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Title: YOU CAN'T STOP THE BEAT: BRINGING MUSICAL THEATRE TO UNDERPRIVILEGED YOUTH.
Creator: Tsurumaki, Megan, Boyd, Belinda, University of Central Florida
Abstract / Description: In an age of standardized testing and quality-controlled classrooms, teachers have lost the freedom to integrate imagination and creativity in their lessons, ultimately cheating todayÃ‚Â's youth. In the classroom, students no longer have the outlets that transport them from the harsh realities of life. This thesis is an attempt to provide a venue for the Orange County Public School System that will engage the imaginations of under-represented or underprivileged students....
Show moreIn an age of standardized testing and quality-controlled classrooms, teachers have lost the freedom to integrate imagination and creativity in their lessons, ultimately cheating todayÃ‚Â's youth. In the classroom, students no longer have the outlets that transport them from the harsh realities of life. This thesis is an attempt to provide a venue for the Orange County Public School System that will engage the imaginations of under-represented or underprivileged students. The thesis will chronicle the development of a script with the intent of producing it in Title I elementary schools located in lower socio-economic areas of Orlando, Florida. The script will be based on Hans Christian AndersonÃ‚Â's fairy tale Ã‚Â"The Ugly Duckling.Ã‚Â" The final product will be a musical theatre piece to take into the school system to be performed by the students. The body of the thesis will contain my prior experiences of bringing musical theatre to underprivileged youth. The document will also include chapters detailing the process of creating the script and composing the music. Research will determine the socio-economic challenges prevalent in the under-represented cultures in the urban schools of Orlando. Finally, the thesis will contain a section of the actual script and will conclude with a chapter summarizing the reactions to the first reading of the play
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Date Issued: 2010
Identifier: CFE0003408, ucf:48397
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003408

Title: CAN A METHODOLOGY BE DEVELOPED FOR MUSICAL THEATRE CHOREOGRAPHY?.
Creator: Kelly, Kathleen, Weaver, Earl, University of Central Florida
Abstract / Description: Limited training exists for young, aspiring choreographers who wish to work in the realm of musical theatre. University programs turn you away if your focus is not on concert dance and few good books can be found on library shelves to gain knowledge. Most books that do exist are very outdated and lack the practical knowledge and information necessary to become a successful musical theatre choreographer today. This research will help to determine whether a methodology can be developed for...
Show moreLimited training exists for young, aspiring choreographers who wish to work in the realm of musical theatre. University programs turn you away if your focus is not on concert dance and few good books can be found on library shelves to gain knowledge. Most books that do exist are very outdated and lack the practical knowledge and information necessary to become a successful musical theatre choreographer today. This research will help to determine whether a methodology can be developed for training musical theatre choreographers. The research data collected stems from the creative minds of choreographers and performers. A select group of professional musical theatre choreographers completed surveys in regards to the craft. Three of the participants were observed using their creative teaching strategies in rehearsals. Furthermore, selected performers responded to a set of questions in regards to the selected participants' strategies. All of the collected data was analyzed to determine which choreographic methods and strategies result in the most successful rehearsal periods and products. The favored methods and strategies, as well as other information, assisted with recognizing the necessary knowledge that an excellent musical theatre choreographer must possess. That knowledge was divided into elements that will make up the courses within the desired methodology. The conclusion finds that a methodology for training musical theatre choreographers is obtainable, consisting of the study of the determined elements. With the development of a text and a university to pioneer the program, aspiring choreographers will have a way to gain beneficial knowledge and experience in the craft of musical theatre choreography.
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Date Issued: 2007
Identifier: CFE0001713, ucf:47315
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001713

