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- Title
- The Power of Play: Creating A Theatre for the Very Young Experience.
- Creator
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Katsadouros, Maria, Listengarten, Julia, StClaire, Sybil, Freeman, Emily, University of Central Florida
- Abstract / Description
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The opportunity to enhance the sense of fulfillment necessary in revolutionizing and liberating a person's daily life, regardless of their age, can be found in the manifestation of play. It is through the acknowledgment of instinct, nature, and discovery that play reveals its power. As a Theatre for the Very Young (TVY) practitioner, I utilize creative play to inspire exploration and innovation among students under the age of six. However, what are the ways in which theatre, specifically TVY,...
Show moreThe opportunity to enhance the sense of fulfillment necessary in revolutionizing and liberating a person's daily life, regardless of their age, can be found in the manifestation of play. It is through the acknowledgment of instinct, nature, and discovery that play reveals its power. As a Theatre for the Very Young (TVY) practitioner, I utilize creative play to inspire exploration and innovation among students under the age of six. However, what are the ways in which theatre, specifically TVY, invites all generations of people to experience the power of play? This thesis documents the three-year development of When Pigs Fly, an original TVY experience that encourages audience members of all ages to engage in creative play through sensation, fellowship and discovery. This study explores the collective creation of When Pigs Fly as developed through research, education, and practice. In highlighting the cognitive and emotional benefits of creative play, this study seeks to legitimize TVY as a valued art form, and invites theatre-makers to utilize the research and practice shared to inspire future endeavors that will shape the outlook of TVY throughout the United States.
Show less - Date Issued
- 2018
- Identifier
- CFE0007405, ucf:52882
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0007405
- Title
- Building a Workable Model for Youth Theatre: An Exploration into a Courageous and Complex Field.
- Creator
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Engstrom, Megan, Brotherton, Mark, Ingram, Katherine, Listengarten, Julia, University of Central Florida
- Abstract / Description
-
As an active director of productions featuring youth actors, I find myself debating the same questions continuously: Are there clear and demonstrated differences between working with young people and adults when directing a youth theatre production? Are there approaches and methods of working with young people that differs greatly from working with adults? Are these methods supported and utilized by those working professionally in the field? Is there an ideal format for a theatre producing...
Show moreAs an active director of productions featuring youth actors, I find myself debating the same questions continuously: Are there clear and demonstrated differences between working with young people and adults when directing a youth theatre production? Are there approaches and methods of working with young people that differs greatly from working with adults? Are these methods supported and utilized by those working professionally in the field? Is there an ideal format for a theatre producing only productions with youth? I believe that directing young actors tends to require a shift in focus due to the pliability, sensitivity, and inexperience of the actors. I feel the director must take into account the emotional, developmental, and educational needs of the young people and at the same time remain focused on the creation of a product with artistic integrity and clear storytelling. Due to the didactic nature of Youth Theatre, directing young people often requires an awareness of process over product despite the similar end goal of directing adults.Since little research or literature exists about the differences between working with adults versus young people, I will pursue information by interviewing several recognized professionals in the field of Theatre by and for Youth. I will examine their multiple methods, techniques, and practices of working with young people. In addition, I will use my personal experience working with youth at the Orlando Repertory Theatre in Florida and Coterie Theatre in Missouri. Through an investigation into the emerging field of Youth Theatre coupled with my education, I plan to develop a workable and effective youth theatre company based upon these findings with the hope it might inspire others working in this field.
Show less - Date Issued
- 2011
- Identifier
- CFE0004107, ucf:49101
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0004107
- Title
- Radio Drama: A "Visual Sound" Analysis of John, George and Drew Baby.
- Creator
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Weaver, Pascha, Chicurel, Steven, Listengarten, Julia, Ingram, Katherine, University of Central Florida
- Abstract / Description
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Radio Plays are a form of classic American Theatre that relies on dialogue, music and sound effects to audibly enhance a story with no visual component. While these types of plays are no longer at the forefront of modern day theatrical experience, I believe these popular plays of the mid-20th century are derivative of an oral storytelling tradition and significant to American entertainment culture. This thesis will discuss the aspects of radio plays that viscerally captured audiences. While...
