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Title: BREAKING TRADITION: REACHING FOR THE AVANT-GARDE IN THEATRE FOR YOUNG AUDIENCES.
Creator: Hoppe, Meredith, Listengarten, Julia, University of Central Florida
Abstract / Description: This thesis seeks to unearth the concept of breaking tradition in the field of Theatre for Young Audiences (TYA) in the United States by applying the avant-garde theory of Arnold Aronson as a lens through which to investigate the current development of US TYA. After formulating an approach in which to negotiate the concept of the avant-garde, I draft five tenets that currently define tradition in the field of US TYA. Situating these five tenets against AronsonÃ‚Â's...
Show moreThis thesis seeks to unearth the concept of breaking tradition in the field of Theatre for Young Audiences (TYA) in the United States by applying the avant-garde theory of Arnold Aronson as a lens through which to investigate the current development of US TYA. After formulating an approach in which to negotiate the concept of the avant-garde, I draft five tenets that currently define tradition in the field of US TYA. Situating these five tenets against AronsonÃ‚Â's theoretical framework, I examine three contemporary US TYA plays from the past two centuries: Black Butterfly, Hush: An Interview with America, and Atypical Boy. Within these scripts, I probe for moments where these five tenets break to manifest possible tendencies toward the avant-garde. I then conclusively reflect and problematize these findings in order to raise questions about each scriptÃ‚Â's relationship to the avant-garde and significance to the development of the field, ultimately provoking further discourse surrounding the role of avant-garde methodology within US TYAÃ‚Â's current position and state of progression.
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Date Issued: 2009
Identifier: CFE0002968, ucf:47951
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002968

Title: The Revenge of the Second Banana: A Female Sidekick's Survival Guide.
Creator: Mason, Melissa, Weaver, Earl, Ingram, Katelyn, Lee, David, University of Central Florida
Abstract / Description: I returned to school to receive an MFA in Musical Theater for many reasons, but paramount was the need to further explore and develop my range as an actress. Throughout my career, I have played a variety of roles, but none as challenging or possibly as rewarding as the man-hungry secretary "(")Charlie"(") in James Valcq''s Zombies from the Beyond, produced by the Jester Theatre in Winter Garden, FL. Performing this role allowed me to achieve one of my objectives when entering the grad program...
Show moreI returned to school to receive an MFA in Musical Theater for many reasons, but paramount was the need to further explore and develop my range as an actress. Throughout my career, I have played a variety of roles, but none as challenging or possibly as rewarding as the man-hungry secretary "(")Charlie"(") in James Valcq''s Zombies from the Beyond, produced by the Jester Theatre in Winter Garden, FL. Performing this role allowed me to achieve one of my objectives when entering the grad program at UCF: to transition from a classical ing(&)#233;nue or soubrette into a leading lady or character actress; making Zombies from the Beyond the perfect capstone to my graduate experience.During the 1950s, American cinema was filled with sci-fi movies such as Forbidden Planet, The Thing from Another World, and Invasion of the Body Snatchers. Each movie depicted an otherworldly creature as the villain (a metaphor for the relationship between the United States and the USSR) who had only one purpose: total domination. Zombies from the Beyond aptly reveals the absurdity of the hysteria and paranoia surrounding the "(")cold war"(") and the "(")space race"(") that dominated America in the 1950s. The play makes comic use of the "(")double-red agent"(") and presents the belief that the space race and cold war inevitably were tied together, while examining Russia''s dirty tactics in the struggle for power.In addition to the historical ramifications of Zombies from the Beyond, post WWII America saw an explosive growth in female empowerment. Through each female character''s thoughts and actions on stage, Valcq''s musical tackles the struggle many women faced between the new feminist ideals and old-fashioned morals. My character, Charlene "(")Charlie"(") Osmanski, is the iconic man-hungry, working girl with a big heart (aka "(")The Sidekick"(")). She is a woman very much caught between the traditional values of the 1950s and the progressive, more feminist attitudes starting to take hold in the country.After accepting the role in Zombies from the Beyond, I realized my responsibility was to breathe new life into the role of the comedic sidekick while remaining true to the original vision and traditions that had been set forth by such brave comic pioneers as Rose-Marie, Thelma Ritter, and Vivian Vance. Faced with this daunting task and the enormity of creating a role with such a prominent historical and societal lineage, I asked myself, "(")What does an actor need to know in order to become the perfect sidekick?"(")To answer this compelling question and to ensure I did not fail in my task, I researched actresses who play a similar archetype; studied the evolution of the female comedienne; examined the audience''s relationship to the sidekick; and discussed the character''s future as an integral force in contemporary theatre, all in a convenient survival guide.Ultimately, the evolution of the mainstream audience and their shifting requirements for entertainment impact the sidekick''s portrayal on stage; however, since post-modernistic audiences no longer need one definitive stereotype or archetypal character, the ideas I set forth are not finite or absolute in nature. Instead, they create a basic foundation that serves as a guide for the actor when creating a similar character while ensuring the sidekick''s place as a relevant and sustainable character for generations to come.
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Date Issued: 2011
Identifier: CFE0004135, ucf:49110
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004135

