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BEYOND PERFORMANCE: PORTRAYING A GAY CHARACTER TRUTHFULLY AND EFFECTIVELY
Title
BEYOND PERFORMANCE: PORTRAYING A GAY CHARACTER TRUTHFULLY AND EFFECTIVELY.
Creator
Fucci, Bryan, Ingram, Katherine, University of Central Florida
Abstract / Description
Queer culture is finding an ever-increasing voice in the arts. Plays like The Laramie Project, Rent, and Angels in America have contributed to making queer identity a very present voice in popular culture. In this thesis, I investigate the excitement and complexity of a straight actor becoming a gay character on stage. Using my interpretation of "Jack" in Debbie Lamedman's new play, Triangle Logic, as a case study, I catalogue a three-month journey towards the effective embrace of...
Show moreQueer culture is finding an ever-increasing voice in the arts. Plays like The Laramie Project, Rent, and Angels in America have contributed to making queer identity a very present voice in popular culture. In this thesis, I investigate the excitement and complexity of a straight actor becoming a gay character on stage. Using my interpretation of "Jack" in Debbie Lamedman's new play, Triangle Logic, as a case study, I catalogue a three-month journey towards the effective embrace of truthfulness on stage. I expand the idea that actors must not layer on possibly offensive stereotypes to convey sexuality, but, instead, focus on telling the story through honest character relationships.
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Date Issued
2011
Identifier
CFE0003626, ucf:48892
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0003626
INHERITING THE MOTLEY MANTLE: AN ACTOR APPROACHES PLAYING THE ROLE OF FESTE, SHAKESPEARE'S UPDATE OF THE LORD OF MISRULE.
Title
INHERITING THE MOTLEY MANTLE: AN ACTOR APPROACHES PLAYING THE ROLE OF FESTE, SHAKESPEARE'S UPDATE OF THE LORD OF MISRULE.
Creator
Clateman, Andrew, Ingram, Katherine, University of Central Florida
Abstract / Description
Playing role of Feste in William Shakespeare's Twelfth Night presents a complex challenge to the actor. Feste is at once a character in the world of the play and a clown figure with specific dramatic functions having roots in the Lord of Misrule of the English holiday and the Vice of the morality play. How can the actor playing Feste create a believable psychological portrayal that is aligned with the functions Shakespeare assigns the role? And be entertaining as well? I suggest that actor...
Show morePlaying role of Feste in William Shakespeare's Twelfth Night presents a complex challenge to the actor. Feste is at once a character in the world of the play and a clown figure with specific dramatic functions having roots in the Lord of Misrule of the English holiday and the Vice of the morality play. How can the actor playing Feste create a believable psychological portrayal that is aligned with the functions Shakespeare assigns the role? And be entertaining as well? I suggest that actor will benefit greatly from an exploration the traditional function of the clown its development in society and literature before Shakespeare, and how Shakespeare's use of the clown developed up to the writing of Twelfth Night. The actor will thereby have a better understanding of what Shakespeare might by trying to achieve with Feste,, and he (or she) may better find the motivations for Feste's sometimes-enigmatic words and actions, which will, in turn, give shape and purpose to the clowning. I put this thesis to the test in preparing for and playing the role of Feste in Theater Ten Ten's production of Twelfth Night in the spring of 2010 in New York City. My research and preparation will include: a substantial immersion in much of Shakespeare's cannon, and viewing of performances of it (mainly on video); research on the role of the clown, how it developed through history until Shakespeare's time, and how Shakespeare appropriated and developed that tradition, culminating in Feste; a performance history of the role; a structural analysis of Feste's role in Twelfth Night; a character study of Feste; a rehearsal and performance journal documenting my ongoing exploration, challenges and choices. The main challenge, as I foresee it, is to arrive at my own unique performance of Feste while fulfilling both my director's vision and Shakespeare's intention.
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Date Issued
2011
Identifier
CFE0003751, ucf:48795
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0003751
Building a Workable Model for Youth Theatre: An Exploration into a Courageous and Complex Field
Title
Building a Workable Model for Youth Theatre: An Exploration into a Courageous and Complex Field.
Creator
Engstrom, Megan, Brotherton, Mark, Ingram, Katherine, Listengarten, Julia, University of Central Florida
Abstract / Description
As an active director of productions featuring youth actors, I find myself debating the same questions continuously: Are there clear and demonstrated differences between working with young people and adults when directing a youth theatre production? Are there approaches and methods of working with young people that differs greatly from working with adults? Are these methods supported and utilized by those working professionally in the field? Is there an ideal format for a theatre producing...
