The Art and Legacy of Susan Benson’s Theatre Design

This useful book is critically written, easy to read and well documented. The first of its two sections, Epidemiology of Hospital Infection, contains such chapters as Staphylococcal Infections in Maternity Units, Staphylococcal Sepsis of Surgical Wounds, Infection with Haemolytic Streptococci, and Infections Due to Gram-Negative Bacilli; it includes more general topics such as Various Infections Occurring in All Types of War, and General Factors Influencing the Occurrence of Infection. The second section, Control of Hospital Infection, contains chapters on Administrative Control of Hospital Infection, Operating Theatre Design and Practice, Control of Infection in Wards, etc.; it includes discussions of such problems as The Use of Antibiotics in the Prevention and Treatment of Hospital Infection (methods of sterilization and investigation procedures to be employed in outbreaks of infection).

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Ẹnu dùn ń rò’fọ́…: Theatre design, audience cognition and dramatic adaptation of Fagunwa’s texts

Journal of Adaptation in Film & Performance ◽

10.1386/jafp_00027_1 ◽

2020 ◽

Vol 13 (3) ◽

pp. 185-202 ◽

Cited By ~ 1

Author(s):

Michael Aderemi Adeoye

Keyword(s):

Participant Observation ◽

Text Design ◽

Theatre Design ◽

Vegetable Soup ◽

Ethnographic Approach ◽

Theoretical Structure ◽

Theatrical Adaptation ◽

Stage Performance ◽

Technical Challenges ◽

Analysis Of Performance

The stage performance of Langbodo, a play, which Nigerian dramatist Wale Ogunyemi adapted from Soyinka’s The Forest of a Thousand Daemons, which, in turn, is a translation of D. O. Fagunwa’s prose, Ògbójú Ọdẹ Nínú Igbó Irúnmalẹ̀. 'The bold hunter in the daemon-infested forest', exposed the limitation of the text as a bearer of meaning in the theatrical adaptation context. The limitation is analysed in this work to justify the centrality of adaptation in bridging the text-design-audience semiotic gap. This study examines the technical challenges of theatre design in D. O. Fagunwa’s works resulting from their adaptation as drama. The Yoruba apothegmatic idiom, Ẹnu ‘dùn ń rò’fọ́, agada ọwọ́ ṣeé ṣán’ko (which means, literally, that ‘vegetable soup can be prepared orally if a mere hand suffices for a cutlass’), a traditional derision for the inadequacies of the text, and the Barthesian notion of intertextuality serve as a dual theoretical structure in this study. A combination of methodologies including participant observation and ethnographic approach suffice for the retrieval and analysis of performance materials, respectively. Therefore, the study contends that the process of stage adaptation in Wale Ogunyemi’s play, Langbodo, used the technical contributions of theatre design, as a catalyst for connecting Fagunwa’s ideas to the final audience.

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The City is a Stage: Innovation beyond the Theatre Space

10.26686/wgtn.16998052.v1 ◽

2021 ◽

Author(s):

◽

Sarah Courtney

Keyword(s):

Urban Spaces ◽

Public Realm ◽

Adaptive Performance ◽

Live Performance ◽

Central Cities ◽

Theatre Design ◽

Form And Function ◽

Performance Space ◽

And Function ◽

The City

<p>"[The] product of architecture can at least partly be understood as an endless live performance" (Van Berkel & Bos, 2008 , p. 135). As central cities such as Wellington become more event orientated, there is a greater need for a network of innovative performance venues (temporary or permanent) to meet public demand. The existing theatre spaces within Wellington are currently limited in size and the spaces are difficult to adapt to meet the needs of different performances. The thesis investigates this problem. The thesis proposes to develop a network of multifunctional performance spaces outside traditional theatre spaces in areas which are generally used as high activity public spaces and thoroughfares. This will result in not only new opportunities for theatre design and new types of adaptive performance, but, as performance is removed from a traditionally controlled environment, it will create urban spaces that are multi-functional and a better fit for a variety of experiences and uses. Several precedents are analysed with regard to the creation of new boundaries and multiple functionalities in a more contemporary setting. Public realm typologies are also explored for their capacity to be blended in form and function to create hybrid, multi-functional spaces. The resulting design strategy is applied in a series of design experiments to the selected subject site on Wellington’s waterfront. The experiments are then evaluated to aid in the development of an appropriate outdoor theatre network that will enliven the city and encourage performers to create a new style of theatre. The proposed design is developed from and through the research, and will benefit Wellington for many reasons. Firstly, the design will produce greater adaptability and permeability of the performance space in Wellington. Secondly, because theatres in Wellington are currently disengaged from their surrounding context, the proposed building will have a strong indoor/outdoor connection that encourages the use of diverse performance in and around the building. Thirdly, by placing the building in or near circulation paths, it will provide an interactive and engaging space for audiences.</p>