Title: Boy Meets Boy: Envisioning Queer Youth Novels for Translation to the Stage.
Creator: Davis, Daniel, Chicurel, Steven, Wood, Mary, Rusnock, Joseph, University of Central Florida
Abstract / Description: Queer Youth, or young people who identify as lesbian, gay, bisexual, transgender, or questioning, is a demographic with an increasing presence in contemporary society. Along with this increased presence has come an increase in support groups available to these youths that range from Gay-Straight Alliances at their schools, community groups from their local gay and lesbian center to, most recently, theater companies that have begun to offer workshops and performance opportunities within the...
Show moreQueer Youth, or young people who identify as lesbian, gay, bisexual, transgender, or questioning, is a demographic with an increasing presence in contemporary society. Along with this increased presence has come an increase in support groups available to these youths that range from Gay-Straight Alliances at their schools, community groups from their local gay and lesbian center to, most recently, theater companies that have begun to offer workshops and performance opportunities within the Queer Youth Theatre genre. Queer Youth Theatre is an emerging form of topical theatre that deals with issues and situations queer youth may face in their daily lives. Few scripts exist that deal with topics related to LGBT youth, and most theatre groups that offer LGBT youth programs, such as the Pride Players from the Omaha Theater Company for Children and Young People in Omaha, Nebraska, rely on devising works for live performance. The Pride Players independently publish a (")Best of(") anthology for use by other groups wishing to use their devised material (Guehring2). Though these opportunities may be beneficial to the youths involved, there is still a need for scripted works to be available for queer youth to explore.This thesis project looks at two steps necessary to beginning the process of adapting LGBT young adult novels for the stage. First, an adaptation rubric must be created for use as a guide for identifying source material for translation to the stage. Second, the young adult novels Boy Meets Boy by David Levithan and Rainbow Boys by Alex Sanchez are evaluated for their strength as adaptations by applying the rubric with a directorial lens
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Date Issued: 2013
Identifier: CFE0004988, ucf:49547
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004988

Title: WHAT IS THEATRE'S ROLE AS A WORSHIP TOOL IN A MESSIANIC SYNAGOGUE?.
Creator: Pedraza, Jennifer, Alrutz, Megan, University of Central Florida
Abstract / Description: In this study, I worked with an ensemble of teenagers from Ayts Chayim Messianic Synagogue in Boca Raton, Florida to develop an original Purim play to be presented for the congregation and the public. I specifically explored "What is theatre's role as a worship tool in a Messianic Jewish Synagogue?" My ultimate goal in this process was to honor God through the creative arts, and I used the process of creating the play to discover the specific ways that theatre can be used as a worship...
Show moreIn this study, I worked with an ensemble of teenagers from Ayts Chayim Messianic Synagogue in Boca Raton, Florida to develop an original Purim play to be presented for the congregation and the public. I specifically explored "What is theatre's role as a worship tool in a Messianic Jewish Synagogue?" My ultimate goal in this process was to honor God through the creative arts, and I used the process of creating the play to discover the specific ways that theatre can be used as a worship tool, from script development to theatrical presentation. I hypothesized that theatre could be used as a worship tool if both the attitude of the artists is one of worship and the artists strive for excellence because it is ultimately for God. I furthermore hypothesized that worshipping throughout the process by way of the group's teamwork, attitude, and quality of work would be an integral part of producing a successful product. I sought to discover specifically what theatre as a worship tool looks like in the context of a Messianic Synagogue and what practices I glean from models of Christian drama ministries and what practices emerge from my process that are unique to Messianic theatre when used as a worship tool. How can I infuse my spiritual foundation with my artistic training? The majority of this project focused on the process of creating the play, from writing the script to dress rehearsals. The ensemble met weekly to explore the themes of the biblical story of Esther, brainstormed ideas for our adaptation, developed a script, and executed production aspects such as acting and design elements. Simultaneously, I kept a rehearsal journal with reflections on each lesson and the process as a whole. I completed research on contemporary theories and practices of Christian theatre artists in order to compare and contrast different approaches to faith-based theatre; these approaches are described in this thesis and conclusions are made as to how this research can be applied to my study. At the end of the presentation, I conducted interviews with members of the ensemble and the leaders of the congregation to receive feedback about the process, final presentation, and their perception of how theatre may be used as a worship tool. In this thesis, I write about the experience as a whole, evaluating our ability to use theatre as a worship tool for this specific presentation. I then process the implications this project has for future Messianic Jewish theatre, as well as the project's impact on my growth as a theatre artist. My final conclusions based on this experience are that theatre's role as a worship tool is to create an atmosphere where people are comfortable worshipping. Furthermore, the process of creating the play helped the youth and I discover how to be effective "ministers" and artists that create an atmosphere of worship. Based on my research, I posit that theatre can play many "roles" in the context of a Messianic synagogue: a bypass, sandpaper, or light, to name a few. Finally, artists and places of worship have something to contribute to one another, but both parties must move forward with the understanding that the Scripture provides a theological framework from which to base artistic choices and that artists need to develop their own specific approach to theatre while suiting the mission, vision, and values of the host congregation.
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Date Issued: 2007
Identifier: CFE0001742, ucf:47322
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001742