Show moreAs an active director of productions featuring youth actors, I find myself debating the same questions continuously: Are there clear and demonstrated differences between working with young people and adults when directing a youth theatre production? Are there approaches and methods of working with young people that differs greatly from working with adults? Are these methods supported and utilized by those working professionally in the field? Is there an ideal format for a theatre producing only productions with youth? I believe that directing young actors tends to require a shift in focus due to the pliability, sensitivity, and inexperience of the actors. I feel the director must take into account the emotional, developmental, and educational needs of the young people and at the same time remain focused on the creation of a product with artistic integrity and clear storytelling. Due to the didactic nature of Youth Theatre, directing young people often requires an awareness of process over product despite the similar end goal of directing adults.Since little research or literature exists about the differences between working with adults versus young people, I will pursue information by interviewing several recognized professionals in the field of Theatre by and for Youth. I will examine their multiple methods, techniques, and practices of working with young people. In addition, I will use my personal experience working with youth at the Orlando Repertory Theatre in Florida and Coterie Theatre in Missouri. Through an investigation into the emerging field of Youth Theatre coupled with my education, I plan to develop a workable and effective youth theatre company based upon these findings with the hope it might inspire others working in this field.
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Date Issued
2011
Identifier
CFE0004107, ucf:49101
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004107
Radio Drama: A "Visual Sound" Analysis of John, George and Drew Baby
Title
Radio Drama: A "Visual Sound" Analysis of John, George and Drew Baby.
Creator
Weaver, Pascha, Chicurel, Steven, Listengarten, Julia, Ingram, Katherine, University of Central Florida
Abstract / Description
Radio Plays are a form of classic American Theatre that relies on dialogue, music and sound effects to audibly enhance a story with no visual component. While these types of plays are no longer at the forefront of modern day theatrical experience, I believe these popular plays of the mid-20th century are derivative of an oral storytelling tradition and significant to American entertainment culture. This thesis will discuss the aspects of radio plays that viscerally captured audiences. While...
Show moreRadio Plays are a form of classic American Theatre that relies on dialogue, music and sound effects to audibly enhance a story with no visual component. While these types of plays are no longer at the forefront of modern day theatrical experience, I believe these popular plays of the mid-20th century are derivative of an oral storytelling tradition and significant to American entertainment culture. This thesis will discuss the aspects of radio plays that viscerally captured audiences. While this concept can be applied to many popular America radio shows of the time, this thesis will focus on one form ; the black radio play or black situation comedy series. I will deconstruct different genres of radio shows and identify the elements of sound effect, imagery and patterns in speech. This thesis will apply these elements to programs about white family life, (Fibber McGee and The Lone Ranger ) as well as family comedies about black cultural life, (Amos n' Andy, The Martin Lone and Beulah Show and Aunt Jemima). In addition, it will also reveal the business of employing white male actors to voice the parts of black characters and the physical mechanics used to create a (")black sound("). As the thesis reveals, black actors gain work and are hired to voice black characters. The focus is on the vocal challenges of staying consistent with the Uncle Remus-style dialect used by their white contemporaries. Part two of this thesis is an analysis of my role as writer in an original radio play/situation comedy set in a black community in the 1950's. Included in this process I will introduce a reflective journal documenting my writing and rehearsal process. Character research will chronicle each character's relationship to the play, as well as the vocal choices explored.
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Date Issued
2012
Identifier
CFE0004204, ucf:49036
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004204
Lavinia's Voice: Verbal and Nonverbal Expression in Shakespearean Performance
Title
Lavinia's Voice: Verbal and Nonverbal Expression in Shakespearean Performance.
Creator
Kilgore, Kelly, Ingram, Katherine, Listengarten, Julia, Niess, Christopher, University of Central Florida
Abstract / Description
This performance thesis will investigate verbal and nonverbal expression asapplied to Shakespearean text, through the lens of my experience rehearsing andperforming the role of Lavinia in Titus Andronicus at the Orlando ShakespeareTheater. Lavinia is a Shakespearean character, and Shakespeare is immediatelyassociated with language. However, Lavinia is interesting because the role's vocalwork will require both verbal and non-verbal experimentation. My thesis role willbe an exceptional...
Show moreThis performance thesis will investigate verbal and nonverbal expression asapplied to Shakespearean text, through the lens of my experience rehearsing andperforming the role of Lavinia in Titus Andronicus at the Orlando ShakespeareTheater. Lavinia is a Shakespearean character, and Shakespeare is immediatelyassociated with language. However, Lavinia is interesting because the role's vocalwork will require both verbal and non-verbal experimentation. My thesis role willbe an exceptional opportunity to utilize the various language tools and techniques Ihave learned in my MFA coursework.Any Shakespearean performance requires an extensive text analysis. However,Lavinia has her tongue cut off halfway through the show, so I anticipate additionalvocal, non-verbal contributions during the second half of the show. This thesis willexplore both aspects of the role.Physicality will also play a large part of my acting work in this particular role, moreso, perhaps, than in a typical Shakespearean ing(&)#233;nue. Because Lavinia is verballysilenced, her body must also speak.No approach to a Shakespearean role would be complete without character work,and research will play a large part of this character in particular. I plan to doresearch on violence against women and its significance in both literature and reallife in order to better inform my vocal and physical choices. I also plan to learn fromthose who have gone before me in the role by investigating filmed performances ofthe same character and reviews of previous stage productions.In this thesis I will document my approach to the role, my experiences in rehearsal,and the performative results, thereby mapping for future actors all the techniquesthat make up a character's voice.
