Theatre Design

Summary

  • 28 Companies
  • 0 Patents
  • 2 Use Cases
  • 19 Case Studies
  • 25 Science Papers
  • Total Funding

Companies

#Organisation NameIndustriesHeadquarterDescriptionFounded YearCompany TypeNum of Employees
1
Architecture
London, London
Charcoalblue is the world’s most innovative theatre design consultancy. Founded in 2004, they have grown to a team of more than seventy working across six international studios in London, Bristol, Glasgow, New York, Chicago and Melbourne. As the theatre consultants, acousticians and digital designers of choice for many of the world’s leading architects and theatre companies, our UK portfolio includes 7 auditoria for the Royal Shakespeare Company, 2 auditoria for the National Theatre as well as new spaces for ENO, Gyndebourne and the Royal Opera House. Our North American projects include the new Perelman Performing Arts Center at the World Trade Center in NY, and two auditoria in Chicago - one for Steppenwolf and one for Chicago Shakespeare. Charcoalblue have 12 major projects due to complete across the world in 2018. Cutting-edge collaborations such as Siobhan Davies Dance, Graeae, T2, St. Ann’s Warehouse in New York, the Donmar Warehouse, Oval House and La Mama continue to diversify our portfolio. Our unique collaborative approach and relentless attention to detail has won us awards, ecstatic reviews from the theatrical and architectural press and, most importantly, praise from our theatres'​ performers, technicians and audiences. Despite our growth, we remain grounded in theatre practice and performance, and are still driven by a passion for all types of performing arts projects, big or small, new-build or refurbishment.
2004
Privately Held
115
2
Architecture
London, England
We are a theatre design, and technical theatre consultancy, helping clients create amazing spaces for performance, around the world. We provide the complete range of theatre planning and leading-edge technical design services for clients. We work with some of the world’s leading performance venues but are just as excited by helping clients create beautiful, bespoke spaces for performance in schools, universities and lyric theatres, or brand-new theatres. We can provide expert advice in upgrading theatres with important heritage significance.
1983
Partnership
14
3
Design
West Palm Beach, Florida
TSG Design Solutions, Inc. is a theatre design consulting firm based in West Palm Beach, Florida. Since 1995, TSG has been providing realistic and thoughtful consulting services to a broad client base throughout the US and internationally. Principals Albert J “Rusty” Cadaret III, President, and Stephen Placido, ASTC, Vice President, have over 35 years experience in theatre design – lighting, rigging and audio/video consulting services. Our talented professional staff comprises theatre designers, technicians and lighting consultants who have worked on and off Broadway and have extensive experience working with national and regionally known touring groups, including opera and ballet companies. Our portfolio holds a wide range of projects and includes theatres, auditoriums, amphitheatres, commercial institutions, cruise ships, worship spaces, lifelong learning centers, municipal chambers and more. Extensive experience in the design of educational facilities is a large part of our work and includes middle schools, high schools, community colleges, community theatres along with public and private universities. We have learned that it is only through listening to the needs of all involved that “dreams” can be realized. Our belief is that a commitment to personal and professional relationships between the owners and all members of the design team nurtures creative design solutions, encourages budgetary responsibility, and produces a successful, sustainable end product. With hundreds of completed projects, we continue to be privileged and honored to work with world-class clients, architects and design teams. We look forward to a future of collaboration and success.
1995
Partnership
7
4
Design
London, England
The South London creative studio that combines graphic design and theatre design to tell stories like no other. The common ground between graphic design and theatre design is storytelling. Our clients benefit from our varied skill-sets, close attention to detail, passion and a sensibility for the fantastic and other-worldly.
2018
Self-Employed
2
5
Design
Nissen Richards Studio was established in 2010. We are a multi-disciplinary design practice that specialises in architecture, exhibition, graphic and theatre design. We take great pride in our work being of the highest quality, as timeless design and using best practice. Whether this is a large scale housing project, museum refurbishment, exhibition or small-scale installations. We enjoy working between and blurring the boundaries between different disciplines, whether permanent structures or through the layering of different types of media. We enjoy each project being a partnership with our clients, creating bespoke projects that answers the brief, and enriches an experience. We create clear systems of thinking, working, and communicating - and these systems are fully integrated in the overall design process.
-
Privately Held
20
6
Entertainment
Kalamazoo, Michigan
The State Theatre has been a fixture in downtown Kalamazoo since 1927. The original founder of the theatre was Colonel William Butterfield. John Eberson was the renowned architect who designed the theatre. In line with theatre design conventions of the era, the idea was to create a unique atmospheric effect. The early roots of the theatre were found in the Vaudevillian tradition of performance. Many acts that frequented the State Theatre included opera, dramas, big bands, ballet, dance reviews, stage shows and movies.