Title: JERRY HERMAN'S LEADING LADIES.
Creator: Mansell, John, Wuehrmann, MFA, Nicholas, University of Central Florida
Abstract / Description: Jerry Herman is celebrated for his ability to showcase strong leading female roles in his canon of work that spans some fifty years. In writing such strong female characters, he must produce strong male counterparts to these women who can communicate on their level and not become overpowered by the womenÃ‚Â's presence. I was cast in the musical revue, ItÃ‚Â's Today: An Evening of Jerry Herman, conceived, directed, and choreographed by Earl D. Weaver...
Show moreJerry Herman is celebrated for his ability to showcase strong leading female roles in his canon of work that spans some fifty years. In writing such strong female characters, he must produce strong male counterparts to these women who can communicate on their level and not become overpowered by the womenÃ‚Â's presence. I was cast in the musical revue, ItÃ‚Â's Today: An Evening of Jerry Herman, conceived, directed, and choreographed by Earl D. Weaver. My portion of the revue explored HermanÃ‚Â's leading male roles of Cornelius from Hello, Dolly!; Mack from Mack and Mabel; Colonel Tadeusz Boleslav Stjerbinsky from The Grand Tour; and Albin from La Cage aux Folles, My analysis of these specific leading male roles uncovers how their relationships with their leading ladies defines their character in each of the musicals for which they were written. It also helped me define multiple characters in the course of a revue with no plot or storyline. Though all these male characters provided me with challenges, my greatest task was defining Albin in La Cage aux Folles. He provides a unique perspective in that he exemplifies a combination of both male/female characteristics. He is a man who regularly portrays a woman onstage in a drag club as well as assuming a female role in a homosexual relationship. He serves as the Ã‚Â"leading ladyÃ‚Â" for La Cage aux Folles though his character is considered a Ã‚Â"leading manÃ‚Â" role. He is the consummate representation of all Jerry Herman leading roles, and embodies many of the themes Herman utilizes in all his work.
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Date Issued: 2010
Identifier: CFE0003017, ucf:48346
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003017

Title: Writes of Spring 2014: Fostering Creativity in Theatre, Education, and Leadership.
Creator: Hodson, Alexandra, Weaver, Earl, Wood, Vandy, Siegfried, Judi, University of Central Florida
Abstract / Description: Creativity is valued in many fields. In theatre, creativity celebrates the imaginative power of a theatrical experience. In theatre for young audiences (TYA), creativity is extended from the stage to the classroom, where theatre empowers learning through creative and imaginative teaching. Teaching artists and theatre makers in the field of theatre for young audiences utilize creativity as a means of connecting artistic and educational value. Through professional development and qualitative...
Show moreCreativity is valued in many fields. In theatre, creativity celebrates the imaginative power of a theatrical experience. In theatre for young audiences (TYA), creativity is extended from the stage to the classroom, where theatre empowers learning through creative and imaginative teaching. Teaching artists and theatre makers in the field of theatre for young audiences utilize creativity as a means of connecting artistic and educational value. Through professional development and qualitative research, this project demonstrates the importance of creativity and its role in the classroom and on stage.This study examines my role as Project Coordinator in Orlando Repertory Theatre's (The REP) Writes of Spring 2014 and the developments I add to enhance the educational and artistic value and project. Specifically, I survey the findings of selected students' submissions in a creative writing contest by developing and facilitating an arts integration professional development workshop for their teachers. By evaluating these findings I gain insight into the positive effect of enhancing creativity in public school classrooms.To project the value of creativity further, I apply a theoretical framework to my research. Specifically, I apply creative pedagogy, constructivism, and collective creativity to develop a fully-supported educational and artistic project. This project allows students to find writing inspiration through theatre, guides teachers to find clarity in new practices through creativity, and encourages artists to celebrate creativity in developing and producing new works.
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Date Issued: 2015
Identifier: CFE0005627, ucf:50209
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0005627

