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(1 - 9 of 9)
- Title
- A 16 BAR CUT: THE HISTORY OF AMERICAN MUSICAL THEATREAN ORIGINAL SCRIPT AND MONOGRAPH DOCUMENT.
- Creator
-
Sansom, Rockford, Bell, John, University of Central Florida
- Abstract / Description
-
Believing that a thesis should encompass all aspects of a conservatory training program, I will write and perform--in collaboration with my classmate Patrick John Moran--a new musical entitled A 16 Bar Cut: The History of American Musical Theatre as the capstone project for my Master of Fine Arts in Musical Theatre. A 16 Bar Cut will be a two-man show that tells the entire history of American musical theatre from the ancient Greeks to today in a tongue-in-cheek manner. The goal of the project...
Show moreBelieving that a thesis should encompass all aspects of a conservatory training program, I will write and perform--in collaboration with my classmate Patrick John Moran--a new musical entitled A 16 Bar Cut: The History of American Musical Theatre as the capstone project for my Master of Fine Arts in Musical Theatre. A 16 Bar Cut will be a two-man show that tells the entire history of American musical theatre from the ancient Greeks to today in a tongue-in-cheek manner. The goal of the project is to pay homage to an original American art form in a night of zany silliness and hilarity. The show will feature an informative perspective on the rise and current status of American musical theatre, several new songs, complete irreverence, and grown men singing, dancing, and making utter fools of themselves. Creating my thesis show will test and stretch my knowledge base of the musical theatre art form and virtually every skill that I have developed in my course of study. Since A 16 Bar Cut centers on the historical journey of musical theatre, constructing the new work will demonstrate my understanding of musical theatre history and literature. Performing the show will also challenge my ability and craftsmanship as an actor, singer, and dancer. Not only will I create a through-line character--a heightened, silly, professorial version of myself, but I will also create approximately fifty additional characters used throughout the show. The vocal and dance requirements for my track will also be numerous and demanding. And since the show travels through the major movements of musical theatre history, I will have to dance, sing, and act in the various styles and qualities of each movement and time period. Other significant challenges will center on script development. The first obstacle will be synthesizing music theatre into a single evening while maintaining an arc, storyline, and Patrick and my specific point of view about the genre. Another complexity to the show will be accessibility to the audience--how to be respectful to and informative about musical theatre, while at the same time being entertaining and funny to a wide array of audience members who will vary in musical theatre knowledge. In addition, developing a two-man thesis will require a complete collaboration with Patrick Moran. Since musical theatre is rarely--if ever--a solo art, working as a team will expand and exercise my collaborative abilities. And producing the show with Patrick will test supplementary skills such as marketing, resourcefulness, design and technical elements, etc. The Research and Analysis portion of my monograph document will be structured according to the M.F.A. Thesis Guidelines as applicable to my specific project. The (A) Research section will consist of a biographical glossary on all of the composers and lyricists referenced in A 16 Bar Cut. Librettists' information will be included when their work is pertinent. Additionally, each composer, lyricists, and librettists will be discussed in regards to their significance in musical theatre history. The (B) Structural Analysis section will describe the show's organization and construction and how the structural problems mentioned above are solved. The (C) Role Analysis section will have three sub-sections focusing on my different roles in the production as a playwright, producer, and actor.
Show less - Date Issued
- 2006
- Identifier
- CFE0001178, ucf:46875
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0001178
- Title
- A 16 BAR CUT:THE HISTORY OF AMERICAN MUSICAL THEATREAN ORIGINAL SCRIPT AND MONOGRAPH DOCUMENT.
- Creator
-
Moran, Patrick, Bell, John, University of Central Florida
- Abstract / Description
-
A final thesis for my Master of Fine Arts degree should encompass every aspect of the past few years spent in the class room. Therefore, as a perfect capstone to my degree, I have decided to conceive, write, and perform a new musical with my classmate Rockford Sansom entitled The History of Musical Theatre: A 16 Bar Cut. The History of Musical Theatre: A 16 Bar Cut will be a two-man musical that will capsulate all of musical theatre history in a single evening. Starting with the Greeks and...
