View All Items

Title: Lavinia's Voice: Verbal and Nonverbal Expression in Shakespearean Performance.
Creator: Kilgore, Kelly, Ingram, Katherine, Listengarten, Julia, Niess, Christopher, University of Central Florida
Abstract / Description: This performance thesis will investigate verbal and nonverbal expression asapplied to Shakespearean text, through the lens of my experience rehearsing andperforming the role of Lavinia in Titus Andronicus at the Orlando ShakespeareTheater. Lavinia is a Shakespearean character, and Shakespeare is immediatelyassociated with language. However, Lavinia is interesting because the role's vocalwork will require both verbal and non-verbal experimentation. My thesis role willbe an exceptional...
Show moreThis performance thesis will investigate verbal and nonverbal expression asapplied to Shakespearean text, through the lens of my experience rehearsing andperforming the role of Lavinia in Titus Andronicus at the Orlando ShakespeareTheater. Lavinia is a Shakespearean character, and Shakespeare is immediatelyassociated with language. However, Lavinia is interesting because the role's vocalwork will require both verbal and non-verbal experimentation. My thesis role willbe an exceptional opportunity to utilize the various language tools and techniques Ihave learned in my MFA coursework.Any Shakespearean performance requires an extensive text analysis. However,Lavinia has her tongue cut off halfway through the show, so I anticipate additionalvocal, non-verbal contributions during the second half of the show. This thesis willexplore both aspects of the role.Physicality will also play a large part of my acting work in this particular role, moreso, perhaps, than in a typical Shakespearean ing(&)#233;nue. Because Lavinia is verballysilenced, her body must also speak.No approach to a Shakespearean role would be complete without character work,and research will play a large part of this character in particular. I plan to doresearch on violence against women and its significance in both literature and reallife in order to better inform my vocal and physical choices. I also plan to learn fromthose who have gone before me in the role by investigating filmed performances ofthe same character and reviews of previous stage productions.In this thesis I will document my approach to the role, my experiences in rehearsal,and the performative results, thereby mapping for future actors all the techniquesthat make up a character's voice.
Show less
Date Issued: 2013
Identifier: CFE0004702, ucf:49811
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004702

Title: MISTRESS QUICKLY IN THE MERRY WIVES OF WINDSOR: A PERFORMANCE MONOGRAPH.
Creator: Rossman, Paula, Listengarten, Julia, University of Central Florida
Abstract / Description: The subject of my Thesis and accompanying Monograph Document in partial fulfillment of the requirements for the Master of Fine Arts degree / Performance Track is my work in the role of Mistress Quickly from William Shakespeare's The Merry Wives of Windsor. In my research, I will be focusing on a number of issues, many of which will bear direct relevance to and undoubtedly, more fully inform, my interpretation in performance. A key element of the performance-related side of my research...
Show moreThe subject of my Thesis and accompanying Monograph Document in partial fulfillment of the requirements for the Master of Fine Arts degree / Performance Track is my work in the role of Mistress Quickly from William Shakespeare's The Merry Wives of Windsor. In my research, I will be focusing on a number of issues, many of which will bear direct relevance to and undoubtedly, more fully inform, my interpretation in performance. A key element of the performance-related side of my research will be an exploration of the cultural, historical, political, economic, and religious attributes of Shakespeare's times and how these factors drive Mistress Quickly's interactions with others, her perspectives of the society in which she lives, and her personal behavior. The directorial concept, as initially explained to the cast, will be keeping us within the English Renaissance and Shakespeare's time. Any variation within this initial concept will also be elaborated upon. Finally, I would like to explore the overall place of women at the time Shakespeare wrote, as well as during the specific time frame in which our production is set. Furthermore, I will look at Mistress Quickly as a character and how she is either reflected in or at odds with that societal placement.
Show less
Date Issued: 2006
Identifier: CFE0001265, ucf:46886
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001265

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.
Show less
Date Issued: 2019
Identifier: CFE0007484, ucf:52660
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0007484