Title: EMULATING THE SWEDES: AN EXPLORATION OF THE DEVELOPING TRENDS IN SWEDISH THEATRE FOR YOUNG AUDIENCES.
Creator: Wolgast, Amanda, Alrutz, Megan, University of Central Florida
Abstract / Description: As a practitioner in the field of Theatre for Young Audiences (TYA), I have always been drawn to looking at literature and productions that challenge my preconceptions of what constitutes good theatre for youth. I enjoy the bold and innovative, versus the cute and playful. My training and education in this developing branch of theatre has undoubtedly exposed me to the many accomplishments of the American TYA system, but quite often – through attending conferences, as well as...
Show moreAs a practitioner in the field of Theatre for Young Audiences (TYA), I have always been drawn to looking at literature and productions that challenge my preconceptions of what constitutes good theatre for youth. I enjoy the bold and innovative, versus the cute and playful. My training and education in this developing branch of theatre has undoubtedly exposed me to the many accomplishments of the American TYA system, but quite often – through attending conferences, as well as participating in class discussions – I find that many debates/conversations center around what more we need to do in this field or what else we can do to make this field more relevant and interesting to young people. In my experience, I've found that discussions and opinions center around Americans looking elsewhere for theatrical models on which to shape their own practices. I began looking at international models of TYA, particularly those of European countries. Historically, theatre has been recognized and valued as an essential part of traditional European life, and Sweden is often recognized as a forerunner in creating and supporting experimental art forms. With this, I question what American theatre educators and artists can learn from Swedish TYA as we work to create more artistic and educational outlets that incorporate the youth perspective of the 21st Century. For this thesis, my interest lies in what I can learn from Swedish TYA. I question how major social and cultural factors shape Swedish children's theatre as a field, and how those factors play out within the artistic arena. I dissect various social and cultural factors in Sweden that contribute to the TYA field, and examine if/how two pieces of Swedish dramatic literature for children reflect those trends and influences occurring in Swedish theatrical practice. Specifically, I also examine how Swedish TYA scripts use elements of non-realism, and deal with taboo topics. Through an exploration of The Dreamed Life of Nora Schahrazade and One Night in February, I find considerable use of elements that extend beyond realistic norms, and it is through those non-realistic approaches that the taboo issues are dissected and explored.
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Date Issued: 2008
Identifier: CFE0002172, ucf:47514
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002172

Title: STEPHEN SONDHEIM'S GESAMTKUNSTWERK: THE CONCEPT MUSICAL AS WAGNERIAN TOTAL THEATRE.
Creator: Calderazzo, Diana, Listengarten, Julia, University of Central Florida
Abstract / Description: Stephen Sondheim, famous for writing such musicals as Company, Into the Woods, Sweeney Todd, and Assassins, is often referred to as the originator of the modern concept musical. Despite varying definitions of the concept musical, it is generally agreed that the form embodies a specific identity or mood, which it communicates to an audience both emotionally and intellectually. As such it offers audience members a complete experience resembling in theory the idea of "total theatre" proposed in...
Show moreStephen Sondheim, famous for writing such musicals as Company, Into the Woods, Sweeney Todd, and Assassins, is often referred to as the originator of the modern concept musical. Despite varying definitions of the concept musical, it is generally agreed that the form embodies a specific identity or mood, which it communicates to an audience both emotionally and intellectually. As such it offers audience members a complete experience resembling in theory the idea of "total theatre" proposed in the nineteenth century by composer Richard Wagner. My thesis will argue that the similarity between Sondheim's concept musical and Wagner's total theatre is more than purely theoretical; it is practical as well, involving structural parallels such as leitmotif, minor chord development, and intricate lyricism. Congruently, many of Sondheim's choices describing communication with audiences on the emotional and intellectual levels also recall those utilized by Wagner over a century earlier. These similarities not withstanding, Sondheim, as a contemporary artist, creates work that has often been described in terms of theoretical movements that post-date Wagner, including "desconstructionism" and Brechtian theatre. While these terms certainly describe some differences between the work of Sondheim and Wagner, I will argue that their existence with regard to Sondheim does not preclude a Wagnerian approach to the contemporary composer's work. Elements of deconstruction and Brechtian alienation may, in fact, be linked back to Wagner in specific manners. My thesis will explore these connections, concluding that an approach to the work of Sondheim in the vein of Richard Wagner may suggest a successful method of interpreting the contemporary concept musical.
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Date Issued: 2005
Identifier: CFE0000714, ucf:46598
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0000714