Show moreRadio Plays are a form of classic American Theatre that relies on dialogue, music and sound effects to audibly enhance a story with no visual component. While these types of plays are no longer at the forefront of modern day theatrical experience, I believe these popular plays of the mid-20th century are derivative of an oral storytelling tradition and significant to American entertainment culture. This thesis will discuss the aspects of radio plays that viscerally captured audiences. While this concept can be applied to many popular America radio shows of the time, this thesis will focus on one form ; the black radio play or black situation comedy series. I will deconstruct different genres of radio shows and identify the elements of sound effect, imagery and patterns in speech. This thesis will apply these elements to programs about white family life, (Fibber McGee and The Lone Ranger ) as well as family comedies about black cultural life, (Amos n' Andy, The Martin Lone and Beulah Show and Aunt Jemima). In addition, it will also reveal the business of employing white male actors to voice the parts of black characters and the physical mechanics used to create a (")black sound("). As the thesis reveals, black actors gain work and are hired to voice black characters. The focus is on the vocal challenges of staying consistent with the Uncle Remus-style dialect used by their white contemporaries. Part two of this thesis is an analysis of my role as writer in an original radio play/situation comedy set in a black community in the 1950's. Included in this process I will introduce a reflective journal documenting my writing and rehearsal process. Character research will chronicle each character's relationship to the play, as well as the vocal choices explored.
Show less - Date Issued
- 2012
- Identifier
- CFE0004204, ucf:49036
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0004204
- Title
- The Artistry of Accessibility: Creating Theatre with and for Students on the Autism Spectrum.
- Creator
-
Brunow, Sara, Listengarten, Julia, Ingram, Kate, Niess, Christopher, Kovac, Kim, University of Central Florida
- Abstract / Description
-
Theatre is a place where all can come together and have an experience regardless of ethnicity, gender, sexuality, or ability. As a theatre maker and teaching artist, how do I create inclusion and augment social awareness by designing and implementing theatrical experiences for a specific audience? In this personal exploration of inclusive theatre practices (Sensory Friendly Theatre, Inclusive Arts Integration, and Multi-Sensory Theatre) I will examine my experience of creating and adapting...
Show moreTheatre is a place where all can come together and have an experience regardless of ethnicity, gender, sexuality, or ability. As a theatre maker and teaching artist, how do I create inclusion and augment social awareness by designing and implementing theatrical experiences for a specific audience? In this personal exploration of inclusive theatre practices (Sensory Friendly Theatre, Inclusive Arts Integration, and Multi-Sensory Theatre) I will examine my experience of creating and adapting theatre with and for students with Autism Spectrum Disorder. My process has a three-pronged approach: adapting an established production using a Sensory Friendly model; adapting an arts integration facilitation in an inclusive elementary classroom; and collaboratively creating a sensory-based theatrical experience with other artists and students with cognitive disabilities. Through these experiences, I strive to uncover how developing theatre for this specific audience has challenged me to grow as an artist and activist.
Show less - Date Issued
- 2015
- Identifier
- CFE0006027, ucf:51003
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0006027
- Title
- Providing Cultural Balance for Young Americans.
- Creator
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Nichols, Mark, Listengarten, Julia, Rusnock, Joseph, Scott, Bert, University of Central Florida
- Abstract / Description
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Children today are increasingly being introduced to tablets and other personal electronic devices at very young ages. Due in part to this, the entertainment industry now has a near ubiquitous presence in America compared to cultural arts. Its influence on the development of children is almost impossible to ignore. My thesis will study an approach to engaging young people by way of location-based projects that synthesize two or more art forms (e.g. theatre arts, literary arts, visual arts) in...
Show moreChildren today are increasingly being introduced to tablets and other personal electronic devices at very young ages. Due in part to this, the entertainment industry now has a near ubiquitous presence in America compared to cultural arts. Its influence on the development of children is almost impossible to ignore. My thesis will study an approach to engaging young people by way of location-based projects that synthesize two or more art forms (e.g. theatre arts, literary arts, visual arts) in order to provide a unified effort for cultural arts and also provide balance to the influences of entertainment. Incorporating research, interviews with people instrumental in the creation of this approach, and analysis of the data, I intend to answer several essential research questions: What are the pros and cons of creating and/or operating these collaborative cultural arts facilities? Are recently created collaborative cultural arts centers, nationally and internationally (e.g. ImaginOn in Charlotte, NC) successfully addressing the imbalance of cultural influence and if so, in what way? What are the conditions and steps required to create a collaborative cultural arts facility and replicate a model similar to Charlotte's ImaginOn in other cities in the United States?
Show less - Date Issued
- 2015
- Identifier
- CFE0006047, ucf:50965
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0006047
- Title
- Halloween Horror Nights And/Or Visceral Theatre.
- Creator
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Braillard, Patrick, Niess, Christopher, Brotherton, Mark, Listengarten, Julia, University of Central Florida
- Abstract / Description
-
Visceral [vis-er-uh l]-adj1. of, relating to, or affecting the viscera2. characterized by intuition or instinct rather than intellect((")visceral,(") def. 1-2)The above words speak to define far more than merely the word (")visceral.(") They speak to also embody and classify a previously untitled form of theatre. Visceral Theatre: A form of theatre that uses the instinctual awareness of the audience- the audiences' perception of popular culture, societal contexts both historical and...
