Current Search: theatre (x)
Pages
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Title
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"THE GIRL IN 14G:" ANALYZING SOLUTIONS FOR VOCAL ISSUES THROUGH VOCAL PEDAGOGY.
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Creator
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Pires-Fernandes, Catherine, Chicurel, Steven, University of Central Florida
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Abstract / Description
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The intent of this thesis is to study a variety of vocal techniques and identify how to solve different vocal challenges in the musical theatre song, "The Girl in 14G." In order to be successful in the entertainment business, it is imperative that a singer performs healthily and in a variety of music styles. Through an exploration of Lessac Kinesensic Training, Estill Voice Training Systems and Bel Canto techniques, a singer can gain a holistic perspective about voice. I will study with three...
Show moreThe intent of this thesis is to study a variety of vocal techniques and identify how to solve different vocal challenges in the musical theatre song, "The Girl in 14G." In order to be successful in the entertainment business, it is imperative that a singer performs healthily and in a variety of music styles. Through an exploration of Lessac Kinesensic Training, Estill Voice Training Systems and Bel Canto techniques, a singer can gain a holistic perspective about voice. I will study with three voice teachers, each of whom specializes in one of the aforementioned techniques. This thesis will reveal how each voice teacher brought her expertise to the lesson. It is a singer's responsibility to ensure she is well rounded and knowledgeable about her voice, and the different approaches to teaching voice. Solutions that reflect different techniques will be analyzed. Observations and discoveries made in private voice lessons will also be described. Documentation of lessons with each teacher will provide insight about the distinctions and similarities in vocal techniques. This thesis is intended to serve as a starting point for students and teachers to satisfy their own vocal curiosity and exploration.
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Date Issued
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2014
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Identifier
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CFH0004610, ucf:45320
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFH0004610
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Title
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PORTRAYING POINTILLISM: AN ACTRESS'S JOURNEY THROUGH POINTILLISM TO DEFINE THE ROLE OF DOT IN SONDHEIM AND LAPINE'S MUSICAL SUNDAY IN THE PARK WITH GEORGE.
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Creator
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Staffel, Chris, Tollefson, Kristina, University of Central Florida
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Abstract / Description
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Upon receiving a role, an actor must research the major themes, concepts, and relationships associated with the play, its collaborators, and the character they are to portray. Only by layering this combination of research and analysis to the rehearsal process and performances in a detailed format can an actor cohesively transform the learned knowledge from the performer's training and research to a finished product on stage. Many forms of art are created using a similar process. This...
Show moreUpon receiving a role, an actor must research the major themes, concepts, and relationships associated with the play, its collaborators, and the character they are to portray. Only by layering this combination of research and analysis to the rehearsal process and performances in a detailed format can an actor cohesively transform the learned knowledge from the performer's training and research to a finished product on stage. Many forms of art are created using a similar process. This thesis will explore the similarities between the Post-Impressionist technique of pointillism and the actor's process in developing a role. Upon observing the basic process of each technique, one can conclude that the method of consistently adding many specific elements eventually creates a finished product whether it is in the form of a painting on a canvas or a performance on a stage. By paralleling these two artistic techniques, a new contribution to musical theatre is made by presenting a fresh outlook for performers in their approach to creating roles. Research on pointillism and George Seurat's painting technique when interwoven with Stephen Sondheim's techniques in music theory (specifically the examples derived from the score of Sunday in the Park with George), and compared to my technique and process as the actor playing the role of Dot in the University of Central Florida Conservatory Theatre's 2006 Spring production of Sunday in the Park with George, demonstrates how the theories of pointillism and the actor's process are clearly comparable and arguably inseparable.
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Date Issued
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2006
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Identifier
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CFE0001380, ucf:47009
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0001380
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Title
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THE BELLE OF AMHERST: DEVELOPING A SOLO PERFORMANCE.
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Creator
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Raskin, Janet, Brotherton, Mark, University of Central Florida
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Abstract / Description
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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
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2007
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Identifier
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CFE0001835, ucf:47362
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0001835
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Title
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"TECHNIQUE ARMS THE IMAGINATION" DEVELOPING AN ACTING THEORY BEST SUITED FOR MOTION CAPTURE PERFORMANCE AND THE CREATION OF A VIRTUAL CHARACTER.