Title: THE ROLE OF OTHER:AN EXPLORATION OF A FACILITATOR'S ROLE IN PLAYBUILDING WITH ECONOMICALLY DISADVANTAGED ADOLESCENT WOMEN.
Creator: Melnik, Laurie, Listengarten, Julia, University of Central Florida
Abstract / Description: During the Fall 2007 semester, I facilitated the devising of a new play with students from a school located in St. Louis, Missouri. As an employee of a mid-America prominent regional theatre company, the organization partnering with the school on this project, I was hired as the teaching artist who oversaw the students' playwriting. Both the school and the regional theatre company hoped my being there would assist the girls in writing a play that connected to their Top 20 Teens curriculum...
Show moreDuring the Fall 2007 semester, I facilitated the devising of a new play with students from a school located in St. Louis, Missouri. As an employee of a mid-America prominent regional theatre company, the organization partnering with the school on this project, I was hired as the teaching artist who oversaw the students' playwriting. Both the school and the regional theatre company hoped my being there would assist the girls in writing a play that connected to their Top 20 Teens curriculum as well as demonstrate the high standards that are expected of them by their school's administration. This is the second year that the school and the regional theatre company partnered on this project, and they discovered last year that the play's use of language and character development suffered due to hands off directing. Neither organization wanted this to happen again and decided that a facilitator needed to work with the girls throughout the entire playwriting process rather than allow the students free reign in hopes that they were challenged to make different decisions from last year's play. The school's student population stems from communities deemed economically disadvantaged, and my role in this project proved challenging due to the fact that I am not from the same population as the students. As a white, middle class female working in an inner city environment, I seem to be endowed with a modicum of perceived power, whether or not I agree with it or want it. In my experience, I have noticed a dynamic permeated by uneasiness due to past, and current, tensions between whites and other races. As a Caucasian entering an inner city environment, I felt like the obvious minority. Resulting from these situations, I assume the role of "other" when entering populations that differ from my own. In the case of the school, I felt my role as "other" increased due to working in an all-female environment with participants drawn from economically disadvantaged backgrounds. My role as "other" sparked the following questions for me: How do I facilitate this project as an "other," and how does this crucial, racial and socio-economic role affect the construction of my sessions with the participants? I was interested in documenting how I perceived this role relative to my participants and the partnering organization during my facilitation and in my conclusions after the project was completed. During my facilitation, I kept a journal that served as a self-action study during all of my sessions with the girls. The "in the moment" writings allowed me to capture those times when my role as "other" directly affected my approach to the facilitating of the playbuilding and the choices I made during the project. Afterward, I developed a conclusion section that was written a few months after the project had ended. I wanted to determine how my perception of "other" shifted, if at all, while I facilitated the project and after I had the time to reflect on the project. I discovered that my perception of "other" did change as I went through this project. During the study, I found myself aware of this shift, but noticed my awareness of power and privilege increased when I had time to reflect on the project months after it had ended. I discovered that I can be "other" in some instances while this role may not be apparent to my participants. My thesis documents how being "other" guided my choices as a facilitator, as well as when it did not seem to be the basis of my decision-making. From this study, I concluded that my being different racially and socio-economically led me to place an unnecessary filter over my work with the playbuilding project which caused me to have many challenges as a white teaching artist working in an inner city setting.
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Date Issued: 2008
Identifier: CFE0002119, ucf:47549
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002119

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.
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Date Issued: 2006
Identifier: CFE0000988, ucf:46699
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0000988