Show moreVisceral [vis-er-uh l]-adj1. of, relating to, or affecting the viscera2. characterized by intuition or instinct rather than intellect((")visceral,(") def. 1-2)The above words speak to define far more than merely the word (")visceral.(") They speak to also embody and classify a previously untitled form of theatre. Visceral Theatre: A form of theatre that uses the instinctual awareness of the audience- the audiences' perception of popular culture, societal contexts both historical and geographical, as well as their instinctual-physical aversion to danger- to cause physiological and emotional responses through the overstimulation of the senses in a non-tactile attack.For the past eight years I have been intimately involved with the creation of Halloween Horror Nights, an annual event held each September/October at the Universal Orlando Resort. The basis of the event is the celebration of the holiday of Halloween by creating Shows, Street Experiences, and Thematic Mazes in which to fully immerse hundreds of thousands of guests in various environments.This thesis will use the example of Halloween Horror nights to frame the discussion of Visceral Theatre. It will be presented through the lens of creator, designer, director, and collaborator of the entertainment offerings within the experience. It is my hope to answer the question: What is Visceral Theatre, and how HHN, as it is commonly referred to, earns the right to be defined as such. What makes this experience Theatre?
Show less - Date Issued
- 2014
- Identifier
- CFE0005138, ucf:50711
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0005138
- Title
- Directing Stop Kiss by Diana Son within a Nontraditional Training Model.
- Creator
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Dilks, Rebecca, Listengarten, Julia, Weaver, Earl, Wood, Vandy, University of Central Florida
- Abstract / Description
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Despite the generally held view that the best way for a stage actor to give a strong theatrical performance is through a traditional training model, I hoped to develop a way for inexperienced actors to perform beyond expectation within the context of one production through a system of mentorship, expectation-setting, and tapping into young peoples' natural desire to identify with people and characters. I directed a production of Stop Kiss by Diana Son with a blend of experienced and...
Show moreDespite the generally held view that the best way for a stage actor to give a strong theatrical performance is through a traditional training model, I hoped to develop a way for inexperienced actors to perform beyond expectation within the context of one production through a system of mentorship, expectation-setting, and tapping into young peoples' natural desire to identify with people and characters. I directed a production of Stop Kiss by Diana Son with a blend of experienced and inexperienced actors to see if I could make this work, with mixed results. This thesis is a reflection on the process of directing Stop Kiss that was filled with multiple discoveries and challenges.
Show less - Date Issued
- 2015
- Identifier
- CFE0005940, ucf:50824
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0005940
- Title
- PLANTING SEEDS: LIFE STORIES OF AWAKENING SELF-AWARENESS.
- Creator
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Mendez, Aixa, Listengarten, Julia, Alrutz, Megan, StClaire, Sybil, University of Central Florida
- Abstract / Description
-
Using real-life stories written by female offenders, Planting seeds - Life Stories of Awakening Self-Awareness seeks to identify the systematic challenges these females may have faced, that in most cases, are the root-causes of their derailment from the societal norms of conduct. Applying the concepts of community and social justice and equality as a lens, this work will attempt to corroborate, as a universal postulate, that the process of sharing life stories can have transformative effects...
Show moreUsing real-life stories written by female offenders, Planting seeds - Life Stories of Awakening Self-Awareness seeks to identify the systematic challenges these females may have faced, that in most cases, are the root-causes of their derailment from the societal norms of conduct. Applying the concepts of community and social justice and equality as a lens, this work will attempt to corroborate, as a universal postulate, that the process of sharing life stories can have transformative effects on the individuals and that theatre techniques, such as theatre games and scripting can help identify those impediments to restoring lives. Key to the transformative component of this work is the exploration of theatre as a mechanism of support and restoration and that the contributions that theatre may offer are the pillars that sustain the well-being of communities, and henceforth society. Using techniques of storytelling and story writing in the process of re-enacting life stories, the participants will be able to possibly recognize issues that may be impeding their growth. In addition, engagement in storytelling, and moreover, story writing can help the participants increase their cognitive skills and the ability to live a communal life. This evidence-based practice can transform lives and society. It has the potential of continuing to other facilities and with other populations, such as incarcerated males, juvenile delinquents, and orphans. It can reach out beyond these institutionalized populations to any community in need of finding itself, and, further its maximum potential. This work seeks to help these females identify impediments for further growth by using theatre techniques such as sharing and scripting their life stories.
Show less - Date Issued
- 2017
- Identifier
- CFE0006897, ucf:51730
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0006897
- Title
- Living with Marie: Dramatherapy in the Creation of Performable Theatre.