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Creator
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Rogers, Brendan, Niess, Christopher, University of Central Florida
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Abstract / Description
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"The untrained body, like the sculptor's marble, can express nothing but its own limitations" (Lust 70). As acting styles have changed through the years, corresponding schools of thought have arisen to prepare performers for their unique challenges. Perhaps the goal of producing a "gripping performance," one in which the audience is truly invested, has remained the same since the time of Thespis. How one arrives at this desired result, however, has varied greatly through the ages. Techniques,...
Show more"The untrained body, like the sculptor's marble, can express nothing but its own limitations" (Lust 70). As acting styles have changed through the years, corresponding schools of thought have arisen to prepare performers for their unique challenges. Perhaps the goal of producing a "gripping performance," one in which the audience is truly invested, has remained the same since the time of Thespis. How one arrives at this desired result, however, has varied greatly through the ages. Techniques, not surprisingly, tend to build on previous theories, beliefs and practices. Etienne Decroux's corporeal mime technique builds on the teachings of Jacques Copeau, but as a result, takes the art form into a radically new direction. Vsevolod Meyerhold studied with Stanislavski, learning his inside-out approach to performance, and, with biomechanics, creates a performance technique that turns Stanislavski's approach on its head. The point is not that these theorists developed something that undermines the previous work, but that they built their theories from knowledge of older techniques. In essence, these theorists learned from the past to prepare for the future. Advancements in film technology have dramatically changed both the nature of film, and performance, itself. Computer-generated characters and environments are becoming more commonplace in film due to the flexibility they provide in composing shots, and the relatively low price tag that comes with them. Technology still can't replace the subtlety that comes from a human performance, so currently, actors find themselves in the unique position of having one foot in the real world and the other foot in the virtual world. The motion-capture process, or moCap, is the best example of this unique relationship. By placing sensors at key joints on an actor's body, their performance can be tracked by a computer and then directly applied to a computer-generated model (Hooks 30). In a sense, it's digital puppetry. Because only the movements are being recorded and not the actor's physical appearance, performers can play parts that are not necessarily their physical type or even their own species. Director Peter Jackson cast Andy Serkis to play a forty-foot-tall ape in the 2005 remake of King Kong, and thanks to the motion-capture process, the result is a perfect blend of live acting and computer-generated graphics. The relatively low cost and flexibility of this process has made it available, not just to filmmakers in Hollywood, but also to the independent market. I am currently directing a feature length film that utilizes both computergenerated backgrounds and virtual characters accomplished through the motion-capture process. This production has been in the works since I started graduate school. As I learn more and more about specific acting techniques in class, I am always looking for something that I could apply specifically to motion-capture performance. Currently there is little research on the topic and certainly, there's no specific acting theory that applies to this medium. In this paper I hope to formulate an acting technique that is tailored for the field of motion-capture performance, building upon theories of the past. Further study in this technique will better prepare future performers in this field, as well as provide insights for directors new to the medium. The following three techniques in particular, each with their emphasis on an outside-in approach to acting, will provide the basis for this theory: Meyerhold's biomechanics; Decroux's corporeal mime; and Edward Gordon Craig's uber-marionette concept. I will provide detailed sections on each one of these approaches, discussing the theoretical sides of each, as well as specific exercises students in these schools are asked to perform. Next, I will provide a detailed section on the motion-capture process, discussing how it works and the challenges it presents to performers. Finally I will apply each one of the three theories to the motion-capture process, finding points where the theories apply and also where they fall short. By choosing specifically what applies to the moCap process from each one of the techniques, we will be left with a new theory that specifically relates to virtual performance. This will not only serve as an invaluable guide to both future performers and directors entering the field of motion capture, but will hopefully be the beginnings of an acting theory that can bring performance education programs into the 21st century. Working in the virtual realm requires a performer to use his imagination, but having training and knowledge in theories of the past will mean the imagination is not the only thing actors have to work with.
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Date Issued
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2011
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Identifier
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CFE0003975, ucf:48679
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0003975
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Title
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DRAMA + MATH = DRAMATH.