1927
Privately Held
18
7
Fundraising
New Orleans, Louisiana
The New Orleans Center for Creative Arts Institute (The NOCCA Institute) is the nonprofit community support and advocacy organization for the New Orleans Center for Creative Arts (NOCCA), Louisiana's arts conservatory for high school students.  NOCCA is a world-class educational institution that has been changing the lives of young people since 1973. Every year, this professional arts training center provides intensive instruction in Classical Music, Creative Writing, Culinary Arts, Dance, Drama, Jazz, Media Arts, Musical Theatre, Theatre Design, Vocal Music, Visual Arts, and academics to students from public, private, and parochial schools across Louisiana.  The NOCCA Institute provides supplemental funding for NOCCA students and advocacy for NOCCA’s world-class program. With the support of corporations, foundations, and individuals across Louisiana and the globe, the Institute has helped turn NOCCA into a flagship arts training facility. Some of the Institute’s more notable endeavors include: a comprehensive Financial Aid program for NOCCA students; a year-round Artists-in-Residence Program; capital campaigns for NOCCA’s current home and expansion projects like Press Street Gardens; concert, gallery, literary, and educational series for the general public; and oversight of venue rentals on campus by individuals, arts organizations, DMCs, and others.
1983
Nonprofit
17
8
-
New Orleans, Louisiana
The New Orleans Center for Creative Arts Foundation (the NOCCA Foundation) is the nonprofit community support and advocacy organization for the New Orleans Center for Creative Arts (NOCCA), Louisiana's arts conservatory for high school students.  NOCCA is a world-class educational institution that has been changing the lives of young people since 1973. Every year, this professional arts training center provides intensive instruction in Classical Music, Creative Writing, Culinary Arts, Dance, Drama, Jazz, Media Arts, Musical Theatre, Theatre Design, Vocal Music, Visual Arts, and academics to students from public, private, and parochial schools across Louisiana.  The NOCCA Foundation provides supplemental funding for NOCCA students and advocacy for NOCCA’s world-class program. With the support of corporations, foundations, and individuals across Louisiana and the globe, the Foundation has helped turn NOCCA into a flagship arts training facility. Some of the Foundation's more notable endeavors include: a comprehensive Financial Aid program for NOCCA students; a year-round Artists-in-Residence Program; capital campaigns for NOCCA’s current home and expansion projects like Press Street Gardens; concert, gallery, literary, and educational series for the general public; and oversight of venue rentals on campus by individuals, arts organizations, DMCs, and others.
1983
Nonprofit
15
9
Design
London
Established in 1991, Light and Design Associates are an independent lighting design consultancy. We provide lighting design services for a wide range of projects for both private and commercial clients. We have successfully delivered award winning lighting schemes both nationally and internationally. Light and Design Associates combine an understanding of how light works within the built environment with our knowledge of luminaires and control systems. Our design studio employs the skills of our in house team of lighting and graphic designers, architectural assistants and CAD technicians. Our practice draws from the enthusiasm of our team and their knowledge of both lighting and architecture. Their skills have been developed from working with a number of well known architectural, interior design, engineering and theatre design practices. We are completely independent design company and have no commercial links with companies involved in the manufacture, supply or installation of lighting equipment. We work to the standards of conduct set out by the Royal Institute of British Architects (RIBA) and the International Association of Lighting Designers (IALD).
-
Privately Held
13
10
Design
Orlando, Florida
Point of Light is a full service professional lighting design firm specializing in providing creative visions that enhance a range of projects from themed entertainment, live theatre, architectural, concert, video and corporate events. We provide a range of services from initial concept development to final installation support. We also provide consulting services including theatre design planning, lighting system design and complex system integration. Point of Light employs some of the most talented designers, programmers and technicians in the business and always strives to provide the best team tailored to meet each project’s special requirements. It is our belief that all projects, no matter the scale, are unique and equally important and should be afforded the same dedicated focus and attention to detail. We thrive on supporting challenging projects and lending our creative expertise to each phase of a project’s development to achieve the maximum dramatic impact and unparalleled visual effects. With offices in Orlando and Chicago, Point of Light can provide design and support services for all phases of a project. Point of Light is a proud member of The International Association of Amusement Parks and Attractions (IAAPA), the Themed Entertainment Association (TEA), the United States Institute for Theatre Technology (USITT), and the Illuminating Engineering Society of North America (IESNA).
2001
Privately Held
11

