the work of the IAA. This will be accomplished, among others, via thematic round tables discussing contemporary aesthetics in East Africa and South America. Today, aesthetics is recognized as an important philosophical, theoretical and even scientific discipline that aims at interpreting the complexity of phenomena in our contemporary world. People rather talk about possible worlds or possible aesthetic regimes rather than a unique and consistent philosophical, scientific or theoretical discipline

The Author-Performer Divide in Intellectual Property Law: A Comparative Analysis of the American, Australian, British and French Legal Frameworks

Western intellectual property frameworks have at least one feature in common: performers are less protected than authors. This situation knows many justifications, although all but one have been dismissed by the literature: performers are simply less creative than authors. As a result, the legal protection covering their work has been proportionally reduced compared to that of their authorial peers. This thesis investigates this phenomenon that it calls the 'author-performer divide'. It uncovers the culturally-rooted principles and legal reasoning that policy-makers and judges of Australia, France, the United Kingdom and the United States have developed to create in the legal narrative a hierarchy between authors and performers. It reveals that those intellectual property systems, though continuously reformed, still contain outdated conceptions of creativity based on the belief in ex nihilo creation and over-intellectualised representations of the creative process. Those two precepts combined have led legal discourse to portray performers as their authors' puppets, thus underserving of authorship themselves. This thesis reviews arguments raised against improving the performers' regime to challenge the preconception of performers as uncreative agents and questions the divide it supports. To this end, it seeks to update the representations of creativity currently conveyed in the law by drawing on the findings of other academic disciplines such as creativity research, performance theories as well as music, theatre and dance studies. This comparative inter-disciplinary study aims to move current legal debates on performers' rights away from the recurring themes and repeated arguments in the scholarship such as issues of fixation or of competing claims, all of which have made conversations stagnate. By including disciplines beyond the law, this analysis seeks to advance the legal literature on the question of performers' intellectual property protection and shift thinking about performative forms of creativity