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A PERFORMANCE STUDY AND ANALYSIS OF THE ROLE OF SOOT IN THE MARRIAGE OF BETTE AND BOO
Title
A PERFORMANCE STUDY AND ANALYSIS OF THE ROLE OF SOOT IN THE MARRIAGE OF BETTE AND BOO.
Creator
Coleman, Jodi, Shafer, John, University of Central Florida
Abstract / Description
In 1985, Christopher Durang created a master work titled The Marriage of Bette and Boo which was described by The New Yorker as a "brimming cornucopia of brilliant lines." Frank Rich of the New York Times called it "so speedy and chipper that it could almost be mistaken for a Bob Fosse musical." Douglas Watt of the New York Daily News referred to it as a "farcical study of a disastrous marriage, marked by still births, insanity in the family and divorce." These critical responses indicate the...
Show moreIn 1985, Christopher Durang created a master work titled The Marriage of Bette and Boo which was described by The New Yorker as a "brimming cornucopia of brilliant lines." Frank Rich of the New York Times called it "so speedy and chipper that it could almost be mistaken for a Bob Fosse musical." Douglas Watt of the New York Daily News referred to it as a "farcical study of a disastrous marriage, marked by still births, insanity in the family and divorce." These critical responses indicate the necessity to maintain the complexity of the character of Soot without allowing her to fall into the easy stereotypes that trap many artists. The play's focus on alcoholism, spousal abuse, and cancer make it difficult to reconcile the very serious circumstances with the overtly comical reactions created in the play. My challenge in portraying the character of Soot is to resolve these issues. I focused on the teaching of Konstantin Stanislavski as interpreted by Sonia Moore of the American Center for Stanislavski Theatre Art to navigate this challenge. Ms. Moore asserts: "Only after the actor has studied the play, the events, and the given circumstances will he be able to select the actions which will involve his emotions and other inner experiences." With this in mind, I began by studying the script and the playwright for clues about the given circumstances within the world of the play. "You're the dumbest white woman alive" is a line from the play used to describe Soot. This line of dialogue has been used in the past to justify stereotypical performances of this character which mask the complexity of a woman who has been seriously hurt by the man she loves. These types of simplified characterizations are flat and do not take into account the inner and outer forces that make Soot who she is. Olympia Dukakis played Soot at the Public/Newman Theatre in New York City in an Obie award-winning performance. She is quoted as saying, "This is a very forgiving play." Durang later agreed with this assessment saying, "I remember thinking that that sounded right." He further added that The Marriage of Bette and Boo is "based on my parents, it's more emotionally close to me than some of my more surreal plays…I like the balance of the comic and the sad. It should play as funny, but you should care about the characters and feel sad for them." Durang also confides that his own father was an alcoholic and that "in life, my mother lost three [children in childbirth]." Since the play, however humorous, is based on real events in the life of the playwright and his family, it is reasonable to search for playable and understandable motives for the character's action through research of real life given circumstances. To this end, I have been researching the behavior rationalizations inherent in the social interactions of alcoholic families. This has led me to discover a possible explanation for Soot's unusual responses to unpleasant comments and situations. The eGetgoing Online Addiction Treatment Alcohol and Drug Rehab Counseling web page explains that family members often choose enabling behavior to cope with the destructive choices of the alcoholic. Enablers "may have their own system of denial that is fed by the lies and deceptions." Further, it states, "We can think of denial as a way of telling the truth about a small part of reality as if it were all of reality." In this way, Soot is employing a rational tactic to cope with an irrational existence. I believe further research will also identify denial associated with personal tragedy. These understandable and human connections will provide me with the basis of my beginning explorations of this achingly beautiful and sympathetic woman because, as Sonia Moore states, "A person's psychological and physical behavior is subject to the external influence of his environment." Soot's environment includes the time period of the piece and is complicated by the memory play nature of the script, but it adds context for Soot's behavior as a subservient 1950's housewife who feels as if she has very little control over her own world. According to Elaine Tyler May in her book Homeward Bound, "If a woman was not satisfied being a homemaker she was supposed to keep that information hush-hush and go about her daily activities as though nothing was wrong." This information provides further justification and adds strength to the logic of Soot's actions as she deals with the dysfunctional world of her family. The work I have done researching Soot's motivations appears to be relevant to the execution of the play. I may now begin to apply that research to the creation of Soot. The role of Soot provides a wonderful opportunity to develop and grow as a performer. A thesis role needs to supply the MFA candidate with significant challenges. This role has already provided huge opportunities to connect my research skills with my stage work. I believe the role of Soot will force me to push myself and apply all the skills and training I have received during my studies in order to do justice to the richness of the character.
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Date Issued
2008
Identifier
CFE0002381, ucf:47773
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002381
THE ESTATE OF MENDACITY: AN INTERPRETATION OF WILLIAMS'S MOST AMBIGUOUS CHARACTER
Title
THE ESTATE OF MENDACITY: AN INTERPRETATION OF WILLIAMS'S MOST AMBIGUOUS CHARACTER.