Title: PRIMOGENITURE MADE ME DO IT: FINDING THE MOTIVATION BEHIND OLIVER'S TRAGIC ACTIONS IN AS YOU LIKE IT.
Creator: Kemper, Joseph, Boyd, Be, University of Central Florida
Abstract / Description: As an actor, it is absolutely imperative to resist the urge to pass judgment on the characters we portray. True, that as people, we sometimes judge ourselves, and deem our conduct as right or wrong, but usually after finding the justification in the action first. We understand why we do the things we do. Therefore, it is as important to find our character's point-of-view as well. When I was cast as Oliver de Boys in the Orlando Shakespeare Theater's mainstage production of William...
Show moreAs an actor, it is absolutely imperative to resist the urge to pass judgment on the characters we portray. True, that as people, we sometimes judge ourselves, and deem our conduct as right or wrong, but usually after finding the justification in the action first. We understand why we do the things we do. Therefore, it is as important to find our character's point-of-view as well. When I was cast as Oliver de Boys in the Orlando Shakespeare Theater's mainstage production of William Shakespeare's As You Like It, I knew the biggest challenge before me was to avoid playing him as "the villain." I had to discover the reasoning and the humanity behind his heinous actions. Most importantly, I had to try to understand why he would attempt to murder his brother Orlando. Growing up with three sisters whom I considered my best friends, I had no personal frame of reference for this extreme action. This thesis will examine the research and creation of Oliver de Boys. A thorough historical analysis will present the life of William Shakespeare, with specific focus on the relationship with his own siblings. Also included will be the production history of the As You Like It and the times in which it was written. Particular emphasis will be placed on the Elizabethan's preoccupation with primogeniture, the system of inheritance or succession by the firstborn, traditionally the eldest son ("Primogeniture" 1). Finally, this section will contain a look at two literary figures that greatly influenced the evolution of Oliver: Saladyne, the eldest brother in Sir Thomas Lodge's Rosalynde, of which As You Like It is largely based on and Cain, the archetype of fratricide. The next chapter will explore Oliver's journey in As You Like It, from villain to lover to brother; ultimately, his "conversion" from evil to good. It will also document the director's concept for the production and his vision for the portrayal of Oliver. A comprehensive character analysis or character autobiography will examine the psychological motivations behind Oliver's actions, such as sibling rivalry, jealousy, resentment and greed. This thesis will culminate in a comprehensive rehearsal journal, which will document and address challenges, discoveries, failures and victories during the production process.
Show less
Date Issued: 2008
Identifier: CFE0002462, ucf:47699
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002462

Title: INHERITING THE MOTLEY MANTLE: AN ACTOR APPROACHES PLAYING THE ROLE OF FESTE, SHAKESPEARE'S UPDATE OF THE LORD OF MISRULE.
Creator: Clateman, Andrew, Ingram, Katherine, University of Central Florida
Abstract / Description: Playing role of Feste in William Shakespeare's Twelfth Night presents a complex challenge to the actor. Feste is at once a character in the world of the play and a clown figure with specific dramatic functions having roots in the Lord of Misrule of the English holiday and the Vice of the morality play. How can the actor playing Feste create a believable psychological portrayal that is aligned with the functions Shakespeare assigns the role? And be entertaining as well? I suggest that actor...
Show morePlaying role of Feste in William Shakespeare's Twelfth Night presents a complex challenge to the actor. Feste is at once a character in the world of the play and a clown figure with specific dramatic functions having roots in the Lord of Misrule of the English holiday and the Vice of the morality play. How can the actor playing Feste create a believable psychological portrayal that is aligned with the functions Shakespeare assigns the role? And be entertaining as well? I suggest that actor will benefit greatly from an exploration the traditional function of the clown its development in society and literature before Shakespeare, and how Shakespeare's use of the clown developed up to the writing of Twelfth Night. The actor will thereby have a better understanding of what Shakespeare might by trying to achieve with Feste,, and he (or she) may better find the motivations for Feste's sometimes-enigmatic words and actions, which will, in turn, give shape and purpose to the clowning. I put this thesis to the test in preparing for and playing the role of Feste in Theater Ten Ten's production of Twelfth Night in the spring of 2010 in New York City. My research and preparation will include: a substantial immersion in much of Shakespeare's cannon, and viewing of performances of it (mainly on video); research on the role of the clown, how it developed through history until Shakespeare's time, and how Shakespeare appropriated and developed that tradition, culminating in Feste; a performance history of the role; a structural analysis of Feste's role in Twelfth Night; a character study of Feste; a rehearsal and performance journal documenting my ongoing exploration, challenges and choices. The main challenge, as I foresee it, is to arrive at my own unique performance of Feste while fulfilling both my director's vision and Shakespeare's intention.
Show less
Date Issued: 2011
Identifier: CFE0003751, ucf:48795
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003751