- Creator
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James, Madelyn, Listengarten, Julia, Ingram, Kate, Wood, Vandy, University of Central Florida
- Abstract / Description
-
Living with Marie is a project aiming to adapt dramatherapy techniques so that they are better suited to the creation of theatre in an attempt to educate audiences of the struggles some individuals cope with while living with mental illness. By using the practices implemented by dramatherapists Sue Jennings, John Casson, R. M. Simon, and Phil Jones, the evolution of my play Living with Marie can be seen as first originating in imagery before progressing to text and finally, performable art....
Show moreLiving with Marie is a project aiming to adapt dramatherapy techniques so that they are better suited to the creation of theatre in an attempt to educate audiences of the struggles some individuals cope with while living with mental illness. By using the practices implemented by dramatherapists Sue Jennings, John Casson, R. M. Simon, and Phil Jones, the evolution of my play Living with Marie can be seen as first originating in imagery before progressing to text and finally, performable art. This venture, inspired by my own psychotic struggle, gives audiences a glimpse into the clandestine existence of a nameless Young Woman and her m(&)#234;l(&)#233;e with a schizophrenic embodiment of her mental disorders named Marie.
Show less - Date Issued
- 2017
- Identifier
- CFE0006949, ucf:51659
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0006949
- Title
- Synaesthetics.
- Creator
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Turner, Samantha, Listengarten, Julia, Wood, Vandy, Weaver, Earl, University of Central Florida
- Abstract / Description
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Synaesthetics is a new philosophy of the arts. Expanding on its predecessors, aesthetics and its many branches of thought, Synaesthetics bridges the long-standing explanatory gap across the disciplines of science, spirituality, and art. The arts become the vehicle of exploring new ways to synthesize and study their cognitive effects and implications on aesthetes, be they audience or creators. The examination of a synthesis in color and sound, inspired by research in synaesthesia, is a model...
Show moreSynaesthetics is a new philosophy of the arts. Expanding on its predecessors, aesthetics and its many branches of thought, Synaesthetics bridges the long-standing explanatory gap across the disciplines of science, spirituality, and art. The arts become the vehicle of exploring new ways to synthesize and study their cognitive effects and implications on aesthetes, be they audience or creators. The examination of a synthesis in color and sound, inspired by research in synaesthesia, is a model for explaining the new philosophy, as well as investigating its impact. Theatre is introduced as the most valuable art form with which to engage this area of thought, due to its inclusive nature of all sister artforms. Pulling from a strong philosophical background, quantum physics, psychology, neuroscience, and esotericism are compounded to create this new lens, with which to interpret, study, and evolve in a dialectical manner. The hypothesis posits a spiritually significant evolution, utilizing these elements of science and a framework of the arts; the methodological accomplishment ultimately reached through Synaesthetics.
Show less - Date Issued
- 2017
- Identifier
- CFE0006960, ucf:51640
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0006960
- Title
- Playing Back Spirituality: Using Applied Theatre Practice for Spiritual Exploration an Meaningful Community Building in College.
- Creator
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Kinnebrew, Ann, Wood, Vandy, Listengarten, Julia, StClaire, Sybil, University of Central Florida
- Abstract / Description
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ABSTRACTHigher Education in the U.S. today is experiencing a theoretical and practical shift toward educating the (")whole person(") and to that end, is investigating ways to include spirituality in all facets of the academy. This requires focusing on the concept that (")in addition to material knowledge, spiritual, emotional, and ethical knowledge is imparted to students(") (Khan 2009). Many colleges and universities are searching for avenues to answer this call and better prepare students...