Assignees

Science

Data limited by 2021

Top 10 cited papers

#Paper TitlePaper AbstractAuthorsFields of StudyYearCitation Count
1
IMAX® and OMNIMAX® Theatre Design
Theatre design for both IMAX® and OMNIMAX® presentations opens up a variety of new. possibilities and presents a host of problems, some old, and many new. Many traditional concepts of theatre design, such as clear sight-lines to the bottom of the screen, are no longer justified, or even desirable. Conversely, because of the large included angles in the projection beam, projector light-ray clearances become critical at many points in the auditorium. — Audience movement and safety are important factors, and several unusual concepts are discussed. Since most IMAX® and OMNIMAX® theatres are in new construction, there are unique opportunities to optimize the audience environment, including picture, sound, and acoustics. Existing IMAX® theatres range in size from 120 to 980 seats, with 1400 seats projected. OMNIMAX® theatres range from 94 to 380, with larger theatres in the planning stage.
Engineering, Art
1983
13
2
An Introduction to Theatre Design
STEPHEN II IENEIETTO, AN IHTRODUCTION TO THEATRE DESIGN (ROUTLEDGE: LONDON AND NEW YORK, 2012)As this focus issue of Australasian Drama Studies makes explicit, there has been a recent explosion of books dedicated to the study of design and scenography. Among these works, Stephen Di Benedetto's An Introduction to Theatre Design aims to 'explain the theories, strategies, and tools of practical design work for the undergraduate student' (i). It is marketed as a 'supplement' to students undertaking introductory Design classes, and distinguishes itself in the field from works such as Joslin McKinney and Philip Butterworth's The Cambridge Introduction to Scenography (also reviewed in this issue) by describing itself as a 'how-to' guide that will also provide students with 'the basic skills required to conceive and realize designs of [their] own' (i), thereby to some extent combining the historical and theoretical material of McKinney and Butterworth with the 'how-to' of works like Frances Reid's Designing for the Theatre (A. & C. Black: London, 1989) or Pamela Howard's What Is Scenography? (Routledge: New York, 2002).Despite this, Di Benedetto, Associate Professor of Theatre History and Theory at the University of Miami, treads similar ground to McKinney and Butterworth in the first two chapters, with an overview of 'what do theatrical designers do?' before a brief historical survey of (primarily) set design, although Di Benedetto's history charts developments from Ancient Greece all the way up until the twentieth century. He then moves into newer territory with his third chapter, 'The Vocabulary of Visual Thinking', where he focuses on describing the 'principles of [general] design' and the 'elements of [general] design'. Having established the basics, the book then moves to the work of specific kinds of theatre designers - set, costume, lighting and sound - looking in detail at their language and process. The final chapter provides a summary emphasising the 'collaborative nature' of theatre-making. Each chapter begins with a 'key topics' page, which lays out the questions that the section covers and lists the examples that will be analysed in greater depth. There are text boxes of interviews with designers, and the chapters looking at the specific types of design have in-depth analyses of specific productions by Di Benedetto, which aim to show the student how and why certain design decisions were made. By framing his work in this way, his book follows a pattern of accretion whereby each chapter builds on the one that came before, so that a 'picture' of design - with a nod to its collaborative nature and complexity - is sketched, blocked out and filled in by the end of the work.The accretive structure of Di Benedetto's approach is both its strength and its weakness. Unlike specific analysis of particular types of design, such as Aoife Monk's recent work The Actor in Costume, or collections of critical essays, such as Jane Collins and Andrew Nisbet's Theatre and Performance Design: A Reader in Scenography (both of which are also reviewed in this issue), Di Benedetto seeks to break down the overarching concept of 'design' into its components: the basic building blocks. He does this through analysing separately the function of different kinds of designers - costume, lighting and so on - and also by looking at specific techniques of each designer: examining the different strategies and processes involved. Di Benedetto's emphasis on language is particularly valuable. By providing a glossary at the back, as well as highlighting in red all glossaried items in the text, he draws attention to the technical language intrinsic to design and, by foregrounding this, illustrates the importance of technical discourse to the imagination of the world being created. …
Sociology, Art
2012
5
3