Title: Shylock and anti-semitism: Evidence that the backbone of the play is anti-Semitic.
Creator: Schappes, Morris U. (Morris Urman)
Date Issued: 1962
Identifier: 359832, CFDT359832, ucf:5227
Format: Document (PDF)
PURL: http://purl.flvc.org/FCLA/DT/359832

Title: THE MERRY WIVES OF WINDSOR: A UNIVERSITY ACTRESS.
Creator: Hanemann, Brook Akya, Listengarten, Julia, University of Central Florida
Abstract / Description: Art is too ethereal a thing to judge by tangible measure. There is no scale to weigh a performance on, no level to gauge a character's balance, no plumb line to measure its depth. No critic can appoint an allotment of stars to represent the worth of a production, and the audience, though a vital participant within the performance experience, cannot act as Jury and deliberate together to reach an absolute verdict of approval or disapproval. How then can an actor go about working towards giving...
Show moreArt is too ethereal a thing to judge by tangible measure. There is no scale to weigh a performance on, no level to gauge a character's balance, no plumb line to measure its depth. No critic can appoint an allotment of stars to represent the worth of a production, and the audience, though a vital participant within the performance experience, cannot act as Jury and deliberate together to reach an absolute verdict of approval or disapproval. How then can an actor go about working towards giving a successful performance?The Merry Wives of Windsor was written at a time when wives were not permitted to tread upon the stage at all. During Shakespeare's era the roles of women were played only by cherub faced young men. The version of The Merry Wives of Windsor which was presented by the University of Central Florida in the fall of 2002 was not, however, set in those pre-femme days. The production was presented as if being performed by a traveling acting troupe of men and women with a repertoire of which The Merry Wives of Windsor was only a part. I was cast as Mistress Ford.Embarking on a Shakespeare play is no small feat. Earnest research on the lives of the Elizabethans will offer up clues into the mindset, customs, beliefs, and theories of the age in which the play was written. Modern day actors preparing themselves to take on a Shakespearian role may also look also to the theories and theatrical trends of his or her own time and those that have led up to it. This research is the foundation on which a performance must be built. The theatrical performer must act as his own instrument in the symphony of his performance. Stage acting is an art form which enfolds many forms of expressive artistic communication. The mind, the body, the voice, the emotions and in my opinion the soul must all come into play to reach the summit of an artistic theatrical performance and the actor's journey must be comprised of exercises to stretch and strengthen each area of the actor's instrument. A vigorous vocal regimen must be crafted and adhered to. An analytical investigation of the script is required. The actor's physicality must be tailored to portray the proper class, energy level and spirit of his character. The emotional life of the character should be thoroughly probed and the performer must find a way to fully embody the soul of the character and the age in which the character lived. In this particular case, I came to find that the usual modern day methods of performance preparation most commonly used by actors of our age were not in themselves enough to bring me to what I felt was a successful performance. I came instead to discover that a Brechtian approach to Shakespearian acting solved many of the challenges I faced when coming up short in my prior attempts to use a more Stanislavsky based method.Although the very nature of art makes it impossible to judge by tangible measure, there are very tangible ways to go about preparing for a role upon the stage. No single approach can work for every piece. One must exercise the mind, voice, body and soul to perform a role as weighty as a Shakespearian character. Proper research, analysis, and a regimen built upon exercises for the body and voice are the tools available for the serious actor. This thesis outlines a University actress' use of these tools and details how the discovery of Brechtian elements within the UCF production of Merry Wives opened doors to a new way of handling the portrayal Mistress Ford.
Show less
Date Issued: 2004
Identifier: CFE0000116, ucf:46185
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0000116

Title: UPDATING THE CLASSICS: AN ACTOR'S APPROACH TO PORTRAYING DICKENSIAN CHARACