View All Items

Title: MOLIERE AND COMMEDIA DELL'ARTE:PAST, PRESENT, AND FUTURE.
Creator: Klass, Nicole, Listengarten, Julia, University of Central Florida
Abstract / Description: This thesis will explore the application of comemdia dell'arte technique to a contemporary performance. UCF's spring 2005 production of Molière's The Trickeries of Scapin will serve as a resource in both commedia dell'arte's ability to resonate with a modern audience as well as an analysis of the actor's process in fusing elements of commedia dell'arte and contemporary acting techniques. This document will include a thorough description of the history and...
Show moreThis thesis will explore the application of comemdia dell'arte technique to a contemporary performance. UCF's spring 2005 production of Molière's The Trickeries of Scapin will serve as a resource in both commedia dell'arte's ability to resonate with a modern audience as well as an analysis of the actor's process in fusing elements of commedia dell'arte and contemporary acting techniques. This document will include a thorough description of the history and origins of commedia dell'arte in order to decipher existing elements today. Also included, will be major influences on commedia dell'arte including Greek and Roman Comedy. It is important to discuss Roman comedic playwrights Plautus and Terence as two major influences on both the style of commedia dell'arte as well as major influences on Molière and his writing. A description of both playwrights previously mentioned will be given as means to explore the similarities between the two playwrights and Molière, specifically the similarities of Terence's Phormio and Molière's The Trickeries of Scapin. In addition to exploring the history behind commedia dell'arte and Molière, this thesis will include the rehearsal process of creating a contemporary version of Molière's Zerbinette. The application of the previous two years of graduate work including studies of Laban, Linklater, and Cicely Berry will be used in creating Zerbinette's vocal and physical life in a contemporary fashion, while maintaining certain elements of the commedia dell'arte style. In concluding this thesis, the evolution of commedia dell'arte will be discussed, and how it is in existence today. Just as commedia dell'arte evolved in the seventeenth century from previous art forms, it has never stopped evolving, constantly being influenced by every generation. From Greek Comedy playwrights' such as MeNander, to Roman comedic playwrights such as Plautus and Terence, to farcical and satirist Molière, commedia dell'arte does exist today, and will be examined throughout this thesis project.
Show less
Date Issued: 2006
Identifier: CFE0001272, ucf:46923
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001272

Title: MAKING VICTIM: ESTABLISHING A FRAMEWORK FOR ANALYZING VICTIMIZATION IN 20TH CENTURY AMERICAN THEATRE.
Creator: Hahl, Victoria, Listengarten, Julia, University of Central Florida
Abstract / Description: It is my belief that theatre is the telling of stories, and that playwrighting is the creation of those stories. Regardless of the underlying motives (to make the audience think, to make them feel, to offend them or to draw them in,) the core of the theatre world is the storyline. Some critics write of the importance of audience effect and audience reception; after all, a performance can only be so named if at least one person is there to witness it. So much of audience effect is based the...
Show moreIt is my belief that theatre is the telling of stories, and that playwrighting is the creation of those stories. Regardless of the underlying motives (to make the audience think, to make them feel, to offend them or to draw them in,) the core of the theatre world is the storyline. Some critics write of the importance of audience effect and audience reception; after all, a performance can only be so named if at least one person is there to witness it. So much of audience effect is based the storyline itself - that structure of which is created by the power characters have over others. Theatre generalists learn of Aristotle's well-made play structure. Playwrights quickly learn to distinguish between protagonists and antagonists. Actors are routinely taught physicalizations of creating "status" onstage. A plotline is driven by the power that people, circumstances, and even fate exercise over protagonists. Most audience members naturally sympathize with the underdog or victim in a given storyline, and so the submissive or oppressed character becomes (largely) the most integral. By what process, then, is this sense of oppression created in a play? How can oppression/victimization be analyzed with regard to character development? With emerging criticism suggesting that the concept of character is dying, what portrayals of victim have we seen in the late 20th century? What framework can we use to fully understand this complex concept? What are we to see in the future, and how will the concept evolve? In my attempt to answer these questions, I first analyze the definition of "victim" and what categories of victimization exist – the victim of a crime, for example, or the victim of psychological oppression. "Victim" is a word with an extraordinarily complex definition, and so for the purposes of this study, I focus entirely on social victimization - that is, oppression or harm inflicted on a character by their peers or society. I focus on three major elements of this sort of victimization: harm inflicted on a character by another (not by their own actions), harm inflicted despite struggle or protest, and a power or authority endowed on the victimizer by the victim. After defining these elements, I analyze the literary methods by which playwrights can represent or create victimization – blurred lines of authority, expressive text, and the creation of emotion through visual and auditory means. Once the concept of victim is defined and a framework established for viewing it in the theatre, I analyze the victimization of one of American theatre's most famous sufferers – Eugene O'Neill's Yank in The Hairy Ape. To best contextualize this character, I explore the theories of theatre in this time period – reflections of social struggles, the concept of hierarchy, and clearly drawn class lines. I also position The Hairy Ape in its immediate historical and theoretical time period, to understand if O'Neill created a reflection on or of his contemporaries. Finally, I look at the concept of victim through the nonrealistic and nonlinear plays of the 20th century – how it has changed, evolved, or even (as Eleanor Fuchs may suggest) died. I found that my previously established framework for "making victim" has change dramatically to apply to contemporary nonlinear theatre pieces. Through this study, I have found that the lines of victimization and authority are as blurred today in nonrealistic and nonlinear theatre as they were in the seemingly "black and white" dramas of the 1920s and 30s. In my research, I have found the very beginnings of an extraordinarily complex definition of "victim".
Show less
Date Issued: 2008
Identifier: CFE0002122, ucf:47534
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002122

Title: THE ROLE OF OTHER:AN EXPLORATION OF A FACILITATOR'S ROLE IN PLAYBUILDING WITH ECONOMICALLY DISADVANTAGED ADOLESCENT WOMEN.
Creator: Melnik, Laurie, Listengarten, Julia, University of Central Florida
Abstract / Description: During the Fall 2007 semester, I facilitated the devising of a new play with students from a school located in St. Louis, Missouri. As an employee of a mid-America prominent regional theatre company, the organization partnering with the school on this project, I was hired as the teaching artist who oversaw the students' playwriting. Both the school and the regional theatre company hoped my being there would assist the girls in writing a play that connected to their Top 20 Teens curriculum...
Show moreDuring the Fall 2007 semester, I facilitated the devising of a new play with students from a school located in St. Louis, Missouri. As an employee of a mid-America prominent regional theatre company, the organization partnering with the school on this project, I was hired as the teaching artist who oversaw the students' playwriting. Both the school and the regional theatre company hoped my being there would assist the girls in writing a play that connected to their Top 20 Teens curriculum as well as demonstrate the high standards that are expected of them by their school's administration. This is the second year that the school and the regional theatre company partnered on this project, and they discovered last year that the play's use of language and character development suffered due to hands off directing. Neither organization wanted this to happen again and decided that a facilitator needed to work with the girls throughout the entire playwriting process rather than allow the students free reign in hopes that they were challenged to make different decisions from last year's play. The school's student population stems from communities deemed economically disadvantaged, and my role in this project proved challenging due to the fact that I am not from the same population as the students. As a white, middle class female working in an inner city environment, I seem to be endowed with a modicum of perceived power, whether or not I agree with it or want it. In my experience, I have noticed a dynamic permeated by uneasiness due to past, and current, tensions between whites and other races. As a Caucasian entering an inner city environment, I felt like the obvious minority. Resulting from these situations, I assume the role of "other" when entering populations that differ from my own. In the case of the school, I felt my role as "other" increased due to working in an all-female environment with participants drawn from economically disadvantaged backgrounds. My role as "other" sparked the following questions for me: How do I facilitate this project as an "other," and how does this crucial, racial and socio-economic role affect the construction of my sessions with the participants? I was interested in documenting how I perceived this role relative to my participants and the partnering organization during my facilitation and in my conclusions after the project was completed. During my facilitation, I kept a journal that served as a self-action study during all of my sessions with the girls. The "in the moment" writings allowed me to capture those times when my role as "other" directly affected my approach to the facilitating of the playbuilding and the choices I made during the project. Afterward, I developed a conclusion section that was written a few months after the project had ended. I wanted to determine how my perception of "other" shifted, if at all, while I facilitated the project and after I had the time to reflect on the project. I discovered that my perception of "other" did change as I went through this project. During the study, I found myself aware of this shift, but noticed my awareness of power and privilege increased when I had time to reflect on the project months after it had ended. I discovered that I can be "other" in some instances while this role may not be apparent to my participants. My thesis documents how being "other" guided my choices as a facilitator, as well as when it did not seem to be the basis of my decision-making. From this study, I concluded that my being different racially and socio-economically led me to place an unnecessary filter over my work with the playbuilding project which caused me to have many challenges as a white teaching artist working in an inner city setting.
Show less
Date Issued: 2008
Identifier: CFE0002119, ucf:47549
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002119

Title: DISCOVERING MY ARTISTIC VOICE THROUGH THE STAGE ADAPTATION OF WINNERS DON'T QUIT.
Creator: Tyler, Evelyn, Listengarten, Julia, University of Central Florida
Abstract / Description: The writings of this thesis will expose the recent account of an actor's journey while working as a writer, director, & actress. Historical facts, journal entries, personal cast photos, an excerpt of the WDQ script, highlights of the first excerpt premiere of Winners Don't Quit, and so much more are just a few features this thesis uncovers while relating to the actress process as she discovers her artistic voice. Instead of finding an acting opportunity she's created one for...
Show moreThe writings of this thesis will expose the recent account of an actor's journey while working as a writer, director, & actress. Historical facts, journal entries, personal cast photos, an excerpt of the WDQ script, highlights of the first excerpt premiere of Winners Don't Quit, and so much more are just a few features this thesis uncovers while relating to the actress process as she discovers her artistic voice. Instead of finding an acting opportunity she's created one for herself, and other aspiring artists. The scope of the research was done on a local and national level featuring a collection of material in support to the main thesis.
Show less
Date Issued: 2007
Identifier: CFE0001794, ucf:47289
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001794

Title: "WHO AM I?": A SEARCH FOR AMERICA'S IDENTITY THROUGH THEATRE FOR SOCIAL CHANGE.
Creator: Bliznik, Sean, Listengarten, Julia, University of Central Florida
Abstract / Description: Theatre has always existed as a didactic tool to educate society about society's own successes, failures, and foibles. The theatre and theatre artists have attempted to take society's interpretation of truth and place it on the stage for all to see and experience. Sometimes, theatre creates and performs its own truth in place of society's accepted truth by re-examining pre-existing societal constructs and creating an interpretation of truth that better represents the current state...
Show moreTheatre has always existed as a didactic tool to educate society about society's own successes, failures, and foibles. The theatre and theatre artists have attempted to take society's interpretation of truth and place it on the stage for all to see and experience. Sometimes, theatre creates and performs its own truth in place of society's accepted truth by re-examining pre-existing societal constructs and creating an interpretation of truth that better represents the current state of affairs as the theatre sees it. Therefore, theatre becomes the mode by which society learns, explores, refutes, and at times, even dismisses accepted societal truths. As a didactic tool, it is in this vein of truth-seeking that theatre has entered the fickle work of social change. First and foremost, what is social change? Who can create change? How is this change measured? How does one measure the effected change on a particular audience? These questions (and more) as well as their subsequent answers are the job of the social change theatre artist and are explored in this study. This thesis is presented in several distinct chapters. Chapters one and two examine the foundations of theatre for social change and its place in the contemporary theatre world. Chapter three explores writing theatre for social change and yields the development of two original theatrical pieces of theater for social change as a direct result of the aforementioned research complete with a stage presentation of those pieces and an audience assessment (before the performance). The concluding chapters explore the results of the audience survey which explains my understanding of theatre for social change's effect on society and the need for society to continually be exposed to theatre which is socially conscious and contributive in order to firmly define America's socially conscious theatrical identity.
Show less
Date Issued: 2007
Identifier: CFE0001730, ucf:47314
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001730

Title: TRUE WILL VS. CONSCIOUS WILL: AN EXPLORATION OF ALEISTER CROWLEY'SCONCEPTS OF TRUE WILL AND CONSCIOUS WILL AND ITS POSSIBLEAPPLICATIONS TO A MIDSUMMER NIGHTS DREAM, MARISOL, AND WICKED.
Creator: Payne, John, Listengarten, Julia, University of Central Florida
Abstract / Description: In our lives we will have to make hundreds upon thousands of choices. The effects of these choices will follow us with varying intervals; some effects may be brief while others may literally last a lifetime. In these moments that we are forced to chose, it ultimately comes down to two options, what we should do, and what we want to do. Essentially, it is a choice between the head and the heart. Playwrights depend on these moments of choice, for it is the basis of almost all plays. At some...
Show moreIn our lives we will have to make hundreds upon thousands of choices. The effects of these choices will follow us with varying intervals; some effects may be brief while others may literally last a lifetime. In these moments that we are forced to chose, it ultimately comes down to two options, what we should do, and what we want to do. Essentially, it is a choice between the head and the heart. Playwrights depend on these moments of choice, for it is the basis of almost all plays. At some point, the protagonist must make a choice, even if the choice is not to choose. In the early part of the 20th Century, a religious philosopher by the name of Aleister Crowley helped to define these choices, or as he referred to them, Wills. In essence, he stated that everyone has a True Will and a conscious will, and the path that you will ultimately follow is contingent on the choices you make in your life. Following your True Will, the path of 'the heart' will lead you to a sense of Nirvana, while following your conscious will, the path of 'the head' leads to a life unfulfilled. While some called him demonic (he occasionally referred to himself as 'The Beast With Two Backs) others saw him as a sage – someone to esoterically explain the chaotic and industrial world of the early 1900's. Aleister Crowley seemed to be one of those few men that you either loved, or hated, or hated to love. At the dawn of the 20th Century, he was an English philosopher and religious guru that made a call to arms to the general populous to start living a better life. His theories will be explained fully in Chapter One, but ultimately he wanted everyone to achieve their True Will and leave their conscious wills by the wayside. He felt that this process could be achieved through what he referred to as his 'theorems' on magick. It is unknown exactly how the idea came to him to add the 'k' to the original magic; however speculation reveals he might have taken from the original Greek word magikE. Contrary to the modern definition of magic (the art of producing illusions by sleight of hand), Crowley felt that his magick was significantly more complex. Pulling on philosophies from the Egyptians and the Celts along with basic Buddhist principles, he defined his magick within his twenty-eight 'theorems'. Ultimately, he philosophized that magick was a way to enlighten a person, or, for the purposes of this thesis a character's True Will4 and to avoid following their conscious will. In layman's terms, Crowley saw it as an argument between the head (conscious will) and the heart (True Will). While the main focus of this thesis is on the tension and outcome of the decision of a character to follow their True Will or their conscious will, it is impossible to talk about these two concepts without discussing, at least in part, magick. Crowley saw magick as the practice and process to achieve True Will. This study, therefore, involves both homonyms, magic and magick. By applying this process as defined by Crowley in his self-named theorems to plays and musicals that have been defined as strictly 'magic,' I am looking for not only the exact moment in which the main protagonists in each play define and execute their decision to follow their True or conscious Wills, but also to critically examine their journey to that fatal decision. I describe it as such because I feel that a characters fate may truly depend on the choice that they make. These philosophies are not new to the philosophical world. Other theorists such as Schopenhauer and Nietzsche and their relation to Crowley's theories will be discussed later; however I felt that because Crowley is the one who his responsible for rejuvenating the word 'magick' from the Greeks in the 20th Century, I should be able to use his theories as a modern lens to examine A Midsummer Nights Dream, Marisol, and Wicked. I plan to take plays that cross both genre and era and consider not only (1) what can be illuminated using this 'Crowlean lens', but I also to highlight (2) any universal truths, by which I mean any ideological or philosophical ideas that appear in all three plays, that can be found in works as diverse as the ones that I have chosen. While their connection to True Will may be tangential in nature, if there are things in common in these plays that are brought to light using Crowley's lens, then I feel it is worth noting. By examining these two factors I will be able to see if critics have accurately defined these plays. My goal is to add the 'Crowlean lens' to the already existing approaches to critically examining a theatrical piece. This lens, as defined before, is simply taking Crowley's concepts of True Will and conscious will and their link to the progression of magick within a character to illuminate the characters choices leading up to their breaking point in which they must ask themselves "Do I chose what I should do, or what I want to do?" The three plays I chose were done for specific reasons. The basic criterion was to choose on a basis of (1) chronology, (2) genre, (3) and magical reference5. I took three plays that entertained the religious, philosophical, and fantastical nature of what I felt best applied to Crowley's theories. Keeping in mind that Crowley interpreted his magick as a philosophy, a religion, and a way of life to ultimately achieving True Will, I felt it pertinent to explore these aspects of each play as well. In the musical Wicked, the philosophical nature of the piece asks the question 'Are people born wicked? Or do they have wickedness thrust upon them?' This question can be answered through a variety of subjects. By exploring these issues within the context of its main character, Elphaba, (pronounced EL-fa-ba), and a variety of themes throughout this musical (including behavior, appearance, deception, honesty, courage and labeling) we find that True Will and conscious will in the land of Oz are flowering. Defining our True Will, according to Crowley, takes constant affirmations and diligent calculations of our feelings and utilizing those to aid in making the right choice for that specific moment6. In this fashion, Marisol marries the idea of what the author calls 'magical realism' in a post-apocalyptic New York City with a fervent religiosity all while underscoring the political nature of the 1980s indigent cleanup initiated by then mayor Ed Koch. Through the character of Marisol Perez, we find that not only is the choice between True Will and conscious confusing, but it can be potentially lethal. Within the structure of this play is also where Crowley's spiritual views on True Will and conscious will become highlighted. The Lovers (Helena, Demetrius, Hermia, and Lysander) in Shakespeare's fantastical A Midsummer Night's Dream is the perfect backdrop to explore Crowley's more eccentric philosophies on magick and how these philosophies relate to True and conscious will. In essence, I plan to not only explore the choices that these four individuals make due to acts of both types of magic(k), but their ultimate consequences as well. It also must be noted that during the process of this thesis, the one overarching theme throughout all three plays dealt with Crowley's theory of self-preservation. I feel that this is innately tied into the idea of True Will. By achieving True Will, we are inherently attempting to make the best choices for ourselves. This inherently keeps alive the innate human instinct of survival. At the end of this thesis, I hope to defend that Crowley's concepts of True Will and conscious will, when applied in tandem with Crowley's concepts of magick, can be a valid lens to examine theatrical works, old and new alike.
Show less
Date Issued: 2008
Identifier: CFE0002456, ucf:47712
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002456

Title: THE MERRY WIVES OF WINDSOR: A UNIVERSITY ACTRESS.
Creator: Hanemann, Brook Akya, Listengarten, Julia, University of Central Florida
Abstract / Description: Art is too ethereal a thing to judge by tangible measure. There is no scale to weigh a performance on, no level to gauge a character's balance, no plumb line to measure its depth. No critic can appoint an allotment of stars to represent the worth of a production, and the audience, though a vital participant within the performance experience, cannot act as Jury and deliberate together to reach an absolute verdict of approval or disapproval. How then can an actor go about working towards giving...
Show moreArt is too ethereal a thing to judge by tangible measure. There is no scale to weigh a performance on, no level to gauge a character's balance, no plumb line to measure its depth. No critic can appoint an allotment of stars to represent the worth of a production, and the audience, though a vital participant within the performance experience, cannot act as Jury and deliberate together to reach an absolute verdict of approval or disapproval. How then can an actor go about working towards giving a successful performance?The Merry Wives of Windsor was written at a time when wives were not permitted to tread upon the stage at all. During Shakespeare's era the roles of women were played only by cherub faced young men. The version of The Merry Wives of Windsor which was presented by the University of Central Florida in the fall of 2002 was not, however, set in those pre-femme days. The production was presented as if being performed by a traveling acting troupe of men and women with a repertoire of which The Merry Wives of Windsor was only a part. I was cast as Mistress Ford.Embarking on a Shakespeare play is no small feat. Earnest research on the lives of the Elizabethans will offer up clues into the mindset, customs, beliefs, and theories of the age in which the play was written. Modern day actors preparing themselves to take on a Shakespearian role may also look also to the theories and theatrical trends of his or her own time and those that have led up to it. This research is the foundation on which a performance must be built. The theatrical performer must act as his own instrument in the symphony of his performance. Stage acting is an art form which enfolds many forms of expressive artistic communication. The mind, the body, the voice, the emotions and in my opinion the soul must all come into play to reach the summit of an artistic theatrical performance and the actor's journey must be comprised of exercises to stretch and strengthen each area of the actor's instrument. A vigorous vocal regimen must be crafted and adhered to. An analytical investigation of the script is required. The actor's physicality must be tailored to portray the proper class, energy level and spirit of his character. The emotional life of the character should be thoroughly probed and the performer must find a way to fully embody the soul of the character and the age in which the character lived. In this particular case, I came to find that the usual modern day methods of performance preparation most commonly used by actors of our age were not in themselves enough to bring me to what I felt was a successful performance. I came instead to discover that a Brechtian approach to Shakespearian acting solved many of the challenges I faced when coming up short in my prior attempts to use a more Stanislavsky based method.Although the very nature of art makes it impossible to judge by tangible measure, there are very tangible ways to go about preparing for a role upon the stage. No single approach can work for every piece. One must exercise the mind, voice, body and soul to perform a role as weighty as a Shakespearian character. Proper research, analysis, and a regimen built upon exercises for the body and voice are the tools available for the serious actor. This thesis outlines a University actress' use of these tools and details how the discovery of Brechtian elements within the UCF production of Merry Wives opened doors to a new way of handling the portrayal Mistress Ford.
Show less
Date Issued: 2004
Identifier: CFE0000116, ucf:46185
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0000116

Title: THE RESURRECTION OF EVERYMAN.
Creator: Knoell, David, Listengarten, Julia, University of Central Florida
Abstract / Description: In March of 2005 I was a cast member in Mad Cow Theatre's production of the Morality drama Everyman. This classic tale on the condition of human dying is regarding as one of the greatest dramas of the Medieval period and is one of the first plays in the English language to be put into print. This thesis is an actor's journey into the history of Medieval theatre, the challenges of producing Everyman for a contemporary audience, and the techniques of acting implemented in the creation of...
Show moreIn March of 2005 I was a cast member in Mad Cow Theatre's production of the Morality drama Everyman. This classic tale on the condition of human dying is regarding as one of the greatest dramas of the Medieval period and is one of the first plays in the English language to be put into print. This thesis is an actor's journey into the history of Medieval theatre, the challenges of producing Everyman for a contemporary audience, and the techniques of acting implemented in the creation of allegorical characters. Medieval drama, like Everyman, is still relevant in today's world because it addresses universal themes of friendship, material wealth, and reverence towards death. It is the story of the human being, the power of beliefs, and the fear of death. This thesis reflects a group of artists' desire to give an audience the gift of insight into their common selves.
Show less
Date Issued: 2006
Identifier: CFE0001086, ucf:46772
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001086

Title: STEPHEN SONDHEIM'S GESAMTKUNSTWERK: THE CONCEPT MUSICAL AS WAGNERIAN TOTAL THEATRE.
Creator: Calderazzo, Diana, Listengarten, Julia, University of Central Florida
Abstract / Description: Stephen Sondheim, famous for writing such musicals as Company, Into the Woods, Sweeney Todd, and Assassins, is often referred to as the originator of the modern concept musical. Despite varying definitions of the concept musical, it is generally agreed that the form embodies a specific identity or mood, which it communicates to an audience both emotionally and intellectually. As such it offers audience members a complete experience resembling in theory the idea of "total theatre" proposed in...
Show moreStephen Sondheim, famous for writing such musicals as Company, Into the Woods, Sweeney Todd, and Assassins, is often referred to as the originator of the modern concept musical. Despite varying definitions of the concept musical, it is generally agreed that the form embodies a specific identity or mood, which it communicates to an audience both emotionally and intellectually. As such it offers audience members a complete experience resembling in theory the idea of "total theatre" proposed in the nineteenth century by composer Richard Wagner. My thesis will argue that the similarity between Sondheim's concept musical and Wagner's total theatre is more than purely theoretical; it is practical as well, involving structural parallels such as leitmotif, minor chord development, and intricate lyricism. Congruently, many of Sondheim's choices describing communication with audiences on the emotional and intellectual levels also recall those utilized by Wagner over a century earlier. These similarities not withstanding, Sondheim, as a contemporary artist, creates work that has often been described in terms of theoretical movements that post-date Wagner, including "desconstructionism" and Brechtian theatre. While these terms certainly describe some differences between the work of Sondheim and Wagner, I will argue that their existence with regard to Sondheim does not preclude a Wagnerian approach to the contemporary composer's work. Elements of deconstruction and Brechtian alienation may, in fact, be linked back to Wagner in specific manners. My thesis will explore these connections, concluding that an approach to the work of Sondheim in the vein of Richard Wagner may suggest a successful method of interpreting the contemporary concept musical.
Show less
Date Issued: 2005
Identifier: CFE0000714, ucf:46598
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0000714

Title: MISTRESS QUICKLY IN THE MERRY WIVES OF WINDSOR: A PERFORMANCE MONOGRAPH.
Creator: Rossman, Paula, Listengarten, Julia, University of Central Florida
Abstract / Description: The subject of my Thesis and accompanying Monograph Document in partial fulfillment of the requirements for the Master of Fine Arts degree / Performance Track is my work in the role of Mistress Quickly from William Shakespeare's The Merry Wives of Windsor. In my research, I will be focusing on a number of issues, many of which will bear direct relevance to and undoubtedly, more fully inform, my interpretation in performance. A key element of the performance-related side of my research...
Show moreThe subject of my Thesis and accompanying Monograph Document in partial fulfillment of the requirements for the Master of Fine Arts degree / Performance Track is my work in the role of Mistress Quickly from William Shakespeare's The Merry Wives of Windsor. In my research, I will be focusing on a number of issues, many of which will bear direct relevance to and undoubtedly, more fully inform, my interpretation in performance. A key element of the performance-related side of my research will be an exploration of the cultural, historical, political, economic, and religious attributes of Shakespeare's times and how these factors drive Mistress Quickly's interactions with others, her perspectives of the society in which she lives, and her personal behavior. The directorial concept, as initially explained to the cast, will be keeping us within the English Renaissance and Shakespeare's time. Any variation within this initial concept will also be elaborated upon. Finally, I would like to explore the overall place of women at the time Shakespeare wrote, as well as during the specific time frame in which our production is set. Furthermore, I will look at Mistress Quickly as a character and how she is either reflected in or at odds with that societal placement.
Show less
Date Issued: 2006
Identifier: CFE0001265, ucf:46886
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001265

Title: DEVELOPING THE INDIVIDUAL TO STRENGTHEN THE WHOLE: THE APPLICATION OF VIEWPOINTS TRAINING TO IMPACT THE SOCIAL COGNITIVE DEVELOPMENT OF ACTORS IN A HIGH SCHOOL ENSEMBLE.
Creator: Horn, Elizabeth, Listengarten, Julia, University of Central Florida
Abstract / Description: This research explores the application of Viewpoints and Composition training with a cast of high school students to measure changes in the social cognitive development (SCD) of individuals and the collective group. The research centers on the writing of Michael F. Mascolo and Deborah Margolis, which takes a coactive approach to the relationship between oneÃƒÂƒÃ‚Â‚ÃƒÂ‚Ã‚Â's social cognitive development...
Show moreThis research explores the application of Viewpoints and Composition training with a cast of high school students to measure changes in the social cognitive development (SCD) of individuals and the collective group. The research centers on the writing of Michael F. Mascolo and Deborah Margolis, which takes a coactive approach to the relationship between oneÃƒÂƒÃ‚Â‚ÃƒÂ‚Ã‚Â's social cognitive development and how it is manifested in his or her actions within a social group. Using this framework, the researcher assesses the personality types within the cast and analyzes how utilizing Viewpoints training creates shifts within these personalities. The researcher approaches this study from both a theoretical standpoint as a student during a two-week intensive training course for adults with SITI Company, and a practical standpoint in the direction of a fully mounted production with high school actors. The objective of the research is to propose a method to implement advanced Viewpoints training within a high school ensemble in order to cultivate ensemble and ultimately aid the social cognitive development of the individual actors.
Show less
Date Issued: 2010
Identifier: CFE0002996, ucf:47936
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002996

Title: BREAKING TRADITION: REACHING FOR THE AVANT-GARDE IN THEATRE FOR YOUNG AUDIENCES.
Creator: Hoppe, Meredith, Listengarten, Julia, University of Central Florida
Abstract / Description: This thesis seeks to unearth the concept of breaking tradition in the field of Theatre for Young Audiences (TYA) in the United States by applying the avant-garde theory of Arnold Aronson as a lens through which to investigate the current development of US TYA. After formulating an approach in which to negotiate the concept of the avant-garde, I draft five tenets that currently define tradition in the field of US TYA. Situating these five tenets against AronsonÃ‚Â's...
Show moreThis thesis seeks to unearth the concept of breaking tradition in the field of Theatre for Young Audiences (TYA) in the United States by applying the avant-garde theory of Arnold Aronson as a lens through which to investigate the current development of US TYA. After formulating an approach in which to negotiate the concept of the avant-garde, I draft five tenets that currently define tradition in the field of US TYA. Situating these five tenets against AronsonÃ‚Â's theoretical framework, I examine three contemporary US TYA plays from the past two centuries: Black Butterfly, Hush: An Interview with America, and Atypical Boy. Within these scripts, I probe for moments where these five tenets break to manifest possible tendencies toward the avant-garde. I then conclusively reflect and problematize these findings in order to raise questions about each scriptÃ‚Â's relationship to the avant-garde and significance to the development of the field, ultimately provoking further discourse surrounding the role of avant-garde methodology within US TYAÃ‚Â's current position and state of progression.
Show less
Date Issued: 2009
Identifier: CFE0002968, ucf:47951
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002968