Creator
Bowlen, Daniel, Shafer, John, University of Central Florida
Abstract / Description
ABSTRACT I performed the role of Brick Pollitt at Lake Mirror Theatre in Lakeland, Florida from April 20- April 30 2006. The role of Brick Pollitt provided me with several acting challenges as well as multiple subjects to research. The most challenging aspects of portraying the character of Brick Pollitt are his alcoholism, issues of sexuality, and tormented familial relationships. Brick Pollitt journeys in the period of one day through major challenges in two key relationships. He moves from...
Show moreABSTRACT I performed the role of Brick Pollitt at Lake Mirror Theatre in Lakeland, Florida from April 20- April 30 2006. The role of Brick Pollitt provided me with several acting challenges as well as multiple subjects to research. The most challenging aspects of portraying the character of Brick Pollitt are his alcoholism, issues of sexuality, and tormented familial relationships. Brick Pollitt journeys in the period of one day through major challenges in two key relationships. He moves from dominance in his relationship with Maggie to capitulation and from isolation in his relationship with Big Daddy to mutual understanding. BrickÂÂ's relationships are further complicated by questions surrounding his recently deceased best friend Skipper and drives (alcoholism) that may be perceived as self destructive. My preliminary work has led me to believe Brick is in search of peace (ÂÂ'the clickÂÂ') in a tormented life (Williams, Cat 2.47). The nature of the torment needs further research for definition. Some critics argue Brick's sexuality is ambivalent, and he is repressing homosexual drives. Equally possible is arguing the homosexuality was restricted to Skipper. Making a decision about the definition of this relationship is key to making choices within the play because the friendship was so important to BrickÂÂ's perception of himself. Brick believed his relationship was the ÂÂ"one true and pure thingÂÂ" in a life filled with ÂÂ"mendacityÂÂ" (Williams, Cat 2.50). ÂÂ'MendacityÂÂ' is Bricks reference to his disgust with ÂÂ"lyinÂÂ' anÂÂ' liarsÂÂ" (Williams, Cat 2.50-51). He is lost without this anchor for his life and it has impacted his ability to interact with the world around him. Determining BrickÂÂ's sexuality in my portrayal will be central to my process while I also embrace research into related areas of behavior. To supplement my research of alcoholism and BrickÂÂ's sexuality, the following topics: • A Psycho-Analytical study of the character Brick Pollitt and his ÂÂ"archetypalÂÂ" relationships with Maggie, Big Daddy, Skipper, Gooper, and his place in society. • The evolution of the character Brick Pollitt through various scripts and screenplays. From WilliamsÂÂ's first script through to dealing with the Hays Code. A study of Tennessee Williams life history and the influence on the play. • The history of Cat on a Hot Tin Roof from its Morosco Theatre Broadway debut in New York City on March 24, 1955, followed by its film release in 1955 starring Paul Newman, Burl Ives, and Elizabeth Taylor. Any successful portrayal of Brick Pollitt in Cat on a Hot Tin Roof demands intense focus to individual relationships within the ensemble. The central theme of the play is ÂÂ'mendacityÂÂ' (deceit) (Williams, Cat 2.50). Brick uses this word to describe his disgust, but the ÂÂ'mendacityÂÂ' of his human relations in the aging and decaying Southern society is what troubles him (Williams, Cat 2.50). Discovering the ties between family, ÂÂ'mendacityÂÂ', and society are relevant to the execution of the play (Williams, Cat 2.50). I believe depiction of Brick Pollitt in this Pulitzer Prize winning American Classic will best present my abilities achieved in the Master of Fine Arts Program
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Date Issued
2010
Identifier
CFE0002981, ucf:47981
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002981
When Oppressed Women Attack: Female-Enacted Violence Through Minority American Female Playwrights' Works
Title
When Oppressed Women Attack: Female-Enacted Violence Through Minority American Female Playwrights' Works.
Creator
Busselle, Kate, Boyd, Belinda, Shafer, John, StClaire, Sybil, University of Central Florida
Abstract / Description
As an Actor Combatant with the Society of American Fight Directors, theatrical violence is something that has always captivated me. When a female combat instructor once told me that even though I throw a great punch I will never be able to use it because women are always on the receiving end of violence in theatre, I wondered if this was truly the case. After a thorough exploration of several works with theatrical violence, I am glad to say that it is not the case. When most scholars examine...
Show moreAs an Actor Combatant with the Society of American Fight Directors, theatrical violence is something that has always captivated me. When a female combat instructor once told me that even though I throw a great punch I will never be able to use it because women are always on the receiving end of violence in theatre, I wondered if this was truly the case. After a thorough exploration of several works with theatrical violence, I am glad to say that it is not the case. When most scholars examine violence in theatre, the focus is either male-centric or specifically on domestic violence situations involving a male abusing a female. I will examine theatrical violence through a new lens that has yet to be thoroughly critically explored: violence where the female is the aggressor. Through selected works of three American minority female playwrights: Suzan-Lori Parks' In the Blood, Maria Irene Fornes' Conduct of Life, and Young Jean Lee's Songs of the Dragons Flying to Heaven, I will analyze the female-enacted violence that occurs within these plays using feminist theories and psychology to examine how it happens, why it happens, who the victims are, and what these acts of violence say about minority American women in society today. I will explore the stage directions and dialogue surrounding the violence and analyzing the use or absence of weaponry, the breakdown or build-up of language prior to and after the violent action, and whether or not the violent action occurs before or after a violent action is committed against the female. For comparison, I will also analyze work by an American male playwright with violence in the same way: Tracy Letts' August: Osage County.