EVALUATION OF AN OPERATING THEATRE DESIGN BY A SOFTWARE PROGRAM (OTDA: OPERATING THEATRE DESIGN ANALYZER )
The design and establishment of the operating theatre (OT) is not a simple architecture engineering work. This project needs a specialized planning and execution effort from all engineering specialists driven and coordinated by the needs, preferences and safety of the medical/surgical team. More than one reference in operating theatre design is available, but each reference is dedicated for the design of a special part of the project. This paper presents a complete comprehensive integrated paperless database application program called Operating Theatre Design Analyzer (OTDA). This application is used to ensure the optimal OT design referring to seven international standards and three accreditation programs integrated with each other throughout the recommendation report has been resulted. It helps the owners of healthcare facilities or those who are interested in this area to identify and solve the problems in the OT design. The program was introduced to many hospitals in different Arab countries for evaluation; the percentage of compliance with standard for each item in OTDA was recorded. The analysis of the results reflects a lack of infection control awareness and misunderstanding of the role of the clinical engineer in OT design and healthcare facilities design as whole
Computer Science, Medicine
2011
4
4
X. Some Principles in Operating Theatre Design
T H E expansion of the hospital-building "programme in the last few years has aroused much interest in problems of hospital design. Increased knowledge of the prevention of hospital sepsis has paralleled the acceleration of building and has made it necessary for design to fit a changing background of bacteiiotbgical information and opinion. Furthermore, experience of the technique of cooperative planning between architect and doctor has accumulated from many sources. Design and function can thus be correlated at the earliest stage. Planning which gives the architect a functional brief rather than dimensions or even a sketch plan is generally agreed to allow him the maximum freedom but this principle applied to operating theatres soon exposes a considerable lack of basic information on what a theatre is supposed to do and how it does it. This is because, with one or two notable exceptions, theatre design has grown up around the surgeon and his operations, while bacteriological and other working modifications haye been made as necessary but with as little disturbance as possible to the surgeon's mode of practice. Because of the independent spirit of surgeons and their staff, most designs have preserved functional flexibility with free circulation of staff which permits alternative methods of working. It has been stated 'that it is' by rio means certain that a suite which imposes a pattern of work on those who use it, no matter how theoretically excellent, is as useful as, or more likely to maintain aseptic conditions as one which may be used in a variety of ways' (Nuffield Provincial Hospitals Trust, 1955). Such a concept is admirable where guidance is lacking on the correct methods Of theatre management and it is presumably for this reason that the complicated designs developed in the late 1930's (Gosset et al., 1937)were not widely adopted; at this time it was as yet impossible to distinguish the necessary from the unnecessary. Few could claim that we are now in possession of all the knowledge required, but the establishment of two systems of management in the past 10 years has had great influence on modern theatre design. First, the packagematerials technique pioneered by Walter (1948) and now usually linked in new designs with a central sterile supply department, and second, plenum ventilation, first investigated by Bourdillon and Colebrook (1946) and Bourdillon et al. (1948), and later refined by Blowers (1958) and Blowers and Crew (1960). These systems dictate a pattern of work which, although not completely rigid, requires proper organization for its efficient prosecution. With these as starting points it should now be possible to define some of the problems still to be solved in protecting the theatre from infective risk and in simplifying its working. By planning from basic principles it may also be conceivable to design a theatre or theatre suite which is linked to systems of maximum efficiency and minimum effort so that rigid management promotes rather than limits the maintenance of aseptic conditions. In the light of these two technical advances it is now quite clear that guidance on the management and design of operating theatres need no longer be lacking. Neglect of such guidance may foster inefficient management and faulty organization which can often contribute to a failure in enthusiasm and a loss of sense of vocation among theatre personnel. This is perhaps the most important final consideration because in operating theatres the prevention of cross-infection is ultimately dependentupon the actions of the individual worker.