Show moreA final thesis for my Master of Fine Arts degree should encompass every aspect of the past few years spent in the class room. Therefore, as a perfect capstone to my degree, I have decided to conceive, write, and perform a new musical with my classmate Rockford Sansom entitled The History of Musical Theatre: A 16 Bar Cut. The History of Musical Theatre: A 16 Bar Cut will be a two-man musical that will capsulate all of musical theatre history in a single evening. Starting with the Greeks and finishing in the present, the show will comedically inform the audience, while paying homage to, the astonishing art form called musical theatre, using several outrageous conventions such as a game show, spoof, mimicry, and most importantly, drag. The show will also pose the question to everyone: with all the great literature already created, where is musical theatre headed, and who is going to bring us there? Writing A 16 Bar Cut will test the training I have received and my mastery of musical theatre as an art form. The show will demonstrate my understanding and passion for several components used by authors and actors alike to create a musical. Being that the show is a capsulation of all musical theatre, A 16 Bar Cut will show my true mastery of the history and literature of musical theatre. I will be forced to hone my skills of the collaborative process at a new level, as never having to truly execute them with such intensity before. The challenges that lay ahead will be seen not only in the performance aspect, but also in the creation of A 16 Bar Cut. Since musical theatre has an immense range in genre and style, the ability to technically master these styles and genres will prove to challenge me as a performer, as well as a writer. In the performance, there will be three main challenges: vocal qualities, dance techniques, and my acting craft. The vocal styles used in A 16 Bar Cut will test my capabilities as a singer to meet the demands needed to convey the original material used as it was initially intended. As a dancer, the specific movements and "signatures" of the many choreographers will challenge me to understand and be able to re-create these "specifics" for an audience. The character building will test me as an actor, starting with one through-lined character--a heightened half-brained juvenile form of myself--along with building approximately fifty auxiliary characters throughout the show. As a writer, there are two major challenges that I foresee. The first challenge is the arc of the show--needing to keep a steady through-line that will let the audience understand what is happening and follow the history. The second obstacle is making sure the audience understands the show. I may be finishing an M.F.A. in Musical Theatre, but not everyone will be. In fact, some audience members may not know anything about musical theatre. This challenge arises trying to make the show funny to everyone, not just musical theatre dorks. The Research and Analysis portion of my monograph document will follow the course of action laid out in the M.F.A. Thesis Guidelines. The (A) Research section will include the biographical information pertaining to the composers and lyricists involved in the selected materials. Librettists of specific book shows that we choose to utilize as it pertains to our show will also be included in this section. I will also include a brief subsection of each composer, lyricist, and librettist's significance to musical theatre history. The (B) Structural Analysis section will discuss the structure and dramatic organization of how we choose to create A 16 Bar Cut. The (C) Analysis of the Role section will reveal how we employ the stock characters/ comedic duo of the straight man and funny man (i.e., Laurel & Hardy and Abbot & Costello). All other components outlined in the M.F.A. Thesis Guidelines will be included in my document.
Show less - Date Issued
- 2006
- Identifier
- CFE0001179, ucf:46865
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0001179
- Title
- Jindo On Becoming Shaman.
- Creator
-
Jo, Iljeen, Bartkevicius, Jocelyn, Milanes, Cecilia, Holic, Nathan, University of Central Florida
- Abstract / Description
-
Jindo is a novel that incorporates drawings, photos, symbols, and comic panels in collaboration with visual artists, Minna Moon and Myungee Jo. In addition to the drawings, the novel integrates Korean folktales and family mythology into the narrative. The hybrid work also weaves elements of speculative fiction, fantasy, realism, horror, and comedy game theory. The novel is told in the first person voice of Korean American, Jindo Cho.In the wake of a nationally televised humiliation, Jindo Cho...
Show moreJindo is a novel that incorporates drawings, photos, symbols, and comic panels in collaboration with visual artists, Minna Moon and Myungee Jo. In addition to the drawings, the novel integrates Korean folktales and family mythology into the narrative. The hybrid work also weaves elements of speculative fiction, fantasy, realism, horror, and comedy game theory. The novel is told in the first person voice of Korean American, Jindo Cho.In the wake of a nationally televised humiliation, Jindo Cho leaves the world of competitive figure skating to attend state college. When, at the beginning of the semester, his childhood best friend abandons him to join a whites-only fraternity, Delta Kappa, Jindo is left to fend for himself in a surprisingly racist campus. At a party he isn't invited to, Jindo rebels against his past, present, and future, and consumes an unnamed psychedelic compound. After ingesting the unknown compound, he gets thrown into a terrifying trip that he does not remember. Once the trip ends, Jindo relapses in strange ways. Visions show him scenes from the past, present, future, and (")other places(") as he fights to reconcile reality and meaning in the universe.The novel focuses on how Jindo comes to terms with his past, his dreams, and a traumatic memory he can't quite grasp, all the while exploring the genre of the novel itself, how novels may think, breathe, and evolve in form, and how an experiment in form itself can expose the pressures a character struggles against, in Jindo's case, racial stereotypes, gender norms, and the toxic expectations of a masculinity that encourages detachment and violence. This novel seeks to dismantle stereotypes while also providing readers a wildly entertaining time.
Show less - Date Issued
- 2018
- Identifier
- CFE0007020, ucf:52036
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0007020
- Title
- Toward the Red Shore.
- Creator
-
Bomhoff, Gary, Rushin, Patrick, Roney, Lisa, Thaxton, Terry, University of Central Florida
- Abstract / Description
-
A fictional novel utilizing third person limited narration from the perspective of the primary character, Ilya Kollide, who narrates the story as though it were happening in his head as it occurred, with frequent embellishments. He has come to live near an old mansion on the Trans-Siberian Railroad, named Neimasaurus, to find an antiquated, dusty world of faded aristocracy. Temporarily orphaned at the age sixteen by the recent death of his parents, he has traveled four thousand miles to live...
Show moreA fictional novel utilizing third person limited narration from the perspective of the primary character, Ilya Kollide, who narrates the story as though it were happening in his head as it occurred, with frequent embellishments. He has come to live near an old mansion on the Trans-Siberian Railroad, named Neimasaurus, to find an antiquated, dusty world of faded aristocracy. Temporarily orphaned at the age sixteen by the recent death of his parents, he has traveled four thousand miles to live with his last living relative, an uncle named Demetri, whom he has never met. The year is 1990, only this is not a world where the rule of the Tsar was supplanted by the Soviet Union. Instead, it is a logical exploration of what Russia might resemble, had communism never taken root. While the fantastical may or may not occur, depending upon how the reader chooses to interpret the point of view of the narrator, the setting in and of itself is not meant to be fantastical. Ilya discovers that all the servants who work there are deaf, as is his uncle and his own now deceased parents, whom he carries around in an urn after mixing their ashes together. While working at the great estate of the Neimasaurus family, Ilya discovers a surprising numbers of stories and people who both parallel his own experiences and serve as allegorical warnings toward his future mistakes in life. He becomes obsessed with the idea that he is to blame for his parents' death and sets out on a quest to bring redemption to the wounded inhabitants of the estate, only to discover that not everyone wants to be helped. In fact, they want him dead. They see him as an allegory, just as he sees them. To the young man Shoji Yamano, Ilya represents everything he was, and can no longer be. As such a reflection, he resolves to shatter Ilya like a mirror. The novel charts Ilya's personal growth from a neurotic wreck, incapable of normal interaction with people, to a young man capable of not just self-sacrifice, but an understanding of what it actually means to literally sacrifice himself for the well-being of someone he barely knows. He learns to value time spent with others rather than dwelling within a narcissistic and lonely fantasy world.?
Show less - Date Issued
- 2013
- Identifier
- CFE0004976, ucf:49591
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0004976
- Title
- BEYOND BLONDE: CREATING A NON-STEREOTYPICAL AUDREY IN KEN LUDWIG'S LEADING LADIES.
- Creator
-
Young, Christine, Wuehrmann, Nicholas, University of Central Florida
- Abstract / Description
-
American society possesses strong, if not basic, stereotypes for each hair color: the "dumb" blonde, the "intelligent" or "serious" brunette, and the "spitfire" redhead. In contemporary entertainment culture, blonde women have achieved unique status beyond the stereotypes accorded to their brunette and redheaded counterparts. Revered and reviled simultaneously, these women cannot be ignored or dismissed. The convention of the "dumb blonde" is at the heart of this issue. When scrutinized, it...
Show moreAmerican society possesses strong, if not basic, stereotypes for each hair color: the "dumb" blonde, the "intelligent" or "serious" brunette, and the "spitfire" redhead. In contemporary entertainment culture, blonde women have achieved unique status beyond the stereotypes accorded to their brunette and redheaded counterparts. Revered and reviled simultaneously, these women cannot be ignored or dismissed. The convention of the "dumb blonde" is at the heart of this issue. When scrutinized, it is possible to discern at least four distinctions of this stereotype: the perceived as truly dumb, or innocent, blonde (Johanna in Sweeney Todd); the bombshell blonde (Lorelei Lee in Gentlemen Prefer Blondes, Mae West in Dumb Blonde); the dumb-but-actually-intelligent blonde (Elle Woods in Legally Blonde, Galinda in Wicked); and the comedic blonde (Adelaide in Guys and Dolls). These characters presumably share more than their hair color and sex. By researching these blonde stereotypes, commonalities will be discovered and assessed for their applicability in character research. As this thesis explores the creation of Audrey in Ken Ludwig's Leading Ladies, a methodology for creating this type of character will be created. Through research and analysis of the various blonde stereotypes, an in-depth character and script analysis, and a journal of the creation process, it is my intention to reveal how a non-superficial portrayal of this character is possible and can be duplicated. Audrey's "blonde" traits will also be explored as they relate to the character's function within the play, emphasizing the ways her specified blondeness serves the play's needs. Analysis of the blonde stereotypes, script and character analyses, and the rehearsal journal will not only create a system for creating this type of character, but also will illuminate why this character type is important to comedic theatrical literature.
Show less - Date Issued
- 2009
- Identifier
- CFE0002694, ucf:48223
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0002694
- 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
- Title
- The Florida Project: A Micro-Budget Feature Comedy.
- Creator
-
Lancaster, Benjamin, Peters, Philip, Peterson, Lisa, Sandler, Barry, University of Central Florida
- Abstract / Description
-
The Further Adventures of Walt's Frozen Head is a feature comedy written, directed, and produced by Benjamin Lancaster. It is a part of the requirements for earning a Master of Fine Arts in Entrepreneurial Digital Cinema from the University of Central Florida.This film hopes to engage the popular urban legend and mythologies surrounding Walt Disney and the Disney company, and uses the story of a father letting go of his daughter to contradict the central messages of the Disney Company, i.e....
Show moreThe Further Adventures of Walt's Frozen Head is a feature comedy written, directed, and produced by Benjamin Lancaster. It is a part of the requirements for earning a Master of Fine Arts in Entrepreneurial Digital Cinema from the University of Central Florida.This film hopes to engage the popular urban legend and mythologies surrounding Walt Disney and the Disney company, and uses the story of a father letting go of his daughter to contradict the central messages of the Disney Company, i.e. believe in your dreams, and they will come true.A film of this subject matter requires the mircobudget approach due to the guerilla style shooting and the dismal prospect of financial returns.This thesis is a record of the film, from inception to completion with the plans for distribution.
Show less - Date Issued
- 2016
- Identifier
- CFE0006469, ucf:51414
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0006469
- Title
- Standing Up Comedy: Analyzing Rhetorical Approaches to Identity in Stand-up Comedy.
