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THE BELLE OF AMHERST: DEVELOPING A SOLO PERFORMANCE
Title
THE BELLE OF AMHERST: DEVELOPING A SOLO PERFORMANCE.
Creator
Raskin, Janet, Brotherton, Mark, University of Central Florida
Abstract / Description
This thesis will document the process of rehearsing and performing a one-woman show based on the life of the poet Emily Dickinson. The script is a cutting of the full-length play, The Belle of Amherst, written in 1976 by William Luce. This self-directed project will document the process that all actors use when developing a role. The first part of developing a role includes historical research, character analysis, and script analysis. The second phase is the rehearsal process. This includes...
Show moreThis thesis will document the process of rehearsing and performing a one-woman show based on the life of the poet Emily Dickinson. The script is a cutting of the full-length play, The Belle of Amherst, written in 1976 by William Luce. This self-directed project will document the process that all actors use when developing a role. The first part of developing a role includes historical research, character analysis, and script analysis. The second phase is the rehearsal process. This includes developing the physical and vocal qualities of the character and staging the action of the play. Because this performance is self-directed and self-produced, this thesis will also discuss production aspects that a director or producer usually addresses: set design, lighting, sound design, costuming, publicity, and dramaturgy. A portion of the thesis is also devoted to analyzing the cuts made to the script, a task normally reserved for a playwright. A one-person show has some unique challenges for a performer. These challenges involve making choices about how to interact with the audience, how to transition from scene to scene, and how to incorporate imaginary characters into a one-sided conversation. The question of how to portray an historical figure in an accurate and entertaining way will also be discussed.
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Date Issued
2007
Identifier
CFE0001835, ucf:47362
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0001835
MACHINAL: A SOURCEBOOK FOR THE ACTRESS PLAYING "YOUNG WOMAN"
Title
MACHINAL: A SOURCEBOOK FOR THE ACTRESS PLAYING "YOUNG WOMAN".
Creator
Rentschler, Brittney, Brotherton, Mark, University of Central Florida
Abstract / Description
This thesis will document four phases of my rehearsal process/performance while portraying the role of Helen in Sophie Treadwell's Machinal. The first phase of the project will be researching and analyzing historical material on: Sophie Treadwell (the playwright) Ruth Snyder (the murderess upon whom the character of Helen is based), and the actual murder that occurred in the 1920's. The second phase that will be documented is a character analysis. I will take each episode and divide...
Show moreThis thesis will document four phases of my rehearsal process/performance while portraying the role of Helen in Sophie Treadwell's Machinal. The first phase of the project will be researching and analyzing historical material on: Sophie Treadwell (the playwright) Ruth Snyder (the murderess upon whom the character of Helen is based), and the actual murder that occurred in the 1920's. The second phase that will be documented is a character analysis. I will take each episode and divide it into the following sections: given circumstances, what is said about the character by the playwright, by others, or by herself, objectives, tactics, vocal traits, and physical traits. The third phase will include a written journal of my experiences as an actor as they occurred during the rehearsals and performances. The fourth and final phase will include a self-analysis of the performance. I will reflect on my abilities in synthesizing the research and character analysis found in phase one and two into the actual performance. In addition, Committee Chair, Mark Brotherton, and my thesis Committee Members, Kate Ingram and Vanduyn Wood will also give written responses. The performances will be held February 14-17, and 21-24, 2007 in the University of Central Florida's Black Box Theatre. Dr. Julia Listengarten will direct the performance.
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Date Issued
2009
Identifier
CFE0002643, ucf:48205
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002643
All of Chinese Literature Condensed: A Sourcebook from the Playwright, Director, and Biggest Fan
Title
All of Chinese Literature Condensed: A Sourcebook from the Playwright, Director, and Biggest Fan.
Creator
Emerson, Whitney, Routhier, Mark, Tan, Huaixiang, Brotherton, Mark, University of Central Florida
Abstract / Description
Aristotle stated in his Poetics that theatre's dual purpose was to educate and entertain. Centuries later the Roman Horace and Indian Bharata echoed his same sentiments. I intend to realize all three theorist's ideas on the theatre by creating an original educational and entertaining work and bringing it to performance. The audience will retain information without being aware of learning if it is presented in a pleasurable way.The most important geopolitical relationship of this century will...