Title: TYA METHODOLOGYTWENTIETH-CENTURY PHILOSOPHY, ANDTWENTY-FIRST CENTURY PRACTICE:AN EXAMINATION OF ACTING, DIRECTING, AND DRAMATIC LITERATURE.
Creator: McCoy, Allen, Alrutz, Megan, University of Central Florida
Abstract / Description: Throughout the twentieth century, theatre for young audiences (TYA), or children's theatre, has been situated as something "other" or different than adult theatre, a kind of theatre--but not really theatre, a construct which opened the door to numerous "how to" philosophies geared specifically toward the theatre for young audiences practitioner. As a twenty-first century theatre practitioner, I am interested in how these philosophies are situated within or against current professional...
Show moreThroughout the twentieth century, theatre for young audiences (TYA), or children's theatre, has been situated as something "other" or different than adult theatre, a kind of theatre--but not really theatre, a construct which opened the door to numerous "how to" philosophies geared specifically toward the theatre for young audiences practitioner. As a twenty-first century theatre practitioner, I am interested in how these philosophies are situated within or against current professional practices in the TYA field. This interest led me to the main question of this study: What are the predominant twentieth-century philosophies on acting, directing, and dramatic literature in the TYA field; and how do they compare to what is currently practiced on the professional American TYA stage? In order to explore current practice, I focused on three theatres, two of which are nationally recognized for their "quality" TYA work, the Seattle Children's Theatre and the Children's Theatre Company in Minneapolis. The third company, the Orlando-UCF Shakespeare Festival, is one of the largest Shakespearean festivals in the country, and has a growing theatre for young audiences program. Between June and October of 2006, I conducted numerous interviews with professional managers, directors, and actors from these organizations. I also attended productions of Pippi Longstocking (Children's Theatre Company), Honus and Me (Seattle Children's Theatre), and Peter Rabbit (Orlando-UCF Shakespeare Festival). It was through these interviews and observations of these productions that I was able to gain data--methodology, techniques, and philosophy--on twenty-first century TYA acting, directing, and dramatic literature. My study has uncovered that although there are numerous twentieth-century "how to" philosophies, many current TYA practitioners are unfamiliar with them. Most of the twenty-first century TYA practice that I studied follows the trends of the adult theatre. This thesis serves as the culmination of my Master of Fine Arts in theatre for young audiences at the University of Central Florida. However, it is not a culmination of my study on the theatre for young audiences field. Past philosophies paired with current methodology, while providing models of quality, also open the door to numerous ideas for further study. This thesis challenges me in examining my own notions of quality acting, directing, and dramatic literature in the TYA field; and it is my hope that this challenge makes me a more informed, deliberate, and responsible theatre practitioner.
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Date Issued: 2006
Identifier: CFE0001467, ucf:47098
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001467