Medicine
1961
4
5
Unmasking Theatre Design: A Designer's Guide to Finding Inspiration and Cultivating Creativity
Excellent book is always being the best friend for spending little time in your office, night time, bus, and everywhere. It will be a good way to just look, open, and read the book while in that time. As known, experience and skill don't always come with the much money to acquire them. Reading this book with the PDF unmasking theatre design a designer s guide to finding inspiration and cultivating creativity will let you know more things.
Engineering, Art
2014
2
6
The convergence of influences on and evolving praxis of mid-twentieth century British theatre design (1935-1965) through a close study of selected works by Motley and Jocelyn Herbert
This thesis examines key developments in theatre design in Britain between 1935-1965 through the lens of the praxis of the design trio known as Motley (active 1932-78) and of theatre designer Jocelyn Herbert (1917-2003). Analysis of their roles in the creation of the four theatre productions that are used as case studies, Romeo and Juliet (1935), Three Sisters (1938), The Kitchen (1959 & 1961) and Happy Days (1962) enables an evaluation of the complex threads of influence on Motley and Herbert both from within the UK and from the USA and Europe. Furthermore, it offers a close study of their working process including their relationships with directors and playwrights considering not only what they designed, but how and why. Critical engagement with theatre design practice has increased since the early 1990s but there is still very little evaluative literature about British theatre design during the period of this study, 1935-1965. To date there are only three books and three journal articles that specifically cover the seminal designers Motley and Herbert so there is scope for a broadened analysis and contextualisation of their practice. One of the original contributions to knowledge of this thesis is that it assesses the confluence of influences on Motley and Herbert and draws together the threads of connections between British, European and American theatre and the ethos of Michel Saint-Denis illustrating how these fed into Motley’s and Herbert’s work. Whilst acknowledging the complexity of theatre practice and of reconstructing past events, this thesis assesses a combination of archival design material, such as set and costume renderings and sketches, as well as written texts, press reviews and recorded interviews, and draws on my own experience as a theatre design practitioner. The four case studies enable an in-depth investigation of Motley’s and Herbert’s processes and practice, the circumstances in which they operated and how they negotiated these conditions, as well as indicating how the role of the theatre designer developed across the period 1935-1965. In approaching the four case studies from the point of view of design the thesis contributes a new layer to their intricate histories. By emphasising the significance of the professionalisation of the role of the theatre designer during this time and by revealing the connections between Motley, the London Theatre Studio, Herbert and the Royal Court Theatre it expands understanding of the period and reinforces the substantial contribution of design to British theatre history.
Engineering, Art
2016
1
7
The Human Stage English Theatre Design 1567 1640
the human stage english theatre design 1567 1640 is available in our digital library an online access to it is set as public so you can get it instantly. Our book servers hosts in multiple locations, allowing you to get the most less latency time to download any of our books like this one. Kindly say, the the human stage english theatre design 1567 1640 is universally compatible with any devices to read.
Computer Science, Engineering
2016
1
8
An introduction to theatre design [Book Review]
Review(s) of: An introduction to theatre design, by Stephen Di Benedetto, (Routledge, London and New York, 2012).
Sociology, Art
2012
0
9
An Introduction to Theatre Design by Stephen Di Benedetto, and: Scene Design: Rendering and Media by Wenhai Ma (review)
These two new texts for the design classroom provide students and professors with affordably priced tools to help students learn the design process and how to convey their ideas well through renderings. Stephen Di Benedetto’s An Introduction to Theatre Design introduces students to the design process across all theatrical disciplines. Wenhai Ma’s Scene Design: Rendering and Media details tips and techniques for rendering scenic designs in watercolor, acrylic, gouache, and both colored and water-soluble pencils. Together, the pair represents much needed options for the design classroom.
Art
2013
0
10
Collaborators. [Exhibition of theatre design]
An exhibition of theatre design held at The Society of British Theatre Design, Nottingham, PQ 07, Prague and V&A, London, 2007-2008
Engineering, Art
2007
0