Show moreAristotle stated in his Poetics that theatre's dual purpose was to educate and entertain. Centuries later the Roman Horace and Indian Bharata echoed his same sentiments. I intend to realize all three theorist's ideas on the theatre by creating an original educational and entertaining work and bringing it to performance. The audience will retain information without being aware of learning if it is presented in a pleasurable way.The most important geopolitical relationship of this century will be between China and America. In order to educate the American public about the culture of The Middle Kingdom, I propose to write and direct my own play, condensing all three thousand years of Chinese literature into a one hundred and ten minute performance. I will benefit from the personal nature of this thesis by experiencing every stage of a play's production: from idea to page to performance. My thesis will be made of three major parts: conceiving and writing the play, a journal of directing the debut production, and a third section made of choices, influences, and reflection on the entire experience. In this manner, the ideas swirling in my head may be made clear to others reading this thesis. The play itself will be a comical distillation of ten selected works of Chinese literature. Four non-gender specific American actors will seem to make up the show as it performs in a tongue-in-cheek way. Taking my stated goal of entertaining and educating the audience to heart, the overarching plot of the play will center on the four actors teaching the audience about the literature and culture of China by acting out scenes and telling stories. The information in the scenes will be targeted to a normal American citizen's educational level with liberal doses of humor added. The four actors will be playing fictionalized versions of themselves and at times breaking character by explaining and setting up the theatricality of the piece to the audience. Part of the fun of the show will be seeing how these actors explain a subject as obtuse as Chinese literature to Americans. Perhaps a cooking metaphor is the best way to think of the play: I will chop up raw Chinese literature, the actors will boil it onstage, the theatregoer will consume the mix, and exit the theatre full of entertaining intellectual nourishment.My experiences directing and producing the finished play will be recorded in a journal as a resource for future directors. I imagine directing the play will be the most challenging aspect of this thesis. How is the play changed when other people interact with it? How will the audience receive it? In addition, Committee Chair Mark Routhier and my thesis Committee Members, Mark Brotherton and Tan Huaixiang, will also give written responses to the play's performances. The play will be performed October 10-13, 2013 in the University of Central Florida's Performing Arts Complex Studio 2 classroom. In the final section I will write a reflection on the entire process. This will serve the dual purpose of giving me a place to collect my thoughts and giving others a special insight to the growth they might experience when producing this play. Foremost among my influences in writing a play with this subject matter are the style and tone of The Reduced Shakespeare Company.
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Date Issued
2013
Identifier
CFE0004993, ucf:49548
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004993
Gee, Officer Krupke: An Actor's Casebook
Title
Gee, Officer Krupke: An Actor's Casebook.
Creator
Eichenlaub, Eric, Brotherton, Mark, Ingram, Kate, Niess, Christopher, University of Central Florida
Abstract / Description
In 2016, I was cast as Officer Krupke in a production of West Side Story at Orlando Shakespeare Theater in Partnership with UCF. Even though Krupke can be thought of as a minor character in the play, bringing him to life required a great deal of research and imagination. In order to ground myself in the reality of the role, I researched the effects of implicit bias in modern policing, applied that research to Uta Hagen's Nine Questions, and brought that knowledge into the rehearsal hall and...
Show moreIn 2016, I was cast as Officer Krupke in a production of West Side Story at Orlando Shakespeare Theater in Partnership with UCF. Even though Krupke can be thought of as a minor character in the play, bringing him to life required a great deal of research and imagination. In order to ground myself in the reality of the role, I researched the effects of implicit bias in modern policing, applied that research to Uta Hagen's Nine Questions, and brought that knowledge into the rehearsal hall and onto the stage. I examined how my character's interactions with Lieutenant Schrank influenced his actions and attitudes toward both street gangs in the play and reflected on how my research and these performances changed my point of view and helped me recognize my own biases. This thesis reflects that process and will serve as a tool available to any actor seeking to create his or her own interpretation of Officer Krupke.
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Date Issued
2018
Identifier
CFE0007327, ucf:52140
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0007327
Building a Workable Model for Youth Theatre: An Exploration into a Courageous and Complex Field
Title
Building a Workable Model for Youth Theatre: An Exploration into a Courageous and Complex Field.
Creator
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.
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Date Issued
2011
Identifier
CFE0004107, ucf:49101
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004107
A Jew from Nebraska: An Actors Attempt at Stand-up Comedy
Title
A Jew from Nebraska: An Actors Attempt at Stand-up Comedy.
Creator
Nathan, Jeffrey, Niess, Christopher, Brotherton, Mark, Helsinger, James, University of Central Florida
Abstract / Description
Stand-up comedy has been a major influence on American culture and has given the (")Everyman(") the ability to laugh at ourselves. Stand-up comedians have been performing in nightclubs, bars, clubs, and, most importantly, theatres for the past 60 years. Stand-up comedy can take many forms: a monologue of entertaining incidents that form a story, or a string of one-liners, or a succession of jokes. This performance project and thesis is an examination and an attempt at the art form that we...
Show moreStand-up comedy has been a major influence on American culture and has given the (")Everyman(") the ability to laugh at ourselves. Stand-up comedians have been performing in nightclubs, bars, clubs, and, most importantly, theatres for the past 60 years. Stand-up comedy can take many forms: a monologue of entertaining incidents that form a story, or a string of one-liners, or a succession of jokes. This performance project and thesis is an examination and an attempt at the art form that we call stand-up comedy. It will answer the question of what is the best approach to writing comedy for an actor finishing his graduate acting program. It will also challenge the idea of simple joke-telling versus storytelling and examine the following question: Can anyone be a standup comedian? A research of the history, an analysis of the practitioners, and training from graduate studio work will support the discovery of a practical approach to writing and performing a stand-up comedy routine.
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Date Issued
2015
Identifier
CFE0006046, ucf:50978
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0006046
Halloween Horror Nights And/Or Visceral Theatre
Title
Halloween Horror Nights And/Or Visceral Theatre.
Creator
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?
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Date Issued
2014
Identifier
CFE0005138, ucf:50711
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005138
Immediacy in Comedy: How Gertrude Stein, Long Form Improv, and 5 Second Films Can Revolutionize the Comedic Form
Title
Immediacy in Comedy: How Gertrude Stein, Long Form Improv, and 5 Second Films Can Revolutionize the Comedic Form.
Creator
Hluch, Alexander, Listengarten, Julia, McCoy, Allen, Brotherton, Mark, University of Central Florida
Abstract / Description
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.
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Date Issued
2013
Identifier
CFE0005097, ucf:50727
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005097