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SEEKING A VISION, FINDING A VOICE: EXPLORING THE MUSICALITY OF THEATRE THROUGH MULTIDISCIPLINARY PRACTICE
Title
SEEKING A VISION, FINDING A VOICE: EXPLORING THE MUSICALITY OF THEATRE THROUGH MULTIDISCIPLINARY PRACTICE.
Creator
Kromer, Tara, Weaver, Earl, Wood, Vandy, Chicurel, Steven, Mark, Mark, University of Central Florida
Abstract / Description
In classrooms and textbooks the (")Director's Vision(") is often identified as the unifying concept for the production, and my goal in returning to graduate school was to explore my own vision as a director. In my own practice as a director, I tend to (")hear(") the play in my head before visualizing it. From my interpretation of the text, to the staging of the performers, to my collaboration with design team, my approach to the production of theatre stems from a place of musicality. Seeking...
Show moreIn classrooms and textbooks the (")Director's Vision(") is often identified as the unifying concept for the production, and my goal in returning to graduate school was to explore my own vision as a director. In my own practice as a director, I tend to (")hear(") the play in my head before visualizing it. From my interpretation of the text, to the staging of the performers, to my collaboration with design team, my approach to the production of theatre stems from a place of musicality. Seeking a Vision, Finding a Voice explores my creative journey as multi-disciplinary theatre artist through a series of case studies detailing my practice as a Director/ Sound Designer. It examines my evolving process, which often utilizes audio collage to shape the dramatic arc of a piece or scene, experiments with using music to inform character, emotion, and movement, and values the impulses of the cast and creative team as important collaborative resources. By detailing my process on three productions (as Director/ Sound Designer of the University of Central Florida's Theatre for Young Audience's Tour, Emily Freeman's And Then Came Tango, as the Assistant Director/ Dramaturg/ Sound Designer for UCF's production of Paula Vogel's The Baltimore Waltz, and as the Director/ Sound Designer of John Patrick Shanley's Doubt: A Parable, for Titusville Playhouse, Inc.), my process as director/designer is critically analyzed and reflected upon. Through my analysis, I explore the benefits and challenges of being a Director-who-Designs and a Designer-who-Directs, utilizing aural dramaturgy, collaboration, rhythm and emotion as essential tools in practicing theatre production. Seeking a Vision, Finding a Voice reflects on my practice through the lens of David Roesner's Musicality as a Paradigm for the Theatre: A Kind of Manifesto, analyzing the ways in which the 'notion of musicality' was exemplified in the preparation, performance, and perception of my work. This thesis examines the benefits and challenges of multidisciplinary artistry, pondering the merits and pitfalls of taking on multiple roles in each of my processes. It further explores the impact applying musicality to theatre practice can have on both actors and audiences and cherishes sound design as a valuable tool capable of enriching theatrical storytelling.
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Date Issued
2015
Identifier
CFE0005642, ucf:50202
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005642
...AND THEN, CLAIRE: AN INDIE-ROCK MONOLOGUE; INTEGRATING THE INDEPENDENT MUSIC SCENE INTO AMERICAN MUSICAL THEATRE
Title
...AND THEN, CLAIRE: AN INDIE-ROCK MONOLOGUE; INTEGRATING THE INDEPENDENT MUSIC SCENE INTO AMERICAN MUSICAL THEATRE.
Creator
Bahr, Mickey, Chicurel, Steven, University of Central Florida
Abstract / Description
For more than fifty years, the Independent (indie) Music Scene has existed as an evolving business model, allowing indie artists to develop a wealth of progressive musical ideas while creating a sustainable audience base. American Musical Theatre has an already-established rich history of adapting styles to fit concurrent trends in popular music while maintaining the story as the core of a show. While some indie artists (The Lisps, The Mountain Goats, Stephin Merritt, and Stew) and some...
Show moreFor more than fifty years, the Independent (indie) Music Scene has existed as an evolving business model, allowing indie artists to develop a wealth of progressive musical ideas while creating a sustainable audience base. American Musical Theatre has an already-established rich history of adapting styles to fit concurrent trends in popular music while maintaining the story as the core of a show. While some indie artists (The Lisps, The Mountain Goats, Stephin Merritt, and Stew) and some musical theatre composers (David Yazbek, Doug Crossley, and Michael Friedman) have created crossover works, there is currently an overall dearth of musical theatre pieces infused with the indie style and a lack of indie albums with an actable musical theatre storyline. The intent of this thesis is to prove that although American Musical Theatre and the Independent Music Scene are two vastly different art forms, they can be combined to create a viable and unique form that appeals to both audiences. The indie-rock monologue ...and then, Claire was composed, recorded, and performed to test the viability of this thesis. In addition to presenting research on the history of American Musical Theatre and the Independent Music Scene, an analysis of the already-successful artists mentioned above is presented to provide context for ...and then, Claire. This context along with the original indie-rock monologue proves successful combinations of American Musical Theatre and the Independent Music Scene as well as the potential for more attempts in the future.
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Date Issued
2012
Identifier
CFH0004202, ucf:44970
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH0004202