Top 10 cited authors

#AuthorPapers countCitation Count
1
1
32
2
1
32
3
1
32
4
1
32
5
2
28
6
2
28
7
1
25
8
1
25
9
1
24
10
1
22

Science papers by Year

Clinical Trials

  • Researches Count 0
  • Ongoing Studies 0
  • Total Enrollment

Use Cases

#TopicPaper TitleYearFields of studyCitationsUse CaseAuthors
1
Theatre Design
David Myerscough-Jones, Benjamin Britten and the Art of Illusion: Theatre Design for Television
2014
History, Art
0
television
2
Theatre Design
Standards in Theatre Design to Safeguard from Fire and Panic
Computer Science, Engineering
0
safeguard from fire and panic

Case Studies

#TitleDescriptionPDFYearSource Ranking
1
(PDF) Technical Design As A Challenge In Theatre ...
Technical Design As A Challenge In Theatre Management A Case Study Of Ekiti State Arts Council. July 28, 2021 megbolugbe lola 0.
yes
2021
0
2
Technical Design As A Challenge In Theatre Management A ...
Jul 28, 2021 — Technical Design As A Challenge In Theatre Management A Case Study Of Ekiti State Arts Council. Download The Complete Project PDF From ...
no
2021
0
3
Theatre Design and Natural Ventilation: A UK Case Study
by J Vallejo · 2015 — Vallejo, J., Ford, B., Aparicio, P. and Diaz, C. 2015. Designing for Natural Ventilation: An Early Stage Design Tool. Passive and Low Energy ...
no
2015
210
4
Professional Practice- Case Study Of A Theatre Designer
May 21, 2011 — She later attended the Central School of Art and Design where she studied under her professor Ralph Koltai Her early theatre career was spent at ...
no
2011
0
5
Professional Practice - Case study of a theatre designer
Dec 2, 2010 — His work in the UK includes 'The Gathering' at Edinburgh Castle, 'L'incoronazione' for Garsington Opera, 'Samson' for Buxton Festival, ...
no
2010
0
6
Acoustic Design of a Restored Theatre in Thessaloniki
Jun 1, 2000 — DOI:10.1260/1351010001501552; Corpus ID: 62524530. Case Study: Acoustic Design of a Restored Theatre in Thessaloniki.
no
2000
970
7
Acoustic Design of a Restored Theatre in Thessaloniki
[8], Lord, P. , and Templeton, D. , (1986). “The Architecture of Sound”, Architectural Press, London, 66. Google Scholar. [9], Beranek, L. L. , (1969).
no
1 050
8
Ambisonic Sound Design for Theatre with Virtual Reality ...
by A Vilkaitis — [email protected] Abstract. This paper discusses ambisonic sound design for a theatrical production of King Lear. Sound, and its use in theatre, ...
no
450
9
Case Study: Acoustic Design of a Restored Theatre in ...
no
1 050
10
Case Study: DWD Theatre Design + Consulting - Murray ...
09-Oct-2013 — They are designers, project managers, and performing arts advocates. The company provides a wide range of services from feasibility studies ...
no
0