Show moreABSTRACTHigher Education in the U.S. today is experiencing a theoretical and practical shift toward educating the (")whole person(") and to that end, is investigating ways to include spirituality in all facets of the academy. This requires focusing on the concept that (")in addition to material knowledge, spiritual, emotional, and ethical knowledge is imparted to students(") (Khan 2009). Many colleges and universities are searching for avenues to answer this call and better prepare students as business, political and social leaders in a new millennia that defines religion very differently than it did twenty years ago. Today, students are exposed to a much wider array of organized religions from all over the globe. Additionally, the very definitions of religion and spirituality have undergone a seismic shift making it difficult for colleges to incorporate a religious or spiritual focus into curriculum.More and more people are cobbling together their own unique combinations of religious ideas, practices, experiences and core values from a variety of religious and non-religious sources. The term 'spirituality' is sometimes used to describe this new do-it-yourself faith...To be 'spiritual' understood in this sense, is to have deeply held convictions, and anyone can have those kinds of heartfelt allegiances. This new ambiguity about what counts as religion or spirituality makes it virtually impossible to keep religion out of higher education. (Jacobsen and Jacobsen 2012)Research on the subject of religion and spirituality indicates that this is a point of major concern for many young American college students who are searching for personal and social significance. (Arnett 2000a; Astin, et al. 2011; Jacobsen and Jacobsen 2012)iiiThis study asserts that college students enter a unique stage of development known as emerging adulthood (Arnett 2000a) that calls for increased focus on meaning making and identity formation. In an effort to meet the individual and institutional need for spiritual exploration, this study will offer specific applied theatre practices that connect theories in theatre, psychology, student development and leadership designed to serve the emerging adult population as part of a holistic educational vision. This study confirms the feasibility of such a program by a detailed examination of specific theatre techniques and, in particular, the adaptation of Playback Theatre as the most viable form for inner life exploration and campus community building. A formal investigation into the efficacy of theatrical methods is called for as validation of theories and practices offered here. It is my hope that this research will encourage campus-wide awareness of theatre's utility and application to a wider range of students. By recognizing the need to educate the (")whole person("), institutions of Higher Education can give students the best possible preparation for a full and meaningful adult life through theatre practices uniquely designed for the purpose of inner life exploration and awareness.Key Implications: new areas of application for Applied Theatre Studies; collaborative opportunities for college theatre departments and student services, expansion of campus wide-visibility and understanding of theatre arts, feasibility for attending to student inner life needs and student community building through theatre.
Show less - Date Issued
- 2016
- Identifier
- CFE0006128, ucf:51161
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0006128
- Title
- Christ on the Postmodern Stage: Debunking Christian Metanarrative Through Contemporary Passion Plays.
- Creator
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Dambrosi, Joseph, Listengarten, Julia, Wood, Vandy, Weaver, Earl, Thomas, Aaron, University of Central Florida
- Abstract / Description
-
As a Christian theatre artist with a conservative upbringing, I continually seek to discover the role of postmodernism in faith and how this intersection correlates with theatre in a postmodern society. In a profession that constantly challenges the status quo of Christian living, and a faith that frowns upon most (")secular(") behavior, I find myself in a position of questioning the connection between these two components of my life. Furthermore, I am troubled by the exclusive nature of the...
Show moreAs a Christian theatre artist with a conservative upbringing, I continually seek to discover the role of postmodernism in faith and how this intersection correlates with theatre in a postmodern society. In a profession that constantly challenges the status quo of Christian living, and a faith that frowns upon most (")secular(") behavior, I find myself in a position of questioning the connection between these two components of my life. Furthermore, I am troubled by the exclusive nature of the evangelical Christian community for people who do not meet its expectations of absolute truth(-)namely, the treatment of the LGBTQ+ community and the judgment of others. After reading several contemporary plays with religious narratives, it is safe to say that there is a correlation between Christian faith and the postmodern stage and this connection can be used to debunk these accepted truths in Christian thought. In this thesis, I explore three plays by mainstream American playwrights(-)Terrence McNally's Corpus Christi, Stephen Adly Guirgis' The Last Days of Judas Iscariot, and Sarah Ruhl's Passion Play: A Cycle(-)to disrupt the metanarrative dogma that evangelical Christianity continues to force upon its (")believers.(") These topics include the traditional evangelical treatment of homosexuality, the judgment of others, and the exclusivity of the gospel message. Using postmodern theory and the New Testament Gospels as a lens, this thesis expands the universal messages of the Gospels and makes them inviting and applicable to all people despite varying cultures, lifestyles, or worldviews.?
Show less - Date Issued
- 2016
- Identifier
- CFE0006093, ucf:51189
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0006093
- Title
- Lavinia's Voice: Verbal and Nonverbal Expression in Shakespearean Performance.
- Creator
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Kilgore, Kelly, Ingram, Katherine, Listengarten, Julia, Niess, Christopher, University of Central Florida
- Abstract / Description
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This performance thesis will investigate verbal and nonverbal expression asapplied to Shakespearean text, through the lens of my experience rehearsing andperforming the role of Lavinia in Titus Andronicus at the Orlando ShakespeareTheater. Lavinia is a Shakespearean character, and Shakespeare is immediatelyassociated with language. However, Lavinia is interesting because the role's vocalwork will require both verbal and non-verbal experimentation. My thesis role willbe an exceptional...