Title: Exploration of Teaching EL Students Using the Arts with the Focus on Theatre Arts.
Creator: Quintero, Carinita, Listengarten, Julia, Horn, Elizabeth, Mihai, Florin, University of Central Florida
Abstract / Description: Education has become a revolutionary field in which constant change and diversification of students in the classroom has sought for much differentiation in lessons and instructions. One of the popular forms for differentiation is that of drama or theatre techniques. Theatre has been used in many forms for fostering education. One of the elements from ESL teacher's experience is using theatre in the English as a Second Language classroom or EL class to aid students in learning English. The...
Show moreEducation has become a revolutionary field in which constant change and diversification of students in the classroom has sought for much differentiation in lessons and instructions. One of the popular forms for differentiation is that of drama or theatre techniques. Theatre has been used in many forms for fostering education. One of the elements from ESL teacher's experience is using theatre in the English as a Second Language classroom or EL class to aid students in learning English. The study focused on the influence theatre arts components have on students learning English as a second language. I proposed to present a detailed look at the influence of taking a theatre course for the EL students, as well as, using Theatre in the Language Arts classroom. I intended to incorporate observations and evaluations throughout the process to measure the level of English. Data from the evaluations was used for the analyzing of improvement or lack thereof English.
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Date Issued: 2018
Identifier: CFE0007079, ucf:52019
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0007079

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?
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Date Issued: 2014
Identifier: CFE0005138, ucf:50711
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0005138

Title: Applying Historiography to Fictional Works: A Case Study of William Inge's Picnic.
Creator: Murphy, Nicholas, Listengarten, Julia, Weaver, Earl, Helsinger, James, University of Central Florida
Abstract / Description: Historiography is the writing of history based on the examination of sources and synthesizing these sources into a narrative that will stand the test of critical methods. Historiography is not the study of history but rather provides a tool to analyze each written account of a historical event. The concepts of historiography are traditionally reserved for the study of factual based history and not for fictional events or people. However, just as history seems to evolve over time, authors also...
Show moreHistoriography is the writing of history based on the examination of sources and synthesizing these sources into a narrative that will stand the test of critical methods. Historiography is not the study of history but rather provides a tool to analyze each written account of a historical event. The concepts of historiography are traditionally reserved for the study of factual based history and not for fictional events or people. However, just as history seems to evolve over time, authors also revise their fiction work. If history is adapted and changed over time to fulfill the historian's desires, can fictional works also be adapted to better fulfill the author's intentions through the process of rewrites? Historiography allows us to understand that history is adapted and changed over time. Can the ideas of historiography be applied to fictional stories in order to understand why an author rewrites and revisits older works? How can a theatre practitioner understand and develop the most comprehensive version of a fictional text? Can he apply the same techniques used to deconstruct a historical event? Through a case study using William Inge's classic play Picnic I explored the possibility of using historiography as a tool for theater practitioners in developing new dramatic texts that synthesize various scripts into one new comprehensive text. Through this case study I developed a framework which allows the theatre practitioner to apply the ideas of historiography to the analysis of a collection of fictional works by the same author in order to create a new text, showcasing the effectiveness of applying four cruxes of historiography to fictional texts.
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Date Issued: 2013
Identifier: CFE0004729, ucf:49814
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004729

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

Title: A PERSONAL EXPLORATION INTO THE ETHICS AND RESPONSIBILITIES OF A THEATRE TEACHING ARTIST.
Creator: Dunn , Amie, Weaver , Earl, University of Central Florida
Abstract / Description: As an artist in the field of theatre for young audiences, I encounter many definitions of Ã‚Â'teaching artist,Ã‚Â' and within each definition lies a new set of physical, educational, and psychological responsibilities. While the term Ã‚Â'teaching artistÃ‚Â' continues to evolve and grow, I am interested in exploring a common struggle among teaching artists: What does it mean to be an ethical and responsible...
Show moreAs an artist in the field of theatre for young audiences, I encounter many definitions of Ã‚Â'teaching artist,Ã‚Â' and within each definition lies a new set of physical, educational, and psychological responsibilities. While the term Ã‚Â'teaching artistÃ‚Â' continues to evolve and grow, I am interested in exploring a common struggle among teaching artists: What does it mean to be an ethical and responsible teaching artist? This thesis allows me to create a personal definition of Ã‚Â'teaching artistÃ‚Â' while exploring the relationship between responsibility, ethics, and community-based teaching. I begin by formulating my current understanding and beliefs about what it means to be a responsible teaching artist. I research how others in the TYA field, specifically Michael Rohd, Stephani Etheridge Woodson and Barbara McKean have dealt with issues of ethics and responsibility through four specific questions: How does my personal culture, race, gender, sexual orientation, and beliefs positively or negatively affect the work I do with young people? How does a teaching artist manage an environment in which there are inherently therapeutic qualities, without stepping into the role of therapist, and maintain a healthy relationship with the young people and the work? How do teaching artists maneuver through a structure where the ideologies of the teacher are guiding the project on a macro level but not a micro level? Is it possible or necessary to share responsibility with young people? As a reflective artist I canÃ‚Â't help but question, challenge, and rethink choices I make in facilitation. I would venture to say it would be irresponsible not to do so. I am hopeful this exploration will not only improve my personal teaching but also allow and inspire others to take a look at their practice in terms of ethics and responsibility.
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Date Issued: 2010
Identifier: CFE0003012, ucf:48339
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003012

Title: Women in White: my journey into color.
Creator: Tarbox, Madison, Ingram, Kate, Boyd, Belinda, Brown, James, University of Central Florida
Abstract / Description: In many religious circles white is a symbol for purity, cleanliness, and perfection. However, white is also synonymous with empty, blank, and colorless. Women in White: My journey into color is a project centralized around a personal study of the cultural pressures of (")perfection(") presented both in religious cultures and in the every-day life of a performer. Utilizing the catalyst of a cabaret-style performance, Women in White explores the struggles of nine different female characters in...
Show moreIn many religious circles white is a symbol for purity, cleanliness, and perfection. However, white is also synonymous with empty, blank, and colorless. Women in White: My journey into color is a project centralized around a personal study of the cultural pressures of (")perfection(") presented both in religious cultures and in the every-day life of a performer. Utilizing the catalyst of a cabaret-style performance, Women in White explores the struggles of nine different female characters in the musical theatre cannon and aims to draw a personal connection from their journey. Inspired by the wise words of my own mother, this thesis celebrates the color present in our lives.
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Date Issued: 2017
Identifier: CFE0006959, ucf:51656
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0006959

Title: interACTionZ: Engaging LGBTQ+ Youth Using Theatre For Social Change.
Creator: Jackson, Jonathan, Weaver, Earl, StClaire, Sybil, Scott, Hubert, University of Central Florida
Abstract / Description: Theatre for social change is a term used to describe a wide range of theatre-based techniques and methods. Through implementation of performance techniques, participants are encouraged to creatively explore and communicate various ideas with the specific intention of eliciting a societal or political shift within a given community. Through this thesis, I will explore the impact of applying theatre for social change in a youth-centered environment. I will discuss my journey as creator,...
Show moreTheatre for social change is a term used to describe a wide range of theatre-based techniques and methods. Through implementation of performance techniques, participants are encouraged to creatively explore and communicate various ideas with the specific intention of eliciting a societal or political shift within a given community. Through this thesis, I will explore the impact of applying theatre for social change in a youth-centered environment. I will discuss my journey as creator, facilitator, and project director of interACTionZ, a queer youth theatre program in Orlando, FL formed through a partnership between Theatre UCF at the University of Central Florida and the Zebra Coalition(&)#174;. I will give specific focus throughout this project to Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ+) youth and straight advocates for the LGBTQ+ community.
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Date Issued: 2013
Identifier: CFE0005007, ucf:49989
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0005007

Title: DEVISING DRAMATURGY: AN INVESTIGATION INTO THE ART OF DRAMATIC COMPOSITION WHEN DEVISING THEATRE FOR YOUNG AUDIENCES.
Creator: Henry, Meghann, Alrutz, Megan, University of Central Florida
Abstract / Description: This thesis investigates the dramaturgy of devised theatre for young audiences, specifically children ages 2-5. The chapters dissect current applications of dramaturgy in regards to the development of dramatic and performance texts, and present an exploration of devised theatre. My research revolved around qualitative research tactics through a review of the current literature on dramaturgy and devising, unobtrusive data collection, and interviews with the artistic directors of three Theatre...
Show moreThis thesis investigates the dramaturgy of devised theatre for young audiences, specifically children ages 2-5. The chapters dissect current applications of dramaturgy in regards to the development of dramatic and performance texts, and present an exploration of devised theatre. My research revolved around qualitative research tactics through a review of the current literature on dramaturgy and devising, unobtrusive data collection, and interviews with the artistic directors of three Theatre for Young Audience (TYA) companies: Patch Theatre Company based in Adelaide, Australia, Theatre Mala Scena based in Zagreb, Croatia, and the Coterie Theatre located in Kansas City, Missouri. In addition, I viewed productions by each the above companies which helped to uncover how the artists move theory into practice based on their personal theories on TYA, dramaturgy, and devising. Through this research I reveal how dramaturgy proves a key element in moving improvisations into performance texts, creating theatrical experiences that capture the imaginations of the very young.
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Date Issued: 2008
Identifier: CFE0002157, ucf:47522
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002157