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Creator
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Bryson, Lucy, Weaver, Earl, University of Central Florida
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Abstract / Description
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Arts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or...
Show moreArts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or teachers. The clear connection between drama and the core subjects of history and literature allow teaching artists to easily create units utilizing both curriculum areas. Mathematics does not present clear connections to drama and the prevalence of mathematics anxiety, especially in the arts, prevents connections from being made. As an educator, theatre artist and lover of mathematics, Arts-Across-the-Curriculum provides me a opportunity to meld these together as a way to help young people find excitement in their education. Partnering with a fourth grade teacher, I developed a unit of lesson plans using playwriting as a way to understand word problems that was user-friendly for a teacher with no arts training. The Dramath Unit was integrated into the class as part of regular curriculum taught by the participating classroom teacher. Based on feedback from the participating teacher, I revised the unit for future use.
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Date Issued
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2011
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Identifier
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CFE0003618, ucf:48871
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0003618
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Title
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From Dude to Dad: A Study on Prenatal Fatherhood and its Representation in Theatre.
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Creator
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Nilsson, Michael, Thomas, Aaron, Horn, Elizabeth, Reed, David, Niess, Christopher, University of Central Florida
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Abstract / Description
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A man in the preparatory phase for parenthood with his first child can go through a lot of extreme emotional highs and lows, depending upon the man's economic, relationship, and physical status, as well as community pressures and support. In preparation to portray an array of prenatal fathers in a showcase of scenes, I have read an assortment of plays and scholarly sources. In reading a large sample of prenatal plays, I have extracted several possible emotional changes within a man's psyche....
Show moreA man in the preparatory phase for parenthood with his first child can go through a lot of extreme emotional highs and lows, depending upon the man's economic, relationship, and physical status, as well as community pressures and support. In preparation to portray an array of prenatal fathers in a showcase of scenes, I have read an assortment of plays and scholarly sources. In reading a large sample of prenatal plays, I have extracted several possible emotional changes within a man's psyche. I also analyzed the social rationale behind these changes through the writings of sociologists and other scholarly sources. In addition to this research, I was going through my journey toward parenthood at the initiation of this research, as my child was born half way into the project. With the exploration of theatrical literature and sociological research paired with my personal experience of going through the prenatal phase, I have documented the changes a man may experience in his emotional growth. This time is full of differing anxieties that spring from the anticipation of change, while a man is preparing for parenthood. Through the medium of a showcase of theatrical scenes that are representations of the prenatal father, I explore the emotional journeys of several of these men and document my findings. As actors in theatre, we use the emotional life of characters to enlighten our choices in actions and tactics. These tactics are in service to the selfish goals we have as characters. The emotions the character has may act as either a driving force or an obstacle in obtaining our goals. When exploring the emotions of a pre-paternal man, one must consider all the variables in the creation of these emotions. In this project, I extract the emotions that a prenatal father may be vulnerable to and document for personal use as an actor presenting pre-paternal characters.
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Date Issued
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2017
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Identifier
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CFE0006771, ucf:51835
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0006771
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Title
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An actor's approach: stepping into a role and a world of the past.
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Creator
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Gosselin, Danielle, Listengarten, Julia, Wood, Mary, Brown, James, University of Central Florida
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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.
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Date Issued
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2013
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Identifier
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CFE0004685, ucf:49874
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0004685
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Title
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Immediacy in Comedy: How Gertrude Stein, Long Form Improv, and 5 Second Films Can Revolutionize the Comedic Form.
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Creator
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Hluch, Alexander, Listengarten, Julia, McCoy, Allen, Brotherton, Mark, University of Central Florida
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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.
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Date Issued
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2013
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Identifier
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CFE0005097, ucf:50727
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0005097
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Title
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THE OPPRESSION AND SEXISM OF AFRICAN-AMERICAN WOMEN: THEN AND NOWSUBSTANTIAL CONTRIBUTIONS TO THE HISTORY OF MUSICAL THEATRE.
