Current Search:   Niess, Christopher (x)

View All Items

  • CSV Spreadsheet
(1 - 13 of 13)
"TECHNIQUE ARMS THE IMAGINATION" DEVELOPING AN ACTING THEORY BEST SUITED FOR MOTION CAPTURE PERFORMANCE AND THE CREATION OF A VIRTUAL CHARACTER
Title
"TECHNIQUE ARMS THE IMAGINATION" DEVELOPING AN ACTING THEORY BEST SUITED FOR MOTION CAPTURE PERFORMANCE AND THE CREATION OF A VIRTUAL CHARACTER.
Creator
Rogers, Brendan, Niess, Christopher, University of Central Florida
Abstract / Description
"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.
Show less
Date Issued
2011
Identifier
CFE0003975, ucf:48679
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0003975
X: THE RISE AND FALL OF AN ASYLUM STAR (A JOURNEY OF TWO ACTRESSES)
Title
X: THE RISE AND FALL OF AN ASYLUM STAR (A JOURNEY OF TWO ACTRESSES).
Creator
Wilhite, Erika, Niess, Christopher, University of Central Florida
Abstract / Description
The performance of X: The Rise and Fall of an Asylum Star, in conjunction with my thesis document, investigates the dichotomy of fantasy and reality for a performer. I compare the creative and emotional journey of Augustine, a young woman hospitalized for hysteria, to my own journey as an actress. Augustine was also performer, for her doctors led her in public demonstrations of the symptoms of hysteria. Her "talent" for hysteria earned her notoriety and celebrity. She was coached and directed...
Show moreThe performance of X: The Rise and Fall of an Asylum Star, in conjunction with my thesis document, investigates the dichotomy of fantasy and reality for a performer. I compare the creative and emotional journey of Augustine, a young woman hospitalized for hysteria, to my own journey as an actress. Augustine was also performer, for her doctors led her in public demonstrations of the symptoms of hysteria. Her "talent" for hysteria earned her notoriety and celebrity. She was coached and directed from her doctors to enhance her demonstrations. As a result, the validity and authenticity of her state was questionable. I compare the performative qualities of hysteria with my own states of drama as a performer and draw parallels between us, looking specifically at states of experience, both imagined and real.
Show less
Date Issued
2009
Identifier
CFE0002679, ucf:48240
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002679
Performing Feminism: Boy Gets Girl During the #MeToo Movement
Title
Performing Feminism: Boy Gets Girl During the #MeToo Movement.
Creator
Dayton, Amanda, Niess, Christopher, White, Cynthia, Wood, Vandy, University of Central Florida
Abstract / Description
Sexual misconduct is currently a very hot topic in the media. Not only has the #MeToo Movement encouraged many women to come out with their stories of sexual assault, but it has also given women of many different backgrounds an opportunity to band together in support. I will be exploring the role of Theresa Bedell in Boy Gets Girl, by Rebecca Gilman. I will use the given character relationships to build an honest portrayal of the struggles Theresa faces as a woman in the world. I will touch...
Show moreSexual misconduct is currently a very hot topic in the media. Not only has the #MeToo Movement encouraged many women to come out with their stories of sexual assault, but it has also given women of many different backgrounds an opportunity to band together in support. I will be exploring the role of Theresa Bedell in Boy Gets Girl, by Rebecca Gilman. I will use the given character relationships to build an honest portrayal of the struggles Theresa faces as a woman in the world. I will touch on the mindset behind as well as the effects of victim blaming, the importance of having more women in the world of media, the current #MeToo Movement, and how these topics effect my thesis role.
Show less
Date Issued
2019
Identifier
CFE0007449, ucf:52697
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0007449
Gee, Officer Krupke: An Actor's Casebook
Title
Gee, Officer Krupke: An Actor's Casebook.
Creator
Eichenlaub, Eric, Brotherton, Mark, Ingram, Kate, Niess, Christopher, University of Central Florida
Abstract / Description
In 2016, I was cast as Officer Krupke in a production of West Side Story at Orlando Shakespeare Theater in Partnership with UCF. Even though Krupke can be thought of as a minor character in the play, bringing him to life required a great deal of research and imagination. In order to ground myself in the reality of the role, I researched the effects of implicit bias in modern policing, applied that research to Uta Hagen's Nine Questions, and brought that knowledge into the rehearsal hall and...