Title: DRAMA HAS ISSUES: A BRIEF RETROSPECTIVE ON THE AMERICAN THEATRE CRITIC IN NEW YORK FROM 1925 TO PRESENT.
Creator: Kilzi, Teresa, Weaver, Earl, University of Central Florida
Abstract / Description: Theatre criticism has evolved with the advancement of technology and the decline of print journalism. As consumers are given increasing agency by which they can filter the news and reporting they read and occasionally replace it with their own, the idea that a sole voice on a certain topic brandishes more dominance over it than the masses of people involved in its creation and sustainment becomes progressively absurd. Conversely, however, readers rely on theatre critics to make theatergoing...
Show moreTheatre criticism has evolved with the advancement of technology and the decline of print journalism. As consumers are given increasing agency by which they can filter the news and reporting they read and occasionally replace it with their own, the idea that a sole voice on a certain topic brandishes more dominance over it than the masses of people involved in its creation and sustainment becomes progressively absurd. Conversely, however, readers rely on theatre critics to make theatergoing decisions for them explicitly because critics are supposed experts on the subject and their opinions are to be respected and observed accordingly. This dichotomy is baffling, but it exists in flux of communication and information that continues to grow as social media develops and becomes ubiquitous. From 1925 onward, Brooks Atkinson, Walter Kerr, Frank Rich, and Ben Brantley have inhabited the same position of chief theatre critic of The New York Times for almost ninety years collectively, yet each critic served very different purposes for their readerships. The prestige that exists around their role did not change over time, but prominence of their publication in popular culture and the utilization and connotation of their criticism did change. The trend is also apparent in the criticism that appears in The New Yorker, particularly because the criticism was not originally consumed for its evaluative and scholarly properties but for its entertainment and cultural magnitudes. The American theatre critic will continue to forge its own prominence in the boundless landscape of the potential of modern technology as it progresses, but ultimately, people will buy tickets, the audience will fill the house, and the show will go on.
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Date Issued: 2015
Identifier: CFH0004891, ucf:45415
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFH0004891

Title: INVESTIGATING THE 'AUDIENCE' IN THEATRE FOR YOUNG AUDIENCES: THE CALL FOR ARTISTIC EDUCATORS.
Creator: Morris, Amanda, Alrutz, Megan, University of Central Florida
Abstract / Description: Theatre history provides little information on theatre audiences and how the concept of an audience has changed over time. Through the investigation of theatre history texts, theatre theorists' manifestos, and interviews with workers in the field of theatre for young audiences, this thesis outlines the theatre audience from the first performance to the present and examines how the history of the concept of "child" and young audiences has developed in recent years. Opposing views exist on...
Show moreTheatre history provides little information on theatre audiences and how the concept of an audience has changed over time. Through the investigation of theatre history texts, theatre theorists' manifestos, and interviews with workers in the field of theatre for young audiences, this thesis outlines the theatre audience from the first performance to the present and examines how the history of the concept of "child" and young audiences has developed in recent years. Opposing views exist on the subject of how a child is perceived as well as the purpose and role of a theatre audience. In this thesis, I investigate the classical, romantic, realist, modern, and current theatre movements and how scholars and theorists have perceived or written about their audiences in an effort to cultivate an understanding of what an audience is today and how the concept of theatre etiquette has or has not changed throughout history in order to relate these findings to experiences of audiences today. I began this thesis with a general knowledge of "audience," from a personal perspective as a performer and audience member. However, through my collected data, I find that audiences are valued in distinctive ways throughout various movements in theatre history. With this understanding, I wrote a short book to help young audience members to understand what the present conventions are as a theatre audience member.
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Date Issued: 2008
Identifier: CFE0002268, ucf:47874
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002268

Title: WRITES OF SPRING: A STUDY OF COMMUNICATION WITHIN COLLECTIVE DEVISING.
Creator: Adams, Jennifer, Weaver, Earl, University of Central Florida
Abstract / Description: Communication is a pivotal element in creating theatre with other artists, with audiences, and with the outside world. Theatre artists are required to collaborate at nearly every step of the process. Despite the necessity of highly developed collaboration skills, communication in the creation of theatre is an often-underdeveloped curriculum area. As a Director and Teaching Artist I am particularly interested in how to find new ways of collaborating so I may model and pass these skills to my...
Show moreCommunication is a pivotal element in creating theatre with other artists, with audiences, and with the outside world. Theatre artists are required to collaborate at nearly every step of the process. Despite the necessity of highly developed collaboration skills, communication in the creation of theatre is an often-underdeveloped curriculum area. As a Director and Teaching Artist I am particularly interested in how to find new ways of collaborating so I may model and pass these skills to my students. Through a qualitative research survey of communication used in collaborative devising, this research analyzes environments that improve communication and allow for maximum creativity in an effort to develop critical communication pedagogy. This study examines my approach in working through a devising process as the Coordinator of a collaborative group of adults creating an original play. I examine our process and make connections as to how devising influenced my future work as a Director and Teaching Artist. By examining the theatres that make extensive use of ensemble devising as a tool for creating theatre, I gained insight into more collaborative ways of working. This research found support through examination of group communication theories and methods in which they promote collaborative spirit. Finally, critical pedagogy offered a lens through which I can impart these discoveries to young artists. I discovered ways to use the model of devising to open the possibilities for my students to take ownership over their processes and the art they create. I also gained insight into the role of facilitator in order to develop ways of modeling and teaching these communications. Communication pedagogy in the theatre allows me the tools to identify, question, and transform my experiences in creating theatre as a director and teaching artist.
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Date Issued: 2011
Identifier: CFE0003610, ucf:48878
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003610