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The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen

Nota Bene Canadian Undergraduate Journal of Musicology ◽

10.5206/notabene.v8i1.6601 ◽

2015 ◽

Vol 8 (1) ◽

Author(s):

Matthew Timmermans

Keyword(s):

Architectural Design ◽

Richard Wagner ◽

Arthur Schopenhauer ◽

Theatre Design ◽

Ludwig Feuerbach ◽

Art Forms ◽

Ring Des Nibelungen ◽

And Performance

This essay explores how the architectural design of the Bayreuth Festspielhaus effects the performance of Wagner’s later operas, specifically Der Ring des Nibelungen. Contrary to Wagner’s theoretical writings, which advocate equality among the various facets of operatic production (Gesamtkuntswerk), I argue that Wagner’s architectural design elevates music above these other art forms. The evidence lies within the unique architecture of the house, which Wagner constructed to realize his operatic vision. An old conception of Wagnerian performance advocated by Cosima Wagner—in interviews and letters—was consciously left by Richard Wagner. However, I juxtapose this with Daniel Barenboim’s modern interpretation, which suggests that Wagner unconsciously, or by a Will beyond himself, created Bayreuth as more than the legacy he passed on. The juxtaposition parallels the revolutionary nature of Wagner’s ideas embedded in Bayreuth’s architecture. To underscore this revolution, I briefly outline Wagner’s philosophical development, specifically the ideas he extracted from the works of Ludwig Feuerbach and Arthur Schopenhauer, further defining the focus of Wagner’s composition and performance of the music. . The analysis thereby challenges the prevailing belief that Wagner intended Bayreuth and Der Ring des Nibelungen, the opera which inspired the house’s inception, to embody Gesamtkunstwerk; instead, these creations internalize the drama, allowing the music to reign supreme. From this research I hope to encourage scholars to critically examine the connections between theatre design, composition and performance so that we may better understand the process by which works are manifested in performance.

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Trends in Twentieth-Century Czech Theatre Design

Czech Theatre Design in the Twentieth Century ◽

10.2307/j.ctt20ks1h6.6 ◽

2018 ◽

pp. 27-40 ◽

Cited By ~ 1

Author(s):

VĚRA PTÁČKOVÁ

Keyword(s):

Twentieth Century ◽

Theatre Design

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Haidar, Kadhim (1932–1985)

Routledge Encyclopedia of Modernism ◽

10.4324/9781135000356-rem397-1 ◽

2018 ◽

Author(s):

Nada Shabout

Keyword(s):

Visual Arts ◽

Fine Arts ◽

Theatre Design ◽

Religious Symbolism ◽

Standard Textbook ◽

Modern Thought ◽

The 1950S ◽

Coups D'etat

Born in Baghdad, Iraq, Kadhim Haidar studied art at the Institute of Fine Arts in Baghdad after receiving a degree in Arabic Studies from the Higher Institute for Teachers in 1953. Later, in 1961 and 1962, he pursed a BA in theatre design and graphics at the Royal School of Art and Graphics in London. After his return from London, he taught at the Institute of Fine Arts in 1962 and the Academy of Fine Arts in Baghdad in 1968. He founded the Design Department at the Academy of Fine Arts in Baghdad in 1974 and chaired the Visual Arts Department there in 1981 and 1982. He was a contributing writer and a poet for various publications including Al-TakhtitwalElwan [Sketching and Colors], which became a standard textbook at the academy. Haidar’s work explored key political shifts in Iraq during the 1950s and 1960s through a re-imagination of popular religious symbolism, which was seen in opposition to the new secular modern thought favored by his generation of artists, and thus had been absent from the work of modern Iraqi artists. His most noted series of work is Melhamet al-Shahid [The Martyr’s Epic], which is based on a poem he wrote in Baghdad in 1965. Through his negotiation of the martyrdom of the Prophet Mohammed’s grandson, al-Hussayn, at the battle of Karbala, Haidar’s work gained added significance for contemporary Iraqis within the turbulent political years of coups d’état and unsettled affairs.

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