Show moreIn 2016, I was cast as Officer Krupke in a production of West Side Story at Orlando Shakespeare Theater in Partnership with UCF. Even though Krupke can be thought of as a minor character in the play, bringing him to life required a great deal of research and imagination. In order to ground myself in the reality of the role, I researched the effects of implicit bias in modern policing, applied that research to Uta Hagen's Nine Questions, and brought that knowledge into the rehearsal hall and onto the stage. I examined how my character's interactions with Lieutenant Schrank influenced his actions and attitudes toward both street gangs in the play and reflected on how my research and these performances changed my point of view and helped me recognize my own biases. This thesis reflects that process and will serve as a tool available to any actor seeking to create his or her own interpretation of Officer Krupke.
Show less
Date Issued
2018
Identifier
CFE0007327, ucf:52140
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0007327
Who do I Play: Appraising the Impact of Teacher-in-Role with Kindergartners in an ESOL Classroom
Title
Who do I Play: Appraising the Impact of Teacher-in-Role with Kindergartners in an ESOL Classroom.
Creator
Brantley, Kathryn, Wood, Mary, Thaxton, Terry, Niess, Christopher, University of Central Florida
Abstract / Description
Educators employing process drama, a non-presentational dramatic form, establish memorable classroom environments where students co-author their learning with teachers. Process drama facilitators often use the dramatic structure of teacher-in-role to guide and support the students. An instructor heightens tension, introduces new ideas, and encourages participation by engaging alongside students as a character. An educator employing process drama needs to determine the appropriate type of role...
Show moreEducators employing process drama, a non-presentational dramatic form, establish memorable classroom environments where students co-author their learning with teachers. Process drama facilitators often use the dramatic structure of teacher-in-role to guide and support the students. An instructor heightens tension, introduces new ideas, and encourages participation by engaging alongside students as a character. An educator employing process drama needs to determine the appropriate type of role to impact the development of a classroom drama; while negotiating tension felt between desires for student-led discovery and the necessity of meeting curriculum benchmarks.Academic studies establish process drama as a tool to aid English Students of Other Languages or ESOL classrooms. Process drama heightens comprehension, whole language usage and ownership of learning. Using the methodology of reflective practice I analyzed my teaching in role to determine how I negotiate diverse and conflicting objectives. I facilitated a six week process drama with four to six-year-old ESOL students at a learning centre in Hong Kong. This study improved this teacher's understanding and usage of teacher-in-role. The ideals of a process centered classroom were not always realized, but the needs of the population necessitated adaption from expectations. The experiences of the researcher indicate ambiguous character may not be the best way to motivate dialogue among this population of ESOL students. Students' age and English experience suggests using co-participant characters whose motivations are clearly defined. This study contributes to the discussion on what differing (")role types(") offer facilitators of process drama and how it may be used to meet demands of curriculum including development of performances. Process drama with very young students presents a field for further research investigating methods and practices to effectively structure process dramas that address their learning.
Show less
Date Issued
2012
Identifier
CFE0004227, ucf:48989
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004227
Performing Jason Robert Brown's The Last Five Years: An Exercise in Communication On Stage and Off
Title
Performing Jason Robert Brown's The Last Five Years: An Exercise in Communication On Stage and Off.
Creator
Sucharski, David, Niess, Christopher, Weaver, Earl, Boyde, Melinda, University of Central Florida
Abstract / Description
Communication, in its most basic sense, is foundational for any personal, human interaction and relationship. As theatre artists, we are charged with communicating complex story lines, conceptual ideas, and emotion to an audience. Sound communication is paramount to every aspect of a musical production, be it communication between actors/characters, actor and director, amongst the production team, and arguable the most important, between the actors and the audience. My years of education as a...