Title: A PERFORMANCE STUDY AND ANALYSIS OF THE ROLE OF MRS. MEDLOCK IN THE SECRET GARDEN.
Creator: Stern, Samantha, Ingram, Kate, University of Central Florida
Abstract / Description: This thesis will examine the character of Mrs. Medlock in the Orlando Shakespeare Theatre's "Theatre for Young Audiences" stage production of The Secret Garden. While recording my preparation and performance of the role, I will be drawing on and integrating many of the skills I have been acquiring in my Master's Degree program at UCF, including not only acting, movement, and voice, but also theatre research. My goals are twofold: first, to document the method of creating a rich, multi...
Show moreThis thesis will examine the character of Mrs. Medlock in the Orlando Shakespeare Theatre's "Theatre for Young Audiences" stage production of The Secret Garden. While recording my preparation and performance of the role, I will be drawing on and integrating many of the skills I have been acquiring in my Master's Degree program at UCF, including not only acting, movement, and voice, but also theatre research. My goals are twofold: first, to document the method of creating a rich, multi-layered, remarkable character, and second, to try to solidify what I have learned about this process and thus prepare for future roles in my career.
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Date Issued: 2008
Identifier: CFE0002085, ucf:47602
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002085

Title: THE ANATOMY OF A PRODUCTION: THE ANALYSIS OF THE DIRECTORIAL JOURNEY MOUNTING "STEEL MAGNOLIAS" FOR THE STAGE.
Creator: Tiwar, Aradhana, Harris, Lani, University of Central Florida
Abstract / Description: This study is based on the Vine Theater Company's production of "Steel Magnolias" performed in March of 2007 at the Garden Theater in Winter Park Florida, directed by Aradhana Tiwari. This document examines the directorial journey from vision to the stage. Specifically it will explore a.) The dynamics of the production process from a directorial lens. b.) Interpreting Harling's text for design and performance c.) The development of an artistic aesthetic through collaboration. In May...
Show moreThis study is based on the Vine Theater Company's production of "Steel Magnolias" performed in March of 2007 at the Garden Theater in Winter Park Florida, directed by Aradhana Tiwari. This document examines the directorial journey from vision to the stage. Specifically it will explore a.) The dynamics of the production process from a directorial lens. b.) Interpreting Harling's text for design and performance c.) The development of an artistic aesthetic through collaboration. In May of 2007, I mounted a production of "Steel Magnolias" for the Orlando International Fringe Festival. The show was performed in the Universal, a thrust space at the Orlando Repertory Theater. Soon after, Producers Stephanie Williams invited me to direct the same production again for her theater company, The Vine. This time the show will be mounted in a proscenium space called the Garden Theater, located in Winter Garden's Historical Preservation District. We will have three to four weeks of rehearsal. Two of those weeks will be in an alternate rehearsal space with one week on set prior to open. The show will run from March 7th through the 22nd with a few days in the dark. We will soon re-audition the show and open it up to professional actors. I am being paid a set sum for directorial responsibilities and an additional sum for sound design of the show. I'll be collaborating with Lighting Designer Erin Minor and Set Designer Tommy Mangieri, and costume designer Kelly VanDyke. We are all advised to stay within the parameters of a set budget. A tech crew will be provided by the Vine Theater Company. Everyone involved with the production is being compensated for their work, specific sums are at the producers discloser. My early vision for this production is romanticized realism. From the set, to lighting, costumes, sound and even blocking. My goal is to execute a "slice of life" in this salon located in a tiny Louisiana parish during the mid 1980's within a slightly romanticized portrait. One of the ways I'll go about doing this is to create a series of character building exercises tailored to the specific story. I aim to craft real characters with honest moments, but frame them inside a slightly romanticized set and proscenium blocking. Some of the challenges I'll be exploring in this study are how to adapt a thrust show to a proscenium, how to integrate old and new cast members into a unified process and progression, how to facilitate a collaborative process and lastly, how to achieve an artistic vision while sustaining the integrity of a small budget. The materials I'll be submitting is a collection of research, a log of technical needs and other printed information, reflections on every aspect of production such as set, sound, lighting, costumes, and a detailed rehearsal journal logging the production progression. These documents will track design ideas and archive any required changes that ensue. Finally, upon completion of the show I'll write a post -production summary. This will examine how close I got to my original goals, evaluate the process I implemented, highlight necessary modifications that were made along the way, and discus what I learned from the experience.
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Date Issued: 2009
Identifier: CFE0002550, ucf:47641
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002550