- Creator
-
Grabert, Christopher, Holic, Nathan, Wheeler, Stephanie, Brenckle, Martha, University of Central Florida
- Abstract / Description
-
My thesis addresses contemporary conversations about stand-up comedy and the art-form's capacity for facilitating complex rhetorical decision-making. I examine how stand-up comedians have positioned themselves on-stage through choices pertaining revealing personal behaviors, personas, and beliefs in public settings. Ultimately, I argue that the art of stand-up does not require truth-telling on-stage, and that there exists an implicit contract between performers and audiences which details...
Show moreMy thesis addresses contemporary conversations about stand-up comedy and the art-form's capacity for facilitating complex rhetorical decision-making. I examine how stand-up comedians have positioned themselves on-stage through choices pertaining revealing personal behaviors, personas, and beliefs in public settings. Ultimately, I argue that the art of stand-up does not require truth-telling on-stage, and that there exists an implicit contract between performers and audiences which details comedians' license to share falsehoods, exaggerations, and embellishments on-stage without the repercussions that accompany these actions in other discourse settings. Finally, I evaluate how comics have handled this rhetorical (")license,(") with some performers delivering easily identifiable falsehoods on stage through characters and caricatures, and others choosing to deliver autobiographical material in spite of the license. My research offers a framework through which audiences may digest the speech utterances in standup comedy performances as the product of purely rhetorical, calculated choices. I will propose that audiences treat each stand-up performance, no matter how seemingly intimate or personal, as artifice. I then offer case studies of three comedians who approach the notion of crafting anon-stage persona in different fashions and evaluate how each of these comedians utilize the implicit license of stand-up comedy. My research contributes to conversations in rhetoric and composition related to the performance of public and private (")selves.(")
Show less - Date Issued
- 2019
- Identifier
- CFE0007889, ucf:52773
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0007889
- Title
- Immediacy in Comedy: How Gertrude Stein, Long Form Improv, and 5 Second Films Can Revolutionize the Comedic Form.
- Creator
-
Hluch, Alexander, Listengarten, Julia, McCoy, Allen, Brotherton, Mark, University of Central Florida
- Abstract / Description
-
Comedy has typically been derided as second-tier to drama in all aspects of narrative. Throughout history, comedy has seen short shrift in both critical reception and academic investigation. Merit is simply placed on drama far before that of comedy. This is not for comedy's own lack of skill or craft, but simply for comedy's misappropriation as a narrative form. Throughout the years, by way of either competition or economic superiority, comedy has been pigeonholed into the typified dramatic...
Show moreComedy has typically been derided as second-tier to drama in all aspects of narrative. Throughout history, comedy has seen short shrift in both critical reception and academic investigation. Merit is simply placed on drama far before that of comedy. This is not for comedy's own lack of skill or craft, but simply for comedy's misappropriation as a narrative form. Throughout the years, by way of either competition or economic superiority, comedy has been pigeonholed into the typified dramatic structure that drama so thoroughly encapsulates. Being forced into a form that exemplifies complex, climactic structure and explicit character development, comedy in its purest form has suffered through the ages. Gertrude Stein's theory of Landscape Drama, and, more specifically, immediacy, is best attuned to comedy in its truest form. Comedy does not require sweeping character development, obtuse narrative design, or fantastic spectacle to produce superior works of art. Comedy, when compared to drama, exists best in a much more punctuated format. Stein's theories, while never intended for comedy, align absolutely perfectly with the comedic genre's design. And epitomized through long form improv on the stage, and the newly-fashioned digital short made profitable by the proliferation of the internet and digital culture, comedy's purest form has become more readily available as narrative has progressed throughout history. With this thesis, I intend to display the disparity between comedy and drama due to comedy's misallotment into a format that does not properly encapsulate it to its most fulfilling embodiment. Through this display, I seek to uncover the debt done to the comedic form from centuries of neglect in academic query and merit in order to best prove comedy's need for critical scrutiny. Further, in doing so I hope to better construe a community of comedic research and criticism in order to create better art and more diverse comedic offerings.
Show less - Date Issued
- 2013
- Identifier
- CFE0005097, ucf:50727
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0005097