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Creator
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Owens, Kelli, Weaver, Earl, University of Central Florida
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Abstract / Description
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A wise Martin Luther King Jr. once said, "Freedom is never given by the oppressor; it must be demanded by the oppressed (King 1)." For as long as men and women have shared the planet, sexism has been a universal issue in civilization. In a social justice context, American society has found ways to oppress people for centuries. The Oxford Dictionary defines sexism as a "prejudice, stereotyping, or discrimination, typically against women, on the basis of sex ("sexism")." Voting rights in...
Show moreA wise Martin Luther King Jr. once said, "Freedom is never given by the oppressor; it must be demanded by the oppressed (King 1)." For as long as men and women have shared the planet, sexism has been a universal issue in civilization. In a social justice context, American society has found ways to oppress people for centuries. The Oxford Dictionary defines sexism as a "prejudice, stereotyping, or discrimination, typically against women, on the basis of sex ("sexism")." Voting rights in America were established in 1790, but it took years of petitioning at various women's rights conventions before the Nineteenth Amendment to the United States Constitution stating "the right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex" was passed in 1920 ("Nineteenth Amendment"). Traditionally, men were supposed to be the strong, decisive, driven, courageous, money-making breed, while women were expected to be the nurturing, affectionate, weak subordinates. Today, we find men and women working in careers previously linked with sexism; men as nurses and teachers, women as CEOs and factory workers. Statistics show that today there are an increasing number of women providing the financial support in their families. As with sexism, people also have been oppressed by racism for centuries. According to The Oxford Dictionary, racism is defined as a "prejudice, discrimination, or antagonism directed against someone of a different race based on the belief that one's own race is superior ("racism")." It has been argued that African Americans have been one of the most oppressed groups in America. Even after they were emancipated in 1865, it was nearly one hundred years later that their rights were protected with the Civil Rights Act of 1964. Before the act's passing, African Americans were denied equal education, employment, housing property, and a political voice. My interest in this topic was peaked right around the same time I became interested in performing on the musical theatre stage. I got my start in local community theatres, and up until college, was the only African American cast in the productions. I started playing multiple ensemble roles per show, and throughout the years advanced myself to "supporting character" but never the lead. Admittedly, there were times when I wasn't as talented as the women who snagged the leading roles, but many a time when I was just as talented or more qualified for the role, it went to another woman —most times of Caucasian descent. What did they have that I didn't have? When I got accepted into The University of Central Florida as a BFA Musical Theatre student, I auditioned for the plays and musicals every semester, and each season I began to see the same patterns of who was cast for each show. Roles I thought I would get often went to White actors. I felt victimized in this modern-day example of racism. But racism goes beyond black and White. Internal racism between the light-skinned and dark-skinned African American women I was competing with became a factor as well. There were many times when an audition notice called for an African American woman; however, an unsettling trend became very apparent to me; if the casting description was for a maid, or something of that nature, larger, dark-skinned women would get the majority of the callbacks, which would lead to them getting cast. On the flip side, if an audition notice called for an African American ingenue type, more of the slimmer, lighter-skinned women were called back and later cast. Has American society cast a racial stigma for African American beauty?
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Date Issued
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2014
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Identifier
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CFH0004545, ucf:45211
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFH0004545
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Title
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Audience Engagement in Theatre for Young Audiences: Teaching Artistry to Cultivate Tomorrow's Theatre-Goers.
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Creator
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Woods-Robinson, Julie, Horn, Elizabeth, Wood, Vandy, Boyd, Belinda, University of Central Florida
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Abstract / Description
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As a teaching artist and theatre educator, I believe an important part of the theatre-going experience is when an audience engages with the play before and after the performance: learning about context, analyzing the production, and identifying themes relevant to the play. Theatre is a powerful teaching tool with regards to empathy and political and social awareness, but also, for young audiences, theatre can help students understand content in other subject areas like language arts, history,...