Show moreCommunication, in its most basic sense, is foundational for any personal, human interaction and relationship. As theatre artists, we are charged with communicating complex story lines, conceptual ideas, and emotion to an audience. Sound communication is paramount to every aspect of a musical production, be it communication between actors/characters, actor and director, amongst the production team, and arguable the most important, between the actors and the audience. My years of education as a Masters in Fine Arts candidate in Musical Theatre have been spent polishing my ability to communicate physical and emotional choices with greater accuracy, depth, and truth. By staging Jason Robert Brown's musical The Last Five Years and performing the role of Jamie, this performance thesis will explore, develop, and examine my mastery of the aforementioned varied forms of communication, all of which are necessary in building a successful musical production. Research will be conducted to gather information on relevant topics, including the history of The Last Five Years, the life of Jason Robert Brown, and his musical and theatrical influences. By further understanding Brown, his life, and his ideas about his works, I hope to more fully understand and communicate the message of the musical itself. A dramatic and musical structural analysis will provide further depth and insight into the piece, with the hopes of informing my production and individual performance. A thorough character analysis will provide connective tissue that will allow myself, as the actor, to more effectively communicate the psychological and emotional make up of the character Jamie. Lastly, the thesis document will culminate with a production journal, documenting the pre-production, rehearsal, and performance process. Through the journaling process, I will document and address the journey that I have experienced with the production, giving focus and attention to its many obstacles and discoveries, successes and failures, all of which have contributed to my personal growth as a young theatre artist.
Show less
Date Issued
2012
Identifier
CFE0004324, ucf:49465
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004324
The Artistry of Accessibility: Creating Theatre with and for Students on the Autism Spectrum
Title
The Artistry of Accessibility: Creating Theatre with and for Students on the Autism Spectrum.
Creator
Brunow, Sara, Listengarten, Julia, Ingram, Kate, Niess, Christopher, Kovac, Kim, University of Central Florida
Abstract / Description
Theatre is a place where all can come together and have an experience regardless of ethnicity, gender, sexuality, or ability. As a theatre maker and teaching artist, how do I create inclusion and augment social awareness by designing and implementing theatrical experiences for a specific audience? In this personal exploration of inclusive theatre practices (Sensory Friendly Theatre, Inclusive Arts Integration, and Multi-Sensory Theatre) I will examine my experience of creating and adapting...
Show moreTheatre is a place where all can come together and have an experience regardless of ethnicity, gender, sexuality, or ability. As a theatre maker and teaching artist, how do I create inclusion and augment social awareness by designing and implementing theatrical experiences for a specific audience? In this personal exploration of inclusive theatre practices (Sensory Friendly Theatre, Inclusive Arts Integration, and Multi-Sensory Theatre) I will examine my experience of creating and adapting theatre with and for students with Autism Spectrum Disorder. My process has a three-pronged approach: adapting an established production using a Sensory Friendly model; adapting an arts integration facilitation in an inclusive elementary classroom; and collaboratively creating a sensory-based theatrical experience with other artists and students with cognitive disabilities. Through these experiences, I strive to uncover how developing theatre for this specific audience has challenged me to grow as an artist and activist.
Show less
Date Issued
2015
Identifier
CFE0006027, ucf:51003
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0006027
A Jew from Nebraska: An Actors Attempt at Stand-up Comedy
Title
A Jew from Nebraska: An Actors Attempt at Stand-up Comedy.
Creator
Nathan, Jeffrey, Niess, Christopher, Brotherton, Mark, Helsinger, James, University of Central Florida
Abstract / Description
Stand-up comedy has been a major influence on American culture and has given the (")Everyman(") the ability to laugh at ourselves. Stand-up comedians have been performing in nightclubs, bars, clubs, and, most importantly, theatres for the past 60 years. Stand-up comedy can take many forms: a monologue of entertaining incidents that form a story, or a string of one-liners, or a succession of jokes. This performance project and thesis is an examination and an attempt at the art form that we...
Show moreStand-up comedy has been a major influence on American culture and has given the (")Everyman(") the ability to laugh at ourselves. Stand-up comedians have been performing in nightclubs, bars, clubs, and, most importantly, theatres for the past 60 years. Stand-up comedy can take many forms: a monologue of entertaining incidents that form a story, or a string of one-liners, or a succession of jokes. This performance project and thesis is an examination and an attempt at the art form that we call stand-up comedy. It will answer the question of what is the best approach to writing comedy for an actor finishing his graduate acting program. It will also challenge the idea of simple joke-telling versus storytelling and examine the following question: Can anyone be a standup comedian? A research of the history, an analysis of the practitioners, and training from graduate studio work will support the discovery of a practical approach to writing and performing a stand-up comedy routine.
Show less
Date Issued
2015
Identifier
CFE0006046, ucf:50978
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0006046
Halloween Horror Nights And/Or Visceral Theatre
Title
Halloween Horror Nights And/Or Visceral Theatre.