Experts

Twitter

#NameDescriptionFollowersFollowingLocation
1
Ralph Steadman Art
Insights and true tales in the life of this artist, illustrator, musician, singer, theatre designer, maverick, legend.
24 329
359
Maidstone, Kent
2
Paul Burgess
theatre designer | director @DaedalusTheatre | 🎻 @BlackSmockBand | activist @ecostage1 & @thgreens | writing/teaching @AngkrizAcademy | he/him | 🏳️‍🌈
8 799
1 820
Bethnal Green, London
3
Konstantin Yuon
Fan account of Konstantin Yuon, a noted Russian painter and theatre designer. #artbot by @andreitr
5 948
343
(World) Moscow, Russia
4
Rebecca
Artist. Art Director. Animator. Adventurer. TV and Theatre Designer. Tea Drinker. Mainly Tea Drinker https://t.co/McOySGo35H
4 951
2 185
-
5
SBTD
The Society of British Theatre Designers | An organisation run by designers for the benefit of designers #thevalueofdesign #stagingplaces
2 495
2 631
UK
6
James Hardwick
(James Nowell) Theatre Designer / Consultant. Cat lover. Podcaster.
2 224
639
London
7
Issy VB
Theatre Designer she/her // Coming up: GATSBY - Southwark Playhouse, WHILE THE SUN SHINES - Orange Tree, MEDIUM - Riverside Studios insta: issyvb_design
1 874
2 163
London
8
Cory Shipp
26/09/1991. theatre designer. all round maker and storyteller. opinionated, and vocal. Welsh.
1 616
2 839
London, England
9
Robyn Wilson-Owen
Illustrator and Author Rep by Elizabeth Roy literary agency. Cambridge School of Art MA grad 2019. Theatre designer, puppet maker.
1 462
1 220
London, England
10
The Envelope Room
The Envelope Room supports and promotes theatre designers working in Scotland. Events, Development, Job Opps, Social Stuff etc.
1 312
1 666
Scotland, United Kingdom