Title: DESIGN: FEEL IT, SEE IT, SPEAK IT, DO IT...
Creator: Yates, Sarah, Wood, Mary V., University of Central Florida
Abstract / Description: Description of Project: This project explores the design process for Tales of a Fourth Grade Nothing by Judy Blume (adapted for the stage by Bruce Mason) as performed at Orlando Repertory Theatre in Orlando, Florida. In this exploration, I approach the topics of the design process from conceptual discussions with the design team through closing night. I document this process with a lighting design journal (including thoughts about the design approach, renderings, sketches, research images,...
Show moreDescription of Project: This project explores the design process for Tales of a Fourth Grade Nothing by Judy Blume (adapted for the stage by Bruce Mason) as performed at Orlando Repertory Theatre in Orlando, Florida. In this exploration, I approach the topics of the design process from conceptual discussions with the design team through closing night. I document this process with a lighting design journal (including thoughts about the design approach, renderings, sketches, research images, rough plots and paperwork.) The project concludes with a self evaluation, completed plots and paperwork, and finished production photos.
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Date Issued: 2007
Identifier: CFE0001646, ucf:47238
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001646

Title: Gender Performance in Shakespeare's Twelfth Night.
Creator: Lee, Amanda, Listengarten, Julia, Snyder, Tara, Ingram, Kate, University of Central Florida
Abstract / Description: Cross-dressing is a recurrent theme in Shakespeare's comedies, and the theatrical trend of gender bending casting has added an extra layer of complexity to performing his work. How does the gender of the actor affect the performance of a role in Shakespeare? How does it affect the perception of the role, and how can an actor utilize that perception to connect more fully with the audience? How does the female perspective illuminate hitherto unexplored elements of Shakespeare's text and...
Show moreCross-dressing is a recurrent theme in Shakespeare's comedies, and the theatrical trend of gender bending casting has added an extra layer of complexity to performing his work. How does the gender of the actor affect the performance of a role in Shakespeare? How does it affect the perception of the role, and how can an actor utilize that perception to connect more fully with the audience? How does the female perspective illuminate hitherto unexplored elements of Shakespeare's text and characters? I was inspired by Orlando Shakes' all male production of Twelfth Night to research gender theory in relation to classical texts. I was largely inspired by Judith Butler's theories of gender performance, and herein use feminist and gender theory as a lens to view Shakespeare's work. I put on my own production of an All-Female Twelfth Night in which I played Viola. This thesis is an exploration of my process as a scholar, actor, and activist in the context of that production. It follows the journey from page to praxis, as I attempt to apply academic theories to live theatre. It is my intent that this will serve as a possible roadmap for future gender bending in Shakespeare productions, and to empower female theatre makers in that process.
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Date Issued: 2019
Identifier: CFE0007484, ucf:52660
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0007484

Title: STILL LIFE: A DRAMATURGICAL STUDY OF A VIETNAM WAR PLAY.
Creator: Fajerski, Lauren, Boyd, Belinda, University of Central Florida
Abstract / Description: Emily Mann's play Still Life is a story of a Vietnam War veteran who returns home to a less than enthusiastic welcome. Like most veterans from this war, he struggles to come to terms with the atrocities he witnessed and even carried out himself. The play consists of three characters: Mark, a Vietnam veteran, Cheryl, his wife, and Nadine, his lover. Both women believe they intrinsically understand Mark, but neither truly can. Mark has returned from the war violent, irrevocably broken, and...
Show moreEmily Mann's play Still Life is a story of a Vietnam War veteran who returns home to a less than enthusiastic welcome. Like most veterans from this war, he struggles to come to terms with the atrocities he witnessed and even carried out himself. The play consists of three characters: Mark, a Vietnam veteran, Cheryl, his wife, and Nadine, his lover. Both women believe they intrinsically understand Mark, but neither truly can. Mark has returned from the war violent, irrevocably broken, and feeling that he has been abandoned by society. Emily Mann interviewed real people and transcribed their words into theatre of fact to provide a fresh outlook into a tumultuous period of American history. This thesis will explore the historical and artistic significance of Emily Mann's Still Life and its depiction of the political and cultural atmosphere of post-war America. Specifically, I will discuss the reception of the Vietnam soldiers and how they were affected by the war socially, psychologically and economically. I will explore interviews detailing what these young men experienced while at war, how it affected them then and now, and discuss how these issues are reflected in Emily Mann's Still Life. In addition to interviews, my methodology will consist of scriptural analysis and quantitative research.
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Date Issued: 2008
Identifier: CFE0002004, ucf:47622
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002004