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Date Issued
2015
Identifier
CFE0006028, ucf:51018
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0006028
The Actor Process: Playing Multiple Characters
Title
The Actor Process: Playing Multiple Characters.
Creator
Brown, Danielle, Boyd, Belinda, Shafer, John, McDonald, Holly, University of Central Florida
Abstract / Description
This study examines the process used while preparing for the role of Daughter in Jim Helsinger's adaptation of A Christmas Carol: Being a Ghost Story of Christmas, performed at the Orlando Shakespeare Theater (OST). Within the framework of the play, Daughter is a character who is transformed into multiple roles. Her characters include Charity Collector, Belle, Martha Cratchit, Miner, Fred's Wife and Quarreler #1.Presented with the challenge of playing multiple roles in the same production, I...
Show moreThis study examines the process used while preparing for the role of Daughter in Jim Helsinger's adaptation of A Christmas Carol: Being a Ghost Story of Christmas, performed at the Orlando Shakespeare Theater (OST). Within the framework of the play, Daughter is a character who is transformed into multiple roles. Her characters include Charity Collector, Belle, Martha Cratchit, Miner, Fred's Wife and Quarreler #1.Presented with the challenge of playing multiple roles in the same production, I sought efficient and straightforward character development and analysis methods to strengthen my performance. Using Uta Hagen's nine questions as a scaffold, I composed a distinguishing analysis for each of my characters while utilizing skills cultivated in my MFA program at the University of Central Florida. I created an actor process motivated by the examination of my identity and circumstances at this point in my life. It is supported by a rehearsal and performance journal detailing my journey, followed by analysis.
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Date Issued
2016
Identifier
CFE0006270, ucf:51034
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0006270
Giving Theatrical Life
Title
Giving Theatrical Life.
Creator
Darrington, Quentin, Boyd, Belinda, Shafer, John, McDonald, Holly, University of Central Florida
Abstract / Description
An experience, early in my life, at the Tampa Bay Performing Arts Center opened my eyes to the transformative power of Theatre - it would shape my ambitions for performance, inform the choices I made about my acting career, and impel my passions. That single moment had a profound and lasting effect on my soul, one that would ultimately point me to the purpose of (")me;(") but what exactly was it? What transaction occurred between the performers on stage, and myself, and others in attendance...
Show moreAn experience, early in my life, at the Tampa Bay Performing Arts Center opened my eyes to the transformative power of Theatre - it would shape my ambitions for performance, inform the choices I made about my acting career, and impel my passions. That single moment had a profound and lasting effect on my soul, one that would ultimately point me to the purpose of (")me;(") but what exactly was it? What transaction occurred between the performers on stage, and myself, and others in attendance that evening?My life as an actor has been an incredible journey of growth. Over forty-six U.S. states, and abroad, I have performed in Broadway musicals, stage plays, concerts, recordings, cabarets, as part of political campaigns and sporting events, and in universities, schools, and churches. Acting has fundamentally changed the way I see people, and challenges the way I learn, express and see myself. As my imagination, creativity, and craft has grown, I remain profoundly impacted by my experience in Tampa, and I have often wondered exactly what happened that evening? Did it have anything to do with the synesthetic elements of the performance (-) the lights, sounds, or scenery? Was it specifically the music, the voices, the amazing singers? Perhaps it was the daring acting and story. Did it depend on particular foreknowledge or familiarity of skill, or craft? Was it something that happened by chance, or by design? Was it because of me? Or did it, somehow, override everything I was at the time? Was it something intangible that is present at some, or all, theatrical events that enlivened the experience? This paper seeks to provide answers to some of these questions. My process in seeking answers will be to chronicle my own life experience as a person/artist. Having begun a script a couple of years ago, I decided to return to solo performance as a means to help me determine what made the experience I related so memorable. The attempt is to write and perform a solo performance piece that chronicles the foundation of this incredible journey of growth, while shedding light on the initial Tampa experience. My intention is to gain an understanding about something I believe contributes to (")theatrical spirituality.(") I believe that the unique blending of the script and the interpretation of these words through acting can impart life. The combined force of the power of story and the spoken word can cause something tangible, something good, meaningful and of intrinsic worth to happen in an individual or audience as a result of a performance. It is my belief that the formation, articulation and expression of that understanding represents, in part, my acting philosophy (-) what I do and why I do it. In a broader and more important sense, however, it also represents my understanding of who I am and why I am.
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Date Issued
2016
Identifier
CFE0006094, ucf:51194
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0006094