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Date Issued
2013
Identifier
CFE0004702, ucf:49811
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004702
An Examination of the actor's approach to playwriting: Are playwrights able to write about what is unfamiliar to them?
Title
An Examination of the actor's approach to playwriting: Are playwrights able to write about what is unfamiliar to them?.
Creator
Zaniboni, Kayla, Perry, Charles, Ingram, Katherine, McDonald, Holly, University of Central Florida
Abstract / Description
Playwrights write about what is familiar to them. Their inspiration comes from their childhood, past relationships, and their personal view of the world. But could a playwright write about something to which they have no personal connection?Using the book Triggered: A Memoir of Obsessive-Compulsive Disorder, I will write a one act play about mental illness. I have no personal experience or personal connection to mental illness, but I will approach the process the same way as an actor does a...
Show morePlaywrights write about what is familiar to them. Their inspiration comes from their childhood, past relationships, and their personal view of the world. But could a playwright write about something to which they have no personal connection?Using the book Triggered: A Memoir of Obsessive-Compulsive Disorder, I will write a one act play about mental illness. I have no personal experience or personal connection to mental illness, but I will approach the process the same way as an actor does a character. I will go into the writing process as an actor, completing character analyses for the characters and using the information found within the book.I will direct a reading of my play with the goals of educating the audience about mental illness, evoking empathy for the characters within the piece, and proving that a playwright can write about something that is foreign to them, much like an actor can portray a character that is remarkably different from themselves.
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Date Issued
2013
Identifier
CFE0004776, ucf:49787
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004776
Developing New Works for the Stage: An Actor's Perspective
Title
Developing New Works for the Stage: An Actor's Perspective.
Creator
Butler, Lauren, Boyd, Belinda, Listengarten, Julia, Ingram, Katherine, University of Central Florida
Abstract / Description
U.S. Theatre is often noted for its commitment to new play development. Since Eugene O'Neill, America has fostered a tradition of celebrating emerging playwrights and their bold, edgy new works through countless development programs such as festivals, new play readings, grant programs, workshops, and world premieres. Although in recent years new-play development has seen a steady decline in funding (Levitow 2), it remains a cornerstone of American identity and an essential medium for pushing...
Show moreU.S. Theatre is often noted for its commitment to new play development. Since Eugene O'Neill, America has fostered a tradition of celebrating emerging playwrights and their bold, edgy new works through countless development programs such as festivals, new play readings, grant programs, workshops, and world premieres. Although in recent years new-play development has seen a steady decline in funding (Levitow 2), it remains a cornerstone of American identity and an essential medium for pushing boundaries in theatre, both culturally and artistically. New-play development is indispensable for keeping theatre relevant in our ever-changing culture. For my thesis, I explore the process of developing a new play from an actor's perspective. The role of the director, dramaturg and producer of a new play is often discussed; however the importance of the actor throughout the development process is sometimes overlooked. There are many configurations of artistic teams assembled to develop a new play; therefore, I do not suggest there is one type of team that is best or one type of role for the actor to play within the team. My aim was to collaborate with the playwright, director and fellow actors to discover what is required of an actor in all phases of new play development. I applied the principles learned to my own work in the World Premiere of The Exit Interview by William Missouri Downs at the Orlando Shakespeare Theatre in Partnership with The University of Central Florida. As I navigated my way through the artistic process of developing a new work, I discovered some 'best practices', which I employed throughout the rehearsal and performance process to further my own skills. I will discuss the development process I experienced, as objectively as possible, outlining the key best practices for an actor working in a collaborative team to develop a new play.
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Date Issued
2013
Identifier
CFE0004660, ucf:49905
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004660
9/11: We Will Forget
Title
9/11: We Will Forget.
Creator
Nettle, Jason, Ingram, Katherine, Listengarten, Julia, Niess, Christopher, University of Central Florida
Abstract / Description
This study is based on the events of September 11, 2001. I will be writing a one man show containing fictional characters that I will write based on research of that day. The show will consist of numerous characters cut from different ages, religions, genders, and points of view.I will be portraying these characters using the tools I have acquired in studio and on stage. The challenge will be to make each character different and bring their experience and unique point of view to the...
Show moreThis study is based on the events of September 11, 2001. I will be writing a one man show containing fictional characters that I will write based on research of that day. The show will consist of numerous characters cut from different ages, religions, genders, and points of view.I will be portraying these characters using the tools I have acquired in studio and on stage. The challenge will be to make each character different and bring their experience and unique point of view to the performance.This study will begin at conception of the idea and follow the journey all the way to the final performance. It will show the struggles I encounter as a writer, performer, and producer.
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Date Issued
2013
Identifier
CFE0004730, ucf:49833
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004730