Title: THE CHALLENGE OF PLAYING MULTIPLE ARTHURIAN CHARACTERS.
Creator: Lowa, Cynthia, Boyd, Belinda, University of Central Florida
Abstract / Description: This thesis examines the portrayal of multiple roles in a production of Camelot, written by Alan Jay Lerner and Frederick Loewe. Performance and content analysis identifies and explores the difficulties and challenges in portraying multiple roles in this production, including the understudying of the leading role of Guenevere. A detailed historical analysis provides background into origin of the Arthurian legend and an examination of its historical development. A social analysis provides...
Show moreThis thesis examines the portrayal of multiple roles in a production of Camelot, written by Alan Jay Lerner and Frederick Loewe. Performance and content analysis identifies and explores the difficulties and challenges in portraying multiple roles in this production, including the understudying of the leading role of Guenevere. A detailed historical analysis provides background into origin of the Arthurian legend and an examination of its historical development. A social analysis provides information on the role of women in medieval society with a discussion of the customs and laws that applied to them. Furthermore, a structural analysis of the script examines the plot and play structure. In addition, in individual sections is formal scene-by-scene analysis of the role of Nimue, Lady Anne, and Guenevere. A comprehensive rehearsal and performance journal also addresses the rehearsal and script development process and challenges faced as well as discoveries, adjustments, and choices made in performance from April 14 to May 30, 2004 at the Orlando Broadway Dinner Theatre. Specific entries include discussion of the challenges of playing minor roles while understudying the role of Guenevere, eventually played in one performance. Belinda Boyd and Christopher Niess, my thesis committee, have each provided a performance analysis of my portrayal of Nimue and Lady Anne. J.J. Ruscella, another committee member, has provided a performance analysis of my performance as Guenevere.
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Date Issued: 2004
Identifier: CFE0000225, ucf:46265
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0000225

Title: THE LARAMIE PROJECT: THE SEARCH FOR A PERSONAL ACTING METHOD VIA THE PRINCIPLES OF CONSTANTIN STANISLAVKSI.
Creator: Hamner, Matthew, Sloan, Roberta, University of Central Florida
Abstract / Description: Constantin Stanislavski developed a method for actors in bringing to life characters for the stage. Even though Stanislavski developed his theories in response to the stage climate of the late nineteenth and early twentieth centuries, many of his ideas remain relevant today. In this study, parts of his system were applied to the roles performed in Moisés Kaufman's The Laramie Project. Those roles were Moisés Kaufman, Jonas Slonaker, Doug Laws, Anonymous, Detective Rob Debree,...
Show moreConstantin Stanislavski developed a method for actors in bringing to life characters for the stage. Even though Stanislavski developed his theories in response to the stage climate of the late nineteenth and early twentieth centuries, many of his ideas remain relevant today. In this study, parts of his system were applied to the roles performed in Moisés Kaufman's The Laramie Project. Those roles were Moisés Kaufman, Jonas Slonaker, Doug Laws, Anonymous, Detective Rob Debree, Governor Jim Geringer, Reverend Fred Phelps and Dennis Shepard. The purpose of this exploration was to create unique, believable characters and develop solutions for personal acting problems. Through this study, it was concluded that this method empowered me as I sought ways to personalize with the reality of the characters.
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Date Issued: 2006
Identifier: CFE0000916, ucf:46719
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0000916