Title: IL PAZZIA D'INNAMORATI:A COMMEDIA DELL'ARTE.
Creator: Hart, Jennifer Lee, Listengarten, Julia, University of Central Florida
Abstract / Description: My thesis proposal is to research, workshop, develop, script, direct and produce my own commedia dell'arte. This proposal stems from my desire to explore improvisational comedy theoretically and practically. The genre of commedia dell'arte is not only timeless, but continues to further our ability to create characters and scenario for future projects as the root of improvisation. By coupling research on commedia components (character, lazzi and scenario) with the creation of an...
Show moreMy thesis proposal is to research, workshop, develop, script, direct and produce my own commedia dell'arte. This proposal stems from my desire to explore improvisational comedy theoretically and practically. The genre of commedia dell'arte is not only timeless, but continues to further our ability to create characters and scenario for future projects as the root of improvisation. By coupling research on commedia components (character, lazzi and scenario) with the creation of an improvisational troupe, a commedia piece will be developed, documented and performed.The first part of my thesis will consist of research on the history of improvisational comedy. The earliest traces of improvisational comedy are seen in 800 B.C., when Susarion and his troupe of comedians of Icaria wandered throughout Greece. Many other comedic performance troupes were later formed, some expressing their comedies through acrobatics, like the schoenobates of Greece and funambuli of Rome. During the sixteenth century, improvisational comedy became a flourishing art form, known as the commedia dell'arte. It is the sixteenth-century commedia dell'arte form that will be my primary focus of research. A bibliography and outline will serve as the preliminary guidelines. The research should be in a coherent enough form to share with a cast by mid-January. The second part of my thesis will involve practical application of this research. By mid-January, I will have selected a troupe with which to workshop the commedia. The workshop will consist of adopting commedia stock characters for each troupe member and creating lazzi and scenario around these characters. Improvisational satire continues to be the most difficult theatrical form to master. Pierre Louis Duchartre in his book The Italian Comedy states: The success of the commedia dell'arte depended almost entirely on the acting rather than the scenarios. In the opinion of Gherardi and Riccoboni it was easier to train ten actors for the regular theatre than one for the extemporaneous stage. Moreover, a good improvisator had to practise a kind of self-abnegation and refrain from indulging in his own conceit or overplaying his part to the detriment of other rôles. (Duchartre 30)The art of listening and sharing the stage as a performer is the basis of modern performance techniques and the primary skill of a great actor. The purpose for this workshop is not only to develop the commedia piece, but also to further the troupe's understanding of the commedia tradition as we continue our exploration. This will be a three- to four-week process. The end results of this workshop will be a scripted commedia that will be used for production and documentation of the process itself.By mid-March, the research, process of the workshop, and script will be documented in clear and concise terms for the purpose of this thesis. April will focus on production elements based on approval from the department on venue and budget details. The performance will take place in April or May. The final conclusions will be completed at the same time. This commedia will serve as a comprehensive experience in theatrical studies, culminating my academic and production work at University of Central Florida Conservatory Theatre. It will be an educational and collaborative effort for all involved, as well as enjoyable and entertaining for those who see it.
Show less
Date Issued: 2004
Identifier: CFE0000081, ucf:52840
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0000081

Title: THE SEARCH FOR THEATRE FOR SOCIAL CHANGE.
Creator: Cooper, Britney, Listengarten, Julia, University of Central Florida
Abstract / Description: Throughout history people have sought to prompt social change through theatrical experiences. The theatre has moved the masses in ways that have frightened governments and religious establishments into closing down theatres and banning theatrical material. History proves that theatre which causes change exists and works, but it also proves there is no one definition or formula for this type of theatre. Depending on the culture, time period, issue, resources and people involved Theatre for...
Show moreThroughout history people have sought to prompt social change through theatrical experiences. The theatre has moved the masses in ways that have frightened governments and religious establishments into closing down theatres and banning theatrical material. History proves that theatre which causes change exists and works, but it also proves there is no one definition or formula for this type of theatre. Depending on the culture, time period, issue, resources and people involved Theatre for Social Change takes a variety of forms. However, theatre affecting change does tend to maintain two common threads: the creation of a new work and the pursuit of the uncertain elements which will ensure the work affects change in its audience. With no more than two common threads, where does a young actor, recognizing a social problem and desiring change prompted through a theatrical experience begin his or her journey? How does one create Theatre for Social Change? How does one know the theatrical work has successfully caused change within an audience? If there is no certain definition, no one way to pursue it, what direction should one follow? Following Peter BrookÃ‚Â's example as set in his 1966 production of US, I will create my own original work in the form of a one-person show and use it as the canvas to apply BrookÃ‚Â's ideas and techniques. I hope to find that in order for an audience to change they must first be willing to participate in a performance, even if it is a performance demanding a harsh confrontation with an ignored social problem. Through this thesis I aim to prove that through an actorÃ‚Â's personal journey with a social issue, the actor leads the way for the audience to be willing to participate and take the journey themselves resulting in change. My written thesis will include the findings of my research and preparation, a detailed rehearsal and performance journal, the original script of my performance work Knowing Fires and a reflection on the completed process including audience feedback. All of these elements will hopefully lead to a conclusive and useful approach to creating Theatre for Social Change.
Show less
Date Issued: 2010
Identifier: CFE0003248, ucf:48523
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003248

Title: THREE DIFFERENT JOCASTAS BY RACINE, COCTEAU AND CIXOUS.
Creator: Joo, Kyung, Listengarten, Julia, University of Central Florida
Abstract / Description: This study is about three French plays in which Jocasta, the mother and wife of Oedipus, is shared as a main character: La ThÃƒÂ©baÃƒÂ¯de (The Theban Brothers) by Jean Racine, La Machine Infernale (The Infernal Machine) by Jean Cocteau, and Le Nom dÃ‚Â'Oedipe (The Name of Oedipus) by HÃƒÂ©lÃƒÂ¨ne Cixous. Jocasta has always been overshadowed by the tragic destiny of Oedipus since...
Show moreThis study is about three French plays in which Jocasta, the mother and wife of Oedipus, is shared as a main character: La ThÃƒÂ©baÃƒÂ¯de (The Theban Brothers) by Jean Racine, La Machine Infernale (The Infernal Machine) by Jean Cocteau, and Le Nom dÃ‚Â'Oedipe (The Name of Oedipus) by HÃƒÂ©lÃƒÂ¨ne Cixous. Jocasta has always been overshadowed by the tragic destiny of Oedipus since the onset of SophoclesÃ‚Â' works. Although these three plays commonly focus on describing the character of Jocasta, there are some remarkable differences among them in terms of theme, style, and stage directions. In The Theban Brothers, RacineÃ‚Â's 17th century play, Jocasta is described as a deathlike mother, while CocteauÃ‚Â's Jocasta, in The Infernal Machine, is portrayed as an Ã‚Â"extravagant, liberal, and hilariousÃ‚Â" lady. In The Name of Oedipus, Cixous portrays Jocasta as a woman possessing hermaphroditic characteristics, ushering in a new era of resistance to the age-old paternal hierarchy. As for style, RacineÃ‚Â's neoclassical play shows a strict respect for the three unities of time, space, and action. CocteauÃ‚Â's avant-garde play neglects all these rules, while Cixous goes even further by destroying the order of languages, as illustrated by her Ã‚Â"feminine writing.Ã‚Â" Freed from Western orthodoxy, Cixous wants to contribute to the creation of cosmic unity. Her deconstructionist play intends to regenerate the world by establishing a new order and new point of view towards universality. The stage directions of these plays are also an important key to better understanding theatrical evolution. It is through the stage directions, indicated both implicitly and explicitly in these three plays, that enables us to appreciate the theatrical transformation in terms of visualization as well as metaphysics. In sum, the transformation of theme, style, and stage devices in portraying their own Jocastas demonstrates that while these three plays are deconstructional to one another, each denying the existing value and orders of their respective time periods, they are also constructional in that they all attempt to open a new horizon of theatre.
Show less
Date Issued: 2010
Identifier: CFE0003540, ucf:48945
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003540