Show moreAs a teaching artist and theatre educator, I believe an important part of the theatre-going experience is when an audience engages with the play before and after the performance: learning about context, analyzing the production, and identifying themes relevant to the play. Theatre is a powerful teaching tool with regards to empathy and political and social awareness, but also, for young audiences, theatre can help students understand content in other subject areas like language arts, history, and even health. This thesis develops best practices for creating effective audience engagement with young people in theatre(&)nbsp;in the form of Field Trip Plus at Orlando Repertory Theatre, an enrichment program linking professional season productions to pre- and post-show workshops. It explores(&)nbsp;the following questions: What is audience engagement, and what are the benefits of audience engagement practices on retention and meaning-making? What is the history of audience engagement in Theatre for Young Audiences, and what are some examples of TYA companies intentionally engaging young people before and after performances? It(&)nbsp;focuses specifically on the development of Theatre-In-Education in the United Kingdom as an example of integrated drama and education practice which is supported by the pedagogy of Lev Vygotsky, Dorothy Heathcote, and Augusto Boal. It considers how the work of these theorists can also be applied to Field Trip Plus. This thesis is the personal exploration of a teaching artist(&)nbsp;practicing engagement strategies within Orlando Repertory Theatre, an established Theatre for Young Audiences,(&)nbsp;that will help young people make connections between state education standards and the play, cultivate their curiosity for learning through the arts, and become life-long active audience members.
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Date Issued
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2018
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Identifier
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CFE0007115, ucf:51949
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0007115
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Title
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COMPUTER TECHNOLOGYIN THE DESIGN PROCESS.
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Creator
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Montague, Gregory, Scott, Bert, University of Central Florida
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Abstract / Description
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This is a study of computer technologyÃÂ's impact on the theatrical design process. The tools of communication provided by technology were studied, and an analysis was conducted in the classroom of Digital Rendering, Digital Rendering Videos, and 3d CADD. After-wards, these tools were applied to an actual production of West Side Story where, with the addition of 3d light simulation software, the tools were used to communicate the design ideas from the lighting designer...
Show moreThis is a study of computer technologyÃÂ's impact on the theatrical design process. The tools of communication provided by technology were studied, and an analysis was conducted in the classroom of Digital Rendering, Digital Rendering Videos, and 3d CADD. After-wards, these tools were applied to an actual production of West Side Story where, with the addition of 3d light simulation software, the tools were used to communicate the design ideas from the lighting designer to the director. The goal of this process was to provide a ÃÂ"real to lifeÃÂ" virtual representation of the show to the director with the least amount of confusion. An additional goal was to test the limits and functions of the software; trying to learn all the benefits that could be provided to the process of mounting a theatrical production.
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Date Issued
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2010
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Identifier
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CFE0003032, ucf:48365
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0003032
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Title
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EVELYN OFFSCREEN: AN APPLICATION OF INTERACTIVE PERFORMANCE METHODSIN ALTERNATE REALITY GAMING.
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Creator
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Borglund, Dawn, Wirth, Jeff, University of Central Florida
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Abstract / Description
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For my thesis project for the Masters of Fine Art in Film and Digital Media, I designed and produced Evelyn Offscreen, an alternate reality game (ARG) that was facilitated by interactive performance. The goal was to create an interactive experience that allowed several players to collaboratively create story across numerous media within the field of alternate reality gaming. The approach used in Evelyn Offscreen was intended to provide a degree of creative freedom to the players that has not...
Show moreFor my thesis project for the Masters of Fine Art in Film and Digital Media, I designed and produced Evelyn Offscreen, an alternate reality game (ARG) that was facilitated by interactive performance. The goal was to create an interactive experience that allowed several players to collaboratively create story across numerous media within the field of alternate reality gaming. The approach used in Evelyn Offscreen was intended to provide a degree of creative freedom to the players that has not been demonstrated in other ARG experiences and to use digital media to capture information about the relative effectiveness of the different techniques that were employed. During the month of October 2009, Evelyn Offscreen invited players to participate in an overarching story as characters. The game existed simultaneously through several media platforms such as Ning, twitter, and blogger as well as scenes located in Central Florida where players could embody their character in a real world setting. The results revealed insights into techniques for massive collaboration of story and player reactions to this hybrid form of alternate reality gaming and interactive performance.
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Date Issued
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2010
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Identifier
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CFE0003059, ucf:48321
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0003059
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Title
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"This Stuff Is Finished": Amiri Baraka's Renunciation of the Ghosts of White Women and Homosexuals Past.