Show moreThis performance thesis will investigate verbal and nonverbal expression asapplied to Shakespearean text, through the lens of my experience rehearsing andperforming the role of Lavinia in Titus Andronicus at the Orlando ShakespeareTheater. Lavinia is a Shakespearean character, and Shakespeare is immediatelyassociated with language. However, Lavinia is interesting because the role's vocalwork will require both verbal and non-verbal experimentation. My thesis role willbe an exceptional opportunity to utilize the various language tools and techniques Ihave learned in my MFA coursework.Any Shakespearean performance requires an extensive text analysis. However,Lavinia has her tongue cut off halfway through the show, so I anticipate additionalvocal, non-verbal contributions during the second half of the show. This thesis willexplore both aspects of the role.Physicality will also play a large part of my acting work in this particular role, moreso, perhaps, than in a typical Shakespearean ing(&)#233;nue. Because Lavinia is verballysilenced, her body must also speak.No approach to a Shakespearean role would be complete without character work,and research will play a large part of this character in particular. I plan to doresearch on violence against women and its significance in both literature and reallife in order to better inform my vocal and physical choices. I also plan to learn fromthose who have gone before me in the role by investigating filmed performances ofthe same character and reviews of previous stage productions.In this thesis I will document my approach to the role, my experiences in rehearsal,and the performative results, thereby mapping for future actors all the techniquesthat make up a character's voice.
Show less - Date Issued
- 2013
- Identifier
- CFE0004702, ucf:49811
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0004702
- Title
- Developing New Works for the Stage: An Actor's Perspective.
- Creator
-
Butler, Lauren, Boyd, Belinda, Listengarten, Julia, Ingram, Katherine, University of Central Florida
- Abstract / Description
-
U.S. Theatre is often noted for its commitment to new play development. Since Eugene O'Neill, America has fostered a tradition of celebrating emerging playwrights and their bold, edgy new works through countless development programs such as festivals, new play readings, grant programs, workshops, and world premieres. Although in recent years new-play development has seen a steady decline in funding (Levitow 2), it remains a cornerstone of American identity and an essential medium for pushing...
Show moreU.S. Theatre is often noted for its commitment to new play development. Since Eugene O'Neill, America has fostered a tradition of celebrating emerging playwrights and their bold, edgy new works through countless development programs such as festivals, new play readings, grant programs, workshops, and world premieres. Although in recent years new-play development has seen a steady decline in funding (Levitow 2), it remains a cornerstone of American identity and an essential medium for pushing boundaries in theatre, both culturally and artistically. New-play development is indispensable for keeping theatre relevant in our ever-changing culture. For my thesis, I explore the process of developing a new play from an actor's perspective. The role of the director, dramaturg and producer of a new play is often discussed; however the importance of the actor throughout the development process is sometimes overlooked. There are many configurations of artistic teams assembled to develop a new play; therefore, I do not suggest there is one type of team that is best or one type of role for the actor to play within the team. My aim was to collaborate with the playwright, director and fellow actors to discover what is required of an actor in all phases of new play development. I applied the principles learned to my own work in the World Premiere of The Exit Interview by William Missouri Downs at the Orlando Shakespeare Theatre in Partnership with The University of Central Florida. As I navigated my way through the artistic process of developing a new work, I discovered some 'best practices', which I employed throughout the rehearsal and performance process to further my own skills. I will discuss the development process I experienced, as objectively as possible, outlining the key best practices for an actor working in a collaborative team to develop a new play.
Show less - Date Issued
- 2013
- Identifier
- CFE0004660, ucf:49905
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0004660
- Title
- Applying Historiography to Fictional Works: A Case Study of William Inge's Picnic.
- Creator
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Murphy, Nicholas, Listengarten, Julia, Weaver, Earl, Helsinger, James, University of Central Florida
- Abstract / Description
-
Historiography is the writing of history based on the examination of sources and synthesizing these sources into a narrative that will stand the test of critical methods. Historiography is not the study of history but rather provides a tool to analyze each written account of a historical event. The concepts of historiography are traditionally reserved for the study of factual based history and not for fictional events or people. However, just as history seems to evolve over time, authors also...
Show moreHistoriography is the writing of history based on the examination of sources and synthesizing these sources into a narrative that will stand the test of critical methods. Historiography is not the study of history but rather provides a tool to analyze each written account of a historical event. The concepts of historiography are traditionally reserved for the study of factual based history and not for fictional events or people. However, just as history seems to evolve over time, authors also revise their fiction work. If history is adapted and changed over time to fulfill the historian's desires, can fictional works also be adapted to better fulfill the author's intentions through the process of rewrites? Historiography allows us to understand that history is adapted and changed over time. Can the ideas of historiography be applied to fictional stories in order to understand why an author rewrites and revisits older works? How can a theatre practitioner understand and develop the most comprehensive version of a fictional text? Can he apply the same techniques used to deconstruct a historical event? Through a case study using William Inge's classic play Picnic I explored the possibility of using historiography as a tool for theater practitioners in developing new dramatic texts that synthesize various scripts into one new comprehensive text. Through this case study I developed a framework which allows the theatre practitioner to apply the ideas of historiography to the analysis of a collection of fictional works by the same author in order to create a new text, showcasing the effectiveness of applying four cruxes of historiography to fictional texts.