Title: APPLIED DESIGN: AN EXPLORATION OF ARTS INTEGRATION THROUGH THEATRICAL DESIGN IN THE FOURTH GRADE CLASSROOM.
Creator: Fuss, Alicia, Listengarten, Julia, University of Central Florida
Abstract / Description: The purpose of this action-research study is to explore a new pedagogical tool for myself as a teaching artist: Applied Design. My ideas around Applied Design are rooted in the field of Creative Drama, and grew out of a desire to explore theatrical design in the same process-centered way that Creative Drama explores informal and improvisational drama techniques. To this end, I attempt to determine how the use of Applied Design affects both student engagement and student understanding when...
Show moreThe purpose of this action-research study is to explore a new pedagogical tool for myself as a teaching artist: Applied Design. My ideas around Applied Design are rooted in the field of Creative Drama, and grew out of a desire to explore theatrical design in the same process-centered way that Creative Drama explores informal and improvisational drama techniques. To this end, I attempt to determine how the use of Applied Design affects both student engagement and student understanding when applied as an interdisciplinary tool to Language Arts curriculum. For the purposes of this study, I introduced Applied Design as a discovery teaching methodology through a one-week Language Arts unit in a local fourth grade classroom. I collected data from the students, their classroom teacher and myself through questionnaires, written work and personal observation. As I examined the data, I discovered positive relationships between Applied Design and both student engagement and student understanding. Students responded to the discovery teaching methods enthusiastically, and embraced each design project with a dedication that appeared to inspire students to push through difficult moments in effort to complete each given task. Although the length of the study and amount of data generated limited my ability to draw widespread conclusions, the evidence suggests that further study in the applications of Applied Design is merited. This study also begins to discuss what such future study might look like, in effort to push the exploration of Applied Design forward. Ultimately, this action research study reinforced my conviction that process-centered theatrical design can serve as a useful tool for myself as a teaching artist, and inspired me to move forward in my understanding and exploration of its applications.
Show less
Date Issued: 2010
Identifier: CFE0003383, ucf:48435
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003383

Title: THE WOMEN OF AUGUST WILSON AND A PERFORMANCE ANALYSIS OF THE ROLE OF GRACE IN WILSON'S THE PIANO LESSON.
Creator: Marable, Ingrid, Listengarten, Julia, University of Central Florida
Abstract / Description: ABSTRACT In the fall of 2007, I was cast in the University of Central Florida's production of The Piano Lesson. My thesis will examine my performance in the role of Grace, as well as understudying the role of Berniece under the direction of Professor Belinda Boyd. In addition to the performance components, my thesis materials will include historical and cultural character research and a reflective journal documenting my rehearsal and production process. My character research and journal...
Show moreABSTRACT In the fall of 2007, I was cast in the University of Central Florida's production of The Piano Lesson. My thesis will examine my performance in the role of Grace, as well as understudying the role of Berniece under the direction of Professor Belinda Boyd. In addition to the performance components, my thesis materials will include historical and cultural character research and a reflective journal documenting my rehearsal and production process. My character research and journal will address questions about the characters "choices" and the relationship of their environment to views of personal responsibility and obligations in the play. I will examine the characters' relationships and situations in the play, investigating some of the decisions that these characters make in response to their cultural and social landscapes. The second part of my thesis will include research on three additional female characters from August Wilson's dramatic canon: Aunt Ester Tyler from Gem of the Ocean, Ma Rainey from Ma Rainey's Black Bottom, and Rose from Fences, which will inform my character explorations of Grace and Berniece, and the choices that I make during the rehearsal process in developing their journeys. By reading other plays by Wilson, I endeavor to deepen my understanding of the struggles of African-American women in the twentieth century, and explore how the social and economic status of black women was affected by America's changing political and social climate over several decades. In addition, I will document how my visceral experience of performing the roles of Grace and Berniece relates to my intellectual process of exploring the journeys of Aunt Ester Tyler, Ma Rainey, and Rose.
Show less
Date Issued: 2009
Identifier: CFE0002676, ucf:48245
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002676

Title: Exploration of Teaching EL Students Using the Arts with the Focus on Theatre Arts.
Creator: Quintero, Carinita, Listengarten, Julia, Horn, Elizabeth, Mihai, Florin, University of Central Florida
Abstract / Description: Education has become a revolutionary field in which constant change and diversification of students in the classroom has sought for much differentiation in lessons and instructions. One of the popular forms for differentiation is that of drama or theatre techniques. Theatre has been used in many forms for fostering education. One of the elements from ESL teacher's experience is using theatre in the English as a Second Language classroom or EL class to aid students in learning English. The...
Show moreEducation has become a revolutionary field in which constant change and diversification of students in the classroom has sought for much differentiation in lessons and instructions. One of the popular forms for differentiation is that of drama or theatre techniques. Theatre has been used in many forms for fostering education. One of the elements from ESL teacher's experience is using theatre in the English as a Second Language classroom or EL class to aid students in learning English. The study focused on the influence theatre arts components have on students learning English as a second language. I proposed to present a detailed look at the influence of taking a theatre course for the EL students, as well as, using Theatre in the Language Arts classroom. I intended to incorporate observations and evaluations throughout the process to measure the level of English. Data from the evaluations was used for the analyzing of improvement or lack thereof English.
Show less
Date Issued: 2018
Identifier: CFE0007079, ucf:52019
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0007079