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Creator
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Stone-Lawrence, Susan, Rusnock, Joseph, Harris, Lani, Listengarten, Julia, Boyd, Belinda, University of Central Florida
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Abstract / Description
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This study examines auto/biographical, theoretical, critical, literary, and dramatic works by and about LeRoi Jones/Amiri Baraka, primarily focusing on the eruption of (")Hate Whitey(") sentiment and rhetoric that characterized a decadelong cultural nationalist phase of the henceforth self-declaredly Black poet-playwright's career. As a black militant, LeRoi Jones left his white wife and other white associates in Greenwich Village, moved to Harlem, changed his name to Amiri Baraka, converted...
Show moreThis study examines auto/biographical, theoretical, critical, literary, and dramatic works by and about LeRoi Jones/Amiri Baraka, primarily focusing on the eruption of (")Hate Whitey(") sentiment and rhetoric that characterized a decadelong cultural nationalist phase of the henceforth self-declaredly Black poet-playwright's career. As a black militant, LeRoi Jones left his white wife and other white associates in Greenwich Village, moved to Harlem, changed his name to Amiri Baraka, converted to Islam, and started the Black Arts Repertory Theatre/School. This thesis contends that Baraka's Black Arts Movement era plays emphasize negation of the value of white women and gay men, who had formed his most intimate prior cohorts, and use extreme imagery to malign, belittle, and abjure representatives of both groups as evil, ridiculous, and disgusting archetypes in an attempt to affirm the political stance of the author and preempt doubt about his level of commitment to his chosen cause during that period. Through these plays written from the mid-1960s to mid-1970s, Baraka denies his own personal history and appears to protest too much the virtues of corrective Afrocentric relationships which his works fail to affirm as much as he condemns their alternatives. However, after the purgative effect of these revolutionary works, Baraka's evolution arrived at a place where he could once again acknowledge and promote a diverse equality that included respect for the partners and peers he had abnegated. Conclusions of this research suggest connections between the personal implications of Baraka's individual journey and prominent themes stressed in the broader field of identity politics. ?
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Date Issued
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2013
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Identifier
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CFE0005062, ucf:49948
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0005062
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Title
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MAKING VICTIM: ESTABLISHING A FRAMEWORK FOR ANALYZING VICTIMIZATION IN 20TH CENTURY AMERICAN THEATRE.
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Creator
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Hahl, Victoria, Listengarten, Julia, University of Central Florida
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Abstract / Description
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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".
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Date Issued
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2008
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Identifier
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CFE0002122, ucf:47534
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0002122
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Title
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LIGHTING DESIGN FOR FROM SUN TO SUN: A DAY IN A RAILROAD CAMP.
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Creator
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Szewczyk, Nathan, Scott, Bert, University of Central Florida
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Abstract / Description
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In this thesis the notion of a theoretical approach to the beginning stages of designing lighting for a theatrical production will be discussed. The topic being researched is: How a theoretical approach to entering the design process will enhance the final lighting design. The target audience for this study is theatrical lighting designers. A theoretical approach, in this case to the beginning of the design process, could be described as utilizing current dramatic theories to develop a better...
Show moreIn this thesis the notion of a theoretical approach to the beginning stages of designing lighting for a theatrical production will be discussed. The topic being researched is: How a theoretical approach to entering the design process will enhance the final lighting design. The target audience for this study is theatrical lighting designers. A theoretical approach, in this case to the beginning of the design process, could be described as utilizing current dramatic theories to develop a better understanding for the design of this production. In order to better understand this topic one would need to know how the process of lighting design is typically created and where the theoretical approach is implemented. An issue with this approach is that the short period allowed for the design process does not allow sufficient time to utilize a theoretical approach in a real world setting. A way of determining if this process is effective is through personal self review. Journaling and discussion with my advisor for this production will be the method of data collection. The method of validation will be a self reflection at the end of the final performance. An issue with the collection process is its reliance on personal opinions, including the author's. There are no ethical issues relating to this study. When applied, a theoretical approach to the design process will enhance the quality of the final lighting design through allowing the designer to be better prepared for a specific scene that he/she is struggling with.
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Date Issued
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2011
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Identifier
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CFE0003609, ucf:48874
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0003609
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Title
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THE ACTOR'S ROLE IN DEVELOPING NEW PLAYS.
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Creator
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Haney, Brooke, Lee, David, University of Central Florida
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Abstract / Description
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The constant development of new plays is vital for theatre to stay relevant. There is a desire, a yearning, a need to see the issues we face in our lives on stage in current contexts, and to watch characters living with them. The ability, as an Actor, to be an asset to the process of creating new works is invaluable. For my thesis, I discuss the role of the Actor in the process of developing new plays for the stage. I say "discuss" because I venture to guess that this role is constantly...
Show moreThe constant development of new plays is vital for theatre to stay relevant. There is a desire, a yearning, a need to see the issues we face in our lives on stage in current contexts, and to watch characters living with them. The ability, as an Actor, to be an asset to the process of creating new works is invaluable. For my thesis, I discuss the role of the Actor in the process of developing new plays for the stage. I say "discuss" because I venture to guess that this role is constantly evolving. There may be as many ways to approach the process as there are collaborative teams. Therefore, I do not suggest there is one right way in which an Actor can play a part in the process of new play development, nor do I intend this to be a comprehensive look at all the roles an Actor can play. However, I discovered some best practices, which I put into a list and seized this opportunity to cultivate my skills in these areas. My intent was to work and speak with Playwrights and Directors, learning from them what they value in an Actor at the various phases of new play development, and to nurture these skills within myself. I utilized my discoveries in the World Premiere of Triangle Logic by Debbie Lamedman. As theatre is a collaborative art, I learned to shift and adapt my role, depending on the other collaborators. While Triangle Logic was the larger focus of my thesis work, I also sought additional smaller projects, such as the workshop productions of Steven Christopher Yockey's play, Heavier Than
, part of Orlando Shakespeare Theater's PlayFest 2010, and Orlando Repertory Theater's devised play Writes of Spring, I thinK his NamE Was rick. I applied techniques I learned while working on Triangle Logic to the other new projects, where appropriate. I endeavored to evaluate each experience objectively, while recognizing that they were, by nature, subjective experiences.
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Date Issued
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2011
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Identifier
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CFE0003702, ucf:48810
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0003702
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Title
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When Coquis Sing: Introducing Young Audiences to Death and Bereavement Through An Original Play.
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Creator
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LoRicco, Michelle, Thomas, Aaron, Boyd, Belinda, Freeman, Emily, University of Central Florida
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Abstract / Description
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This thesis documents the play development process of When Coquis Sing, an original play for young people that introduces the death of a parent on stage. Through the analysis of research from leading child psychologists and practical instruction from the Dougy Center, the National Center for grieving children and their families, this research defines important terms and demystifies language surrounding death to aid caregivers in having clear and concise conversations with children about death...
Show moreThis thesis documents the play development process of When Coquis Sing, an original play for young people that introduces the death of a parent on stage. Through the analysis of research from leading child psychologists and practical instruction from the Dougy Center, the National Center for grieving children and their families, this research defines important terms and demystifies language surrounding death to aid caregivers in having clear and concise conversations with children about death.The purpose of this document is to counter the American cultural perception of death as a taboo topic for children. Hosting open conversations about death leads to healthier child development, which can help children cope with the loss that everyone will inevitably face in life. Theatre has been proven to work as a catalyst for conversations and create empathy for young audiences. Themes of death can be seen in all forms of storytelling for children , but this study implores the use of theatre to not only reflect experiences of grieving children on stage, but also create preemptive dialogue on the topic, so when tragedy strikes, children can have a tangible example to point back to.The arguments in this document thwart misconceptions of using Piaget's stages of cognitive development and K(&)#252;bler-Ross's five stages of grief as measurements of how all human beings should grieve. Instead of placing grieving children in stages and age groups that exclude important variables, this study focuses on the individual stories that are shared through reflective journals on the investigator's experiences and conversations as a grief facilitator, tutor, and artist in the field of Theatre for Young Audiences. The original play, When Coquis Sing, has been designed to induce conversations on death through the telling of a young protagonist's story of loss, grief, and victory.
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Date Issued
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2018
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Identifier
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CFE0007041, ucf:52008
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0007041
Pages