Title: A COSTUME DESIGN FOR RICHARD O'BRIEN'S THE ROCKY HORROR SHOW.
Creator: McChesney, Harmony, Tollefson, Kristina, University of Central Florida
Abstract / Description: This thesis documents my process as the Costume Designer for the University of Central Florida Conservatory Theatre's production of Richard O'Brien's musical, The Rocky Horror Show. The production opened on March 29, 2007 and ran for fifteen performances in the University of Central Florid's Mainstage Theatre before closing on April 15, 2007. This document presents the analysis, research, and design process that I used to create the costume design for the performance. In this...
Show moreThis thesis documents my process as the Costume Designer for the University of Central Florida Conservatory Theatre's production of Richard O'Brien's musical, The Rocky Horror Show. The production opened on March 29, 2007 and ran for fifteen performances in the University of Central Florid's Mainstage Theatre before closing on April 15, 2007. This document presents the analysis, research, and design process that I used to create the costume design for the performance. In this thesis, I document how I combined my own analysis and research with that of the director and design team to take the design from concept, through construction, to completion. This thesis will contain specific information on my design process including an analysis of the script, research, preliminary sketches, final designs, photographs of the production, and all paperwork I generated for the show. A journal of the challenges and solutions that I encountered during the design and construction process are included, along with a self evaluation and reflection on the finished production.
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Date Issued: 2010
Identifier: CFE0003524, ucf:48947
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003524

Title: APPLIED DESIGN: AN EXPLORATION OF ARTS INTEGRATION THROUGH THEATRICAL DESIGN IN THE FOURTH GRADE CLASSROOM.
Creator: Fuss, Alicia, Listengarten, Julia, University of Central Florida
Abstract / Description: The purpose of this action-research study is to explore a new pedagogical tool for myself as a teaching artist: Applied Design. My ideas around Applied Design are rooted in the field of Creative Drama, and grew out of a desire to explore theatrical design in the same process-centered way that Creative Drama explores informal and improvisational drama techniques. To this end, I attempt to determine how the use of Applied Design affects both student engagement and student understanding when...
Show moreThe purpose of this action-research study is to explore a new pedagogical tool for myself as a teaching artist: Applied Design. My ideas around Applied Design are rooted in the field of Creative Drama, and grew out of a desire to explore theatrical design in the same process-centered way that Creative Drama explores informal and improvisational drama techniques. To this end, I attempt to determine how the use of Applied Design affects both student engagement and student understanding when applied as an interdisciplinary tool to Language Arts curriculum. For the purposes of this study, I introduced Applied Design as a discovery teaching methodology through a one-week Language Arts unit in a local fourth grade classroom. I collected data from the students, their classroom teacher and myself through questionnaires, written work and personal observation. As I examined the data, I discovered positive relationships between Applied Design and both student engagement and student understanding. Students responded to the discovery teaching methods enthusiastically, and embraced each design project with a dedication that appeared to inspire students to push through difficult moments in effort to complete each given task. Although the length of the study and amount of data generated limited my ability to draw widespread conclusions, the evidence suggests that further study in the applications of Applied Design is merited. This study also begins to discuss what such future study might look like, in effort to push the exploration of Applied Design forward. Ultimately, this action research study reinforced my conviction that process-centered theatrical design can serve as a useful tool for myself as a teaching artist, and inspired me to move forward in my understanding and exploration of its applications.
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Date Issued: 2010
Identifier: CFE0003383, ucf:48435
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003383

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.
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Date Issued: 2015
Identifier: CFE0006027, ucf:51003
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0006027

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