Title: Performing Bernarda: Activating Power and Identity.
Creator: Martinez Medina, Ana, Ingram, Kate, Listengarten, Julia, StClaire, Sybil, University of Central Florida
Abstract / Description: The musical Bernarda Alba tells the story of a woman who is confined within the heavily patriarchal and Catholic society that was 1930s Spain. Because of this, I thought it the perfect arena to explore power dynamics on stage. My thesis will explore status, hierarchies, relationships, and identity via the stolid matriarchal character Bernarda Alba. Through analyzing the playwright's words, fleshing out the character, and exploring the character's relationships with others in rehearsal, I have...
Show moreThe musical Bernarda Alba tells the story of a woman who is confined within the heavily patriarchal and Catholic society that was 1930s Spain. Because of this, I thought it the perfect arena to explore power dynamics on stage. My thesis will explore status, hierarchies, relationships, and identity via the stolid matriarchal character Bernarda Alba. Through analyzing the playwright's words, fleshing out the character, and exploring the character's relationships with others in rehearsal, I have studied how to activate status on stage. There are many sociology theories and psychological studies that can be applied to theatre-making in order to create fleshed out relationships, characters, and worlds. I have taken these theories into practice, as I battled with my own hierarchies in real life, and I let art and life do what they do best: imitate each other. I will analyze and play with the physical movement and posture of the character, the vocal choices in the delivery of the scripted words, and the psychological choices in the form of subtext and unspoken thought. There is an abundance of agency one holds when creating status and identity for a character, and I break down the different facets to explore. More importantly, outside of the stage, if we realize that status is more intricate and flexible than we think it is, then we as individuals can unlock invaluable freedoms that can unchain us from daily oppression.
Show less
Date Issued: 2019
Identifier: CFE0007498, ucf:52655
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0007498

Title: Gender Performance in Shakespeare's Twelfth Night.
Creator: Lee, Amanda, Listengarten, Julia, Snyder, Tara, Ingram, Kate, University of Central Florida
Abstract / Description: Cross-dressing is a recurrent theme in Shakespeare's comedies, and the theatrical trend of gender bending casting has added an extra layer of complexity to performing his work. How does the gender of the actor affect the performance of a role in Shakespeare? How does it affect the perception of the role, and how can an actor utilize that perception to connect more fully with the audience? How does the female perspective illuminate hitherto unexplored elements of Shakespeare's text and...
Show moreCross-dressing is a recurrent theme in Shakespeare's comedies, and the theatrical trend of gender bending casting has added an extra layer of complexity to performing his work. How does the gender of the actor affect the performance of a role in Shakespeare? How does it affect the perception of the role, and how can an actor utilize that perception to connect more fully with the audience? How does the female perspective illuminate hitherto unexplored elements of Shakespeare's text and characters? I was inspired by Orlando Shakes' all male production of Twelfth Night to research gender theory in relation to classical texts. I was largely inspired by Judith Butler's theories of gender performance, and herein use feminist and gender theory as a lens to view Shakespeare's work. I put on my own production of an All-Female Twelfth Night in which I played Viola. This thesis is an exploration of my process as a scholar, actor, and activist in the context of that production. It follows the journey from page to praxis, as I attempt to apply academic theories to live theatre. It is my intent that this will serve as a possible roadmap for future gender bending in Shakespeare productions, and to empower female theatre makers in that process.
Show less
Date Issued: 2019
Identifier: CFE0007484, ucf:52660
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0007484

Theatre (10)	+ -
theatre (8)	+ -
Acting (5)	+ -
Shakespeare (4)	+ -
theater (4)	+ -

August Wilson (2)	+ -
Drama (2)	+ -
Theater (2)	+ -
Theatre for Social Change (2)	+ -
Theatre for Young Audiences (2)	+ -
avant-garde (2)	+ -
creative drama (2)	+ -
directing (2)	+ -
theatre for young audiences (2)	+ -
10/23/2017 (1)	+ -
5 Second Films (1)	+ -
9/11 (1)	+ -
A Christmas Carol (1)	+ -
Acting Thesis (1)	+ -
Acting technique (1)	+ -
Actress (1)	+ -
Adolescent (1)	+ -
Adolescents (1)	+ -
Anne Bogart (1)	+ -
Arts Integration (1)	+ -
Autism Spectrum Disorder (1)	+ -
Avant-Garde (1)	+ -
Bernarda Alba (1)	+ -
Black Arts Movement (1)	+ -
Black Arts Repertory Theatre/School (1)	+ -

Listengarten, Julia (43)	+ -
University of Central Florida (43)	+ -
Ingram, Katherine (5)	+ -
StClaire, Sybil (5)	+ -
Wood, Vandy (5)	+ -

Ingram, Kate (4)	+ -
Niess, Christopher (4)	+ -
Weaver, Earl (4)	+ -
Brotherton, Mark (3)	+ -
Wood, Mary (3)	+ -
Boyd, Belinda (2)	+ -
Chicurel, Steven (2)	+ -
Horn, Elizabeth (2)	+ -
McCoy, Allen (2)	+ -
Rusnock, Joseph (2)	+ -
Seay, Donald (2)	+ -
Alrutz, Megan (1)	+ -
Barringhaus, Rebecca (1)	+ -
Bliznik, Sean (1)	+ -
Braillard, Patrick (1)	+ -
Brown, James (1)	+ -
Brunow, Sara (1)	+ -
Butler, Lauren (1)	+ -
Calderazzo, Diana (1)	+ -
Cooper, Britney (1)	+ -
Cooper, Trevin (1)	+ -
Dambrosi, Joseph (1)	+ -
Dilks, Rebecca (1)	+ -
Engstrom, Megan (1)	+ -
Freeman, Emily (1)	+ -

Search In

Pages

Pages

Sort Results By:

Narrow results by:

Topical Subject

Collection

Type of Resource

Language

Creator

Format

Owner