Creator
Braillard, Patrick, Niess, Christopher, Brotherton, Mark, Listengarten, Julia, University of Central Florida
Abstract / Description
Visceral [vis-er-uh l]-adj1. of, relating to, or affecting the viscera2. characterized by intuition or instinct rather than intellect((")visceral,(") def. 1-2)The above words speak to define far more than merely the word (")visceral.(") They speak to also embody and classify a previously untitled form of theatre. Visceral Theatre: A form of theatre that uses the instinctual awareness of the audience- the audiences' perception of popular culture, societal contexts both historical and...
Show moreVisceral [vis-er-uh l]-adj1. of, relating to, or affecting the viscera2. characterized by intuition or instinct rather than intellect((")visceral,(") def. 1-2)The above words speak to define far more than merely the word (")visceral.(") They speak to also embody and classify a previously untitled form of theatre. Visceral Theatre: A form of theatre that uses the instinctual awareness of the audience- the audiences' perception of popular culture, societal contexts both historical and geographical, as well as their instinctual-physical aversion to danger- to cause physiological and emotional responses through the overstimulation of the senses in a non-tactile attack.For the past eight years I have been intimately involved with the creation of Halloween Horror Nights, an annual event held each September/October at the Universal Orlando Resort. The basis of the event is the celebration of the holiday of Halloween by creating Shows, Street Experiences, and Thematic Mazes in which to fully immerse hundreds of thousands of guests in various environments.This thesis will use the example of Halloween Horror nights to frame the discussion of Visceral Theatre. It will be presented through the lens of creator, designer, director, and collaborator of the entertainment offerings within the experience. It is my hope to answer the question: What is Visceral Theatre, and how HHN, as it is commonly referred to, earns the right to be defined as such. What makes this experience Theatre?
Show less
Date Issued
2014
Identifier
CFE0005138, ucf:50711
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005138
From Dude to Dad: A Study on Prenatal Fatherhood and its Representation in Theatre
Title
From Dude to Dad: A Study on Prenatal Fatherhood and its Representation in Theatre.
Creator
Nilsson, Michael, Thomas, Aaron, Horn, Elizabeth, Reed, David, Niess, Christopher, University of Central Florida
Abstract / Description
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.
Show less
Date Issued
2017
Identifier
CFE0006771, ucf:51835
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0006771
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.
Show less
Date Issued
2013
Identifier
CFE0004702, ucf:49811
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004702
The Branding, Creation, and Promotion of a Solo Comedienne
Title
The Branding, Creation, and Promotion of a Solo Comedienne.
Creator
McCorison, Anna, Snyder, Tara, Ingram, Kate, Niess, Christopher, University of Central Florida
Abstract / Description
Comedy exists as a stronghold in American culture as a coping mechanism throughout history, but is often limited to the male headliner. From Charlie Chaplin to Jackie Gleason and Bill Cosby to Will Ferrell, men have kept us laughing from stages to screen throughout the last century. Thus, I inquire: who are the prominent women who rose to the top of this male-dominated industry and how did they create a brand for themselves that was distinguishable and celebrated? What is it about being a...
Show moreComedy exists as a stronghold in American culture as a coping mechanism throughout history, but is often limited to the male headliner. From Charlie Chaplin to Jackie Gleason and Bill Cosby to Will Ferrell, men have kept us laughing from stages to screen throughout the last century. Thus, I inquire: who are the prominent women who rose to the top of this male-dominated industry and how did they create a brand for themselves that was distinguishable and celebrated? What is it about being a woman in the last century that made making a name in comedic entertainment more cumbersome, and has this feat of female branding changed at all with the evolution of entertainment and social trends? With this graduate thesis, I wish to explore the comparative timeline between socio-economic history, feminism, and the growth of entertainment trends. Considering this history, I will examine five major comediennes: Carol Burnett, Lily Tomlin, Whoopi Goldberg, Chelsea Handler, and Colleen Ballinger and their journeys to create prominent female entertainment brands. From this contributing research I will create and perform a one-woman show entitled An Evening with Aunt Nona. Through the exploration of personal branding and marketing of my solo voice, I seek to provide an inspirational framework for the creation and branding of future solo comediennes.
Show less
Date Issued
2015
Identifier
CFE0005661, ucf:50181
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005661
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.
Show less
Date Issued
2013
Identifier
CFE0004730, ucf:49833
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004730