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THE ANATOMY OF A PRODUCTION: THE ANALYSIS OF THE DIRECTORIAL JOURNEY MOUNTING "STEEL MAGNOLIAS" FOR THE STAGE
Title
THE ANATOMY OF A PRODUCTION: THE ANALYSIS OF THE DIRECTORIAL JOURNEY MOUNTING "STEEL MAGNOLIAS" FOR THE STAGE.
Creator
Tiwar, Aradhana, Harris, Lani, University of Central Florida
Abstract / Description
This study is based on the Vine Theater Company's production of "Steel Magnolias" performed in March of 2007 at the Garden Theater in Winter Park Florida, directed by Aradhana Tiwari. This document examines the directorial journey from vision to the stage. Specifically it will explore a.) The dynamics of the production process from a directorial lens. b.) Interpreting Harling's text for design and performance c.) The development of an artistic aesthetic through collaboration. In May...
Show moreThis study is based on the Vine Theater Company's production of "Steel Magnolias" performed in March of 2007 at the Garden Theater in Winter Park Florida, directed by Aradhana Tiwari. This document examines the directorial journey from vision to the stage. Specifically it will explore a.) The dynamics of the production process from a directorial lens. b.) Interpreting Harling's text for design and performance c.) The development of an artistic aesthetic through collaboration. In May of 2007, I mounted a production of "Steel Magnolias" for the Orlando International Fringe Festival. The show was performed in the Universal, a thrust space at the Orlando Repertory Theater. Soon after, Producers Stephanie Williams invited me to direct the same production again for her theater company, The Vine. This time the show will be mounted in a proscenium space called the Garden Theater, located in Winter Garden's Historical Preservation District. We will have three to four weeks of rehearsal. Two of those weeks will be in an alternate rehearsal space with one week on set prior to open. The show will run from March 7th through the 22nd with a few days in the dark. We will soon re-audition the show and open it up to professional actors. I am being paid a set sum for directorial responsibilities and an additional sum for sound design of the show. I'll be collaborating with Lighting Designer Erin Minor and Set Designer Tommy Mangieri, and costume designer Kelly VanDyke. We are all advised to stay within the parameters of a set budget. A tech crew will be provided by the Vine Theater Company. Everyone involved with the production is being compensated for their work, specific sums are at the producers discloser. My early vision for this production is romanticized realism. From the set, to lighting, costumes, sound and even blocking. My goal is to execute a "slice of life" in this salon located in a tiny Louisiana parish during the mid 1980's within a slightly romanticized portrait. One of the ways I'll go about doing this is to create a series of character building exercises tailored to the specific story. I aim to craft real characters with honest moments, but frame them inside a slightly romanticized set and proscenium blocking. Some of the challenges I'll be exploring in this study are how to adapt a thrust show to a proscenium, how to integrate old and new cast members into a unified process and progression, how to facilitate a collaborative process and lastly, how to achieve an artistic vision while sustaining the integrity of a small budget. The materials I'll be submitting is a collection of research, a log of technical needs and other printed information, reflections on every aspect of production such as set, sound, lighting, costumes, and a detailed rehearsal journal logging the production progression. These documents will track design ideas and archive any required changes that ensue. Finally, upon completion of the show I'll write a post -production summary. This will examine how close I got to my original goals, evaluate the process I implemented, highlight necessary modifications that were made along the way, and discus what I learned from the experience.
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Date Issued
2009
Identifier
CFE0002550, ucf:47641
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002550
FEARLESSNESS: THE SEVENTH ELEMENT OF DRAMA
Title
FEARLESSNESS: THE SEVENTH ELEMENT OF DRAMA.
Creator
Wenge, Matt, Harris, Lani, University of Central Florida
Abstract / Description
Aristotle proclaimed in his Poetics that there were six elements to drama: spectacle, music, diction, thought, character, and plot. This paper will analyze the play Thom Pain (based on nothing) against these six elements. I will discuss the aspects of each element that are present in the show as well as the ideas and concepts my director, Tad Ingram, and I brought to the show. Through the rehearsal and performance process I discovered a seventh element; the element of fearlessness. In his...
Show moreAristotle proclaimed in his Poetics that there were six elements to drama: spectacle, music, diction, thought, character, and plot. This paper will analyze the play Thom Pain (based on nothing) against these six elements. I will discuss the aspects of each element that are present in the show as well as the ideas and concepts my director, Tad Ingram, and I brought to the show. Through the rehearsal and performance process I discovered a seventh element; the element of fearlessness. In his Poetics, Aristotle does not fully address what the actor brings to the performance and this aspect is just as important as what the script and staging bring to the performance.
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Date Issued
2011
Identifier
CFE0003724, ucf:48772
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0003724
"This Stuff Is Finished": Amiri Baraka's Renunciation of the Ghosts of White Women and Homosexuals Past
Title
"This Stuff Is Finished": Amiri Baraka's Renunciation of the Ghosts of White Women and Homosexuals Past.
Creator
Stone-Lawrence, Susan, Rusnock, Joseph, Harris, Lani, Listengarten, Julia, Boyd, Belinda, University of Central Florida
Abstract / Description
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
2013
Identifier
CFE0005062, ucf:49948
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005062