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- Title
- PRIMOGENITURE MADE ME DO IT: FINDING THE MOTIVATION BEHIND OLIVER'S TRAGIC ACTIONS IN AS YOU LIKE IT.
- Creator
-
Kemper, Joseph, Boyd, Be, University of Central Florida
- Abstract / Description
-
As an actor, it is absolutely imperative to resist the urge to pass judgment on the characters we portray. True, that as people, we sometimes judge ourselves, and deem our conduct as right or wrong, but usually after finding the justification in the action first. We understand why we do the things we do. Therefore, it is as important to find our character's point-of-view as well. When I was cast as Oliver de Boys in the Orlando Shakespeare Theater's mainstage production of William...
Show moreAs an actor, it is absolutely imperative to resist the urge to pass judgment on the characters we portray. True, that as people, we sometimes judge ourselves, and deem our conduct as right or wrong, but usually after finding the justification in the action first. We understand why we do the things we do. Therefore, it is as important to find our character's point-of-view as well. When I was cast as Oliver de Boys in the Orlando Shakespeare Theater's mainstage production of William Shakespeare's As You Like It, I knew the biggest challenge before me was to avoid playing him as "the villain." I had to discover the reasoning and the humanity behind his heinous actions. Most importantly, I had to try to understand why he would attempt to murder his brother Orlando. Growing up with three sisters whom I considered my best friends, I had no personal frame of reference for this extreme action. This thesis will examine the research and creation of Oliver de Boys. A thorough historical analysis will present the life of William Shakespeare, with specific focus on the relationship with his own siblings. Also included will be the production history of the As You Like It and the times in which it was written. Particular emphasis will be placed on the Elizabethan's preoccupation with primogeniture, the system of inheritance or succession by the firstborn, traditionally the eldest son ("Primogeniture" 1). Finally, this section will contain a look at two literary figures that greatly influenced the evolution of Oliver: Saladyne, the eldest brother in Sir Thomas Lodge's Rosalynde, of which As You Like It is largely based on and Cain, the archetype of fratricide. The next chapter will explore Oliver's journey in As You Like It, from villain to lover to brother; ultimately, his "conversion" from evil to good. It will also document the director's concept for the production and his vision for the portrayal of Oliver. A comprehensive character analysis or character autobiography will examine the psychological motivations behind Oliver's actions, such as sibling rivalry, jealousy, resentment and greed. This thesis will culminate in a comprehensive rehearsal journal, which will document and address challenges, discoveries, failures and victories during the production process.
Show less - Date Issued
- 2008
- Identifier
- CFE0002462, ucf:47699
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0002462
- Title
- A PERFORMANCE STUDY AND ANALYSIS OF THE ROLE OF PROFESSOR MULLER IN THE VISIT.
- Creator
-
Harrison, Stephanie, Boyd, Be, University of Central Florida
- Abstract / Description
-
I propose to study the role of Professor Muller in The Visit as my thesis role because of the challenge that it presents, not only as a translated work, but also because of the character shift for me - Professor Muller is a 72 year old man and has now been changed to a woman in her thirties. Professor Muller is the only person to stand up to the antagonist, Claire. The confrontation between Claire and Muller takes on a certain tone when it is between a woman and a man, and has a completely...
Show moreI propose to study the role of Professor Muller in The Visit as my thesis role because of the challenge that it presents, not only as a translated work, but also because of the character shift for me - Professor Muller is a 72 year old man and has now been changed to a woman in her thirties. Professor Muller is the only person to stand up to the antagonist, Claire. The confrontation between Claire and Muller takes on a certain tone when it is between a woman and a man, and has a completely different outlook when it becomes woman vs. woman. The director has taken this play and set it in an abstract time and setting, loosely basing it in a post WW2 era in perhaps Switzerland, or even Germany, although the location will never be actually specified by the director. It is merely a suggestion of where we should begin the process of characterization. The town gives off an appearance of desolation, but we must retain the knowledge of better times. This challenge of not having specifics almost grinds at me to place specifics on the character, but I will attempt to refrain from this. This role will not only challenge my training here in movement, voice and character analysis, but will allow me to pursue a new kind of development in character, one that does not have to be mapped out. This character can be created only through the other characters on the stage. There are no clues in the script, really, because of extensive cuttings and re-workings through this translation. The Professor is defined by relationships, not by words, and this new process excites me. After the show has closed, I would like to explore the play in its entirety and look to see if I have remained true to the author's work while working in a new concept from the director. I think it is possible to still hold to the origins and maintain the message of the play even through such large changes. This is going to be one of the most challenging roles that I have faced. I think that at the same time that I am going to apply my training, I also need to let it go and explore her through my body, my heart. At home, outside the theatre, I can go through the analytical parts - the "who am I" and "where do I come from" questions. My journals will be exceptionally useful for this knowledge. However, in rehearsals, I want to "let it all go" and "fly by the seat of my pants" to uncover answers that might be lost to me if I use only my brain. This is my biggest weakness as an actor - allowing my brain to take over. The problem with over-analyzing is that I look to deeply into the words and the script for the clues that my body may already be telling me, or I miss an impulse to act on a feeling because I am to caught up reading into everything. I need to read, and then play, not read and concentrate. We are doing a "play" after all, not a "work". It is my hope that I can allow myself to play more, and thereby overcome this weakness.
Show less - Date Issued
- 2006
- Identifier
- CFE0000988, ucf:46699
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0000988