Show less - Date Issued
- 2013
- Identifier
- CFE0004729, ucf:49814
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0004729
- Title
- 9/11: We Will Forget.
- Creator
-
Nettle, Jason, Ingram, Katherine, Listengarten, Julia, Niess, Christopher, University of Central Florida
- Abstract / Description
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This study is based on the events of September 11, 2001. I will be writing a one man show containing fictional characters that I will write based on research of that day. The show will consist of numerous characters cut from different ages, religions, genders, and points of view.I will be portraying these characters using the tools I have acquired in studio and on stage. The challenge will be to make each character different and bring their experience and unique point of view to the...
Show moreThis study is based on the events of September 11, 2001. I will be writing a one man show containing fictional characters that I will write based on research of that day. The show will consist of numerous characters cut from different ages, religions, genders, and points of view.I will be portraying these characters using the tools I have acquired in studio and on stage. The challenge will be to make each character different and bring their experience and unique point of view to the performance.This study will begin at conception of the idea and follow the journey all the way to the final performance. It will show the struggles I encounter as a writer, performer, and producer.
Show less - Date Issued
- 2013
- Identifier
- CFE0004730, ucf:49833
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0004730
- Title
- Attention Must Be Paid: A Critical Study of the Non-Traditional Leading Man in Twentieth Century Drama.
- Creator
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Cooper, Trevin, Chicurel, Steven, Listengarten, Julia, McCoy, Allen, University of Central Florida
- Abstract / Description
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The role of the non-traditional leading man has painted a strong image which mirrors the cultural development of our identities; we turn to these men/characters to understand who, or why, we are. Their contributions require acknowledgement. This thesis is a study of the vital role the non-traditional leading man has played in the evolution of twentieth-century theatre. It will examine, through the use of ten plays, one from every decade of the twentieth century, and twelve male roles, the...
Show moreThe role of the non-traditional leading man has painted a strong image which mirrors the cultural development of our identities; we turn to these men/characters to understand who, or why, we are. Their contributions require acknowledgement. This thesis is a study of the vital role the non-traditional leading man has played in the evolution of twentieth-century theatre. It will examine, through the use of ten plays, one from every decade of the twentieth century, and twelve male roles, the theory that some of the greatest leading male characters in modern theatre are not epitomized by the qualities identified with the stereotypical, romantic leading man, but instead by characters who serve as a representative of the evolution of man, and his ever-changing role in history.
Show less - Date Issued
- 2013
- Identifier
- CFE0004665, ucf:49880
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0004665
- Title
- An actor's approach: stepping into a role and a world of the past.
- Creator
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Gosselin, Danielle, Listengarten, Julia, Wood, Mary, Brown, James, University of Central Florida
- Abstract / Description
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To step into a character and a world of the past, the actor must not discard the present, but seek to find connections and links between the worlds. I was cast in the Orlando Shakespeare Theater production of Sense and Sensibility, a Jon Jory adaptation of Jane Austen's novel, in the role of Lucy Steele. This was an equity production, and it ran February 6th (-) March 17th, 2013, in the Orlando Shakespeare Theater's Margeson Theater. Lucy is a female character from England in a period often...
Show moreTo step into a character and a world of the past, the actor must not discard the present, but seek to find connections and links between the worlds. I was cast in the Orlando Shakespeare Theater production of Sense and Sensibility, a Jon Jory adaptation of Jane Austen's novel, in the role of Lucy Steele. This was an equity production, and it ran February 6th (-) March 17th, 2013, in the Orlando Shakespeare Theater's Margeson Theater. Lucy is a female character from England in a period often referred to as the Regency era. As a woman from today's United States of America, first I explored how Lucy's words and actions fit into the society of her time, and second I explored how I, a contemporary actor, could organically step into her shoes.One of the greatest tools I had to help me address these questions was the playwright himself, Jon Jory. He was at the Orlando Shakespeare Theater for the 2012 Harriett Lake Festival of New Plays, during which he gave a keynote address and taught a master class in acting, in which I participated. Furthermore, I had the unique opportunity to personally interview him regarding Sense and Sensibility and his connection to the world of Austen and her characters. Along with applying this insight, I applied tools from his acting master class to my work on his Sense and Sensibility text. This special access to the playwright greatly influenced the work and served as a key into Lucy's world.In addition to working with the playwright, I further researched Austen and her work, because Lucy and her world originate there. I explored various resources about England's Regency era society and the role of women in this society. By comparing the world and people of the play to the current cultural and political landscape with which I am most familiar, I found fundamental links between people living in different times and places, breaking down walls between Lucy's world and my own. Finally, this performance thesis project utilized the practical acting, voice, and movement skills, which I cultivated in my studio work as an MFA acting candidate at the University of Central Florida. It was a wonderful opportunity as an aspiring young actor to participate in an equity production and work with professional actors. I exercised my stage dialects training by using a standard British dialect, and I applied what I learned in my theatre styles acting class and in various movement classes to develop the behavior and physicality of my character. In order to preserve the new information gained from this study, I chronicled my explorations and discoveries throughout the rehearsal and production process. Through my work with the playwright Jon Jory, my research on Jane Austen and the Regency era, and my application of what I learned in the studio, I strove to create a model process for an actor to utilize when stepping into a role and a world of the past.