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

Title: An Examination of the actor's approach to playwriting: Are playwrights able to write about what is unfamiliar to them?.
Creator: Zaniboni, Kayla, Perry, Charles, Ingram, Katherine, McDonald, Holly, University of Central Florida
Abstract / Description: Playwrights write about what is familiar to them. Their inspiration comes from their childhood, past relationships, and their personal view of the world. But could a playwright write about something to which they have no personal connection?Using the book Triggered: A Memoir of Obsessive-Compulsive Disorder, I will write a one act play about mental illness. I have no personal experience or personal connection to mental illness, but I will approach the process the same way as an actor does a...
Show morePlaywrights write about what is familiar to them. Their inspiration comes from their childhood, past relationships, and their personal view of the world. But could a playwright write about something to which they have no personal connection?Using the book Triggered: A Memoir of Obsessive-Compulsive Disorder, I will write a one act play about mental illness. I have no personal experience or personal connection to mental illness, but I will approach the process the same way as an actor does a character. I will go into the writing process as an actor, completing character analyses for the characters and using the information found within the book.I will direct a reading of my play with the goals of educating the audience about mental illness, evoking empathy for the characters within the piece, and proving that a playwright can write about something that is foreign to them, much like an actor can portray a character that is remarkably different from themselves.
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Date Issued: 2013
Identifier: CFE0004776, ucf:49787
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004776

Title: Attention Must Be Paid: A Critical Study of the Non-Traditional Leading Man in Twentieth Century Drama.
Creator: Cooper, Trevin, Chicurel, Steven, Listengarten, Julia, McCoy, Allen, University of Central Florida
Abstract / Description: The role of the non-traditional leading man has painted a strong image which mirrors the cultural development of our identities; we turn to these men/characters to understand who, or why, we are. Their contributions require acknowledgement. This thesis is a study of the vital role the non-traditional leading man has played in the evolution of twentieth-century theatre. It will examine, through the use of ten plays, one from every decade of the twentieth century, and twelve male roles, the...
Show moreThe role of the non-traditional leading man has painted a strong image which mirrors the cultural development of our identities; we turn to these men/characters to understand who, or why, we are. Their contributions require acknowledgement. This thesis is a study of the vital role the non-traditional leading man has played in the evolution of twentieth-century theatre. It will examine, through the use of ten plays, one from every decade of the twentieth century, and twelve male roles, the theory that some of the greatest leading male characters in modern theatre are not epitomized by the qualities identified with the stereotypical, romantic leading man, but instead by characters who serve as a representative of the evolution of man, and his ever-changing role in history.
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Date Issued: 2013
Identifier: CFE0004665, ucf:49880
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004665

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.
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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.
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Date Issued: 2006
Identifier: CFE0001179, ucf:46865
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001179

Title: THE USE OF FOLEY IN LIVE THEATRE AS DEMONSTRATED THROUGH THEATRE UCF'S PRODUCTION OF SHIPWRECKED! AN ENTERTAINMENT- THE AMAZING ADVENTURES OF LOUIS DE ROUGEMONT (AS TOLD BY HIMSELF).
Creator: Narciso, Anthony, Perry, Charles, University of Central Florida
Abstract / Description: Foley, a term named after Universal Studios sound pioneer Jack Foley, is an all-encompassing word for the creation of sound effects with materials that can emulate the sound of real world occurrences. While it is used heavily in the film and television world, Foley does not see much direct use in live theatrical performances. The widespread availability and use of prerecorded sound effects has altered the field of theatrical sound design. With thousands of audio files at a designer's disposal...
Show moreFoley, a term named after Universal Studios sound pioneer Jack Foley, is an all-encompassing word for the creation of sound effects with materials that can emulate the sound of real world occurrences. While it is used heavily in the film and television world, Foley does not see much direct use in live theatrical performances. The widespread availability and use of prerecorded sound effects has altered the field of theatrical sound design. With thousands of audio files at a designer's disposal, the need to create custom sounds is reduced. However, certain scripts do call for the use of live Foley. While most of these plays are staged radio dramas, Donald Margulies's Shipwrecked! An Entertainment... is a brilliant theatrical work that focuses on the art of storytelling. His request for a Foley Artist is a request to stay true to the essence of the play. This thesis will detail the production process for a theatrical Foley designer by outlining the research, design, and execution phases and detailing the experimental nature of adding Foley to a live theatre performance.
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Date Issued: 2014
Identifier: CFH0004544, ucf:45209
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFH0004544

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