Youtube Channels

#NameDescriptionReg DateViewsCountry
1
I am here to inspire and share with everyone my passion for ART, MAKEUP ARTISTRY, FASHION, and MUSIC ! PRO Theatre Set and Costume Designer, Makeup Artist & Hairstylist since 2008. I have a very solide experience in carnaval events, as a costume designer/dresser and makeup artist. Artiste pluri-disciplinaire-formatrice-consultante diplômée depuis 2008. Solide experience en tant que theater designer, wardrobe dresser et maquilleuse, arts du Carnaval, du personnage, du costume, du maquillage artistique, du postiche, du chapeau, de la marionnette et du masque. Partager mes publications permet de faire vivre ma chaine et me permet de pouvoir continuer cette aventure avec vous. Partagez et citez, c'est essentiel pour moi, merci. For wardrobe styling, theatre design, image consulting, makeup artistry & all other business inquiries, please contact me by private message on youtube.
Wed, 20 Oct 2010
1 820 743
2
~perviously known as janiegirly07~ Hi! I'm Sarah Jane and I'm a 21 year old Theatre Design major with a passion for singing. Thank you for checking out my channel, enjoy! ^^
Sat, 14 Jul 2007
665 239
3
Hey, thanks for stopping byl! I'm a first year at Harvard (c'o 24) from SC, and I'm a creative in every sense of the word (theatre, design, music, etc). Growing a YouTube community has been a goal of mine for years and I'm so excited to go on this journey with y'all. My channel is a scrapbook of my life and will include a little bit of everything. There's a huge world out there and I can't wait to show you my piece of it through your screens. Hope you enjoy it enough to stick around for awhile ;) love you mean it, Kristian Arnell
Sun, 7 Aug 2016
583 972
4
The CEDIA Designer (TCD) – formerly known as The Cinema Designer – is an online design tool that allows home theatre designers to create technically impeccable cinema designs, support documents and aesthetic renders, within minutes. TCD allows an installer to design what would usually take three or four weeks, in three of four minutes, creating 3D CAD drawings for any room in under 30 seconds. All CEDIA awards entries need documentation – TCD provides all relevant documentation for theatre design, allowing any company to enter the awards, no matter their size.
Thu, 30 Mar 2017
36 486
5
THE BHOLDR is a website dedicated to the many facets of art. Artists are spotlighted at THE BHOLDR for their contributions of visual art, film, music, culinary, theatre, design, fashion, dance, literature and other creative expressions. Short documentaries explore the creative process of artists for the purpose of inspiring and sharing art. THE BEHOLDER'S SHARE Art is incomplete without the perceptual and emotional involvement of the viewer.
Tue, 9 Dec 2014
33 388
6
Let's Play Princess is a friendly Nature Inspired Children’s Channel creating Happy Play, Learning and Storytelling videos and Anna and Elsa videos for toddlers and young children to enjoy. I am a former theatre designer and children’s entertainer and I love making Anna and Elsa play and learning videos and telling stories inspired by traditional folklore and fairytales. My channel is 100% Family Friendly - giving you the peace of mind that your children are receiving quality original content while having lot's of fun! I post every Saturday - Please Subscribe and be part of my journey here on YouTube! Do contact me anytime with ideas or questions, I love post and would love to build a community here with you guys 😊 Good energy to all x Enchanted Regards Let's Play Princess
Thu, 31 Jan 2019
16 799
United Kingdom
7
Celebrating 100 years on Magna Main! The Empress Theatre is a family-friendly theatre located in the foothills of the oquirrh mountains. Originally a burlesque theatre designed to entertain the mining population the theatre now serves over 30,000 residents of all socioeconomic standings.
Sun, 11 Dec 2011
10 014
United States
8
We are an established team of architects, designers, video/film directors and software developers who seamlessly integrate the technical aspects of multidisciplinary subjects of exhibition design, theatre design, communication and storytelling to create a multimedia sensorial experience. Our scope and objective is to design and create multimedia shows; museum exhibitions, permanent and temporary art exhibitions, art installations and international events. Through our cutting edge work on images, light and sound we have been a leading voice in today’s technical revolution related to multimedia production. From museum art and edutainment to fashion and retail, our work promotes a decidedly "Pop Art” form which initiates with a creative process that balances avant-garde technology with a profound knowledge of art, cultural history and entertainment.
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The CHS Performing Arts Department offers students a full and diverse curriculum (over 45 courses) within six divisions, and serves about forty percent of the student population at Carmel High School. The band program consists of marching band, five concert bands, four jazz ensembles, and percussion ensembles. The choral division includes ten choral music ensembles. The orchestra program includes two full orchestras and three string orchestras. Beginning, Intermediate and Advanced Piano classes as well as Music Theory, Composition and Electronic Music are offered. Marching Band, Color Guard and Winter Guard students are enrolled in Dance Performance Class throughout the school year. The Theatre & Film division offers two levels of Theatre Arts, Advanced Acting and Theatre Production. Students may also take classes in Technical Theatre, Advanced Theatre Management and Advanced Theatre Design. International Baccalaureate courses are offered in Music, Theatre, and Film.
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