Show less - Date Issued
- 2013
- Identifier
- CFE0004685, ucf:49874
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0004685
- Title
- The Art of the Technical Director.
- Creator
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Oakes, Victoria, Wood, Mary, Listengarten, Julia, Scott, Hubert, University of Central Florida
- Abstract / Description
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The theatrical scenic design process does not end at a picture on paper or with the presentation of a scale model. The design must be translated to the stage. There are a myriad of questions to be answered and decisions regarding construction style, process, material choices, structure, safety, etc. that must be made in order to fully realize the design. In a common, contemporary American production hierarchy, the person that is most often responsible for this translation process is the...
Show moreThe theatrical scenic design process does not end at a picture on paper or with the presentation of a scale model. The design must be translated to the stage. There are a myriad of questions to be answered and decisions regarding construction style, process, material choices, structure, safety, etc. that must be made in order to fully realize the design. In a common, contemporary American production hierarchy, the person that is most often responsible for this translation process is the technical director. Often, the technical director is stereotyped as solely a craftsman or a technician following a set of pre-established directions and not as an artist in his own right. Even I, as a technical director, am guilty of promoting this stereotype for the majority of my theatrical career. However, through reflection on my professional experiences in combination with my education and research over the last two and a half years, I began to recognize the art inherent in the field of technical direction. I have gained a greater appreciation for and understanding of the importance of the artistic contributions made by every participant in a theatrical production. The practice and research based journey chronicled in this document serves to move beyond stereotypes and expose the technical director as a conscientious, collaborative theatre maker and artist.
Show less - Date Issued
- 2014
- Identifier
- CFE0005223, ucf:50618
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0005223
- Title
- Immediacy in Comedy: How Gertrude Stein, Long Form Improv, and 5 Second Films Can Revolutionize the Comedic Form.
- Creator
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Hluch, Alexander, Listengarten, Julia, McCoy, Allen, Brotherton, Mark, University of Central Florida
- Abstract / Description
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Comedy has typically been derided as second-tier to drama in all aspects of narrative. Throughout history, comedy has seen short shrift in both critical reception and academic investigation. Merit is simply placed on drama far before that of comedy. This is not for comedy's own lack of skill or craft, but simply for comedy's misappropriation as a narrative form. Throughout the years, by way of either competition or economic superiority, comedy has been pigeonholed into the typified dramatic...
Show moreComedy has typically been derided as second-tier to drama in all aspects of narrative. Throughout history, comedy has seen short shrift in both critical reception and academic investigation. Merit is simply placed on drama far before that of comedy. This is not for comedy's own lack of skill or craft, but simply for comedy's misappropriation as a narrative form. Throughout the years, by way of either competition or economic superiority, comedy has been pigeonholed into the typified dramatic structure that drama so thoroughly encapsulates. Being forced into a form that exemplifies complex, climactic structure and explicit character development, comedy in its purest form has suffered through the ages. Gertrude Stein's theory of Landscape Drama, and, more specifically, immediacy, is best attuned to comedy in its truest form. Comedy does not require sweeping character development, obtuse narrative design, or fantastic spectacle to produce superior works of art. Comedy, when compared to drama, exists best in a much more punctuated format. Stein's theories, while never intended for comedy, align absolutely perfectly with the comedic genre's design. And epitomized through long form improv on the stage, and the newly-fashioned digital short made profitable by the proliferation of the internet and digital culture, comedy's purest form has become more readily available as narrative has progressed throughout history. With this thesis, I intend to display the disparity between comedy and drama due to comedy's misallotment into a format that does not properly encapsulate it to its most fulfilling embodiment. Through this display, I seek to uncover the debt done to the comedic form from centuries of neglect in academic query and merit in order to best prove comedy's need for critical scrutiny. Further, in doing so I hope to better construe a community of comedic research and criticism in order to create better art and more diverse comedic offerings.
Show less - Date Issued
- 2013
- Identifier
- CFE0005097, ucf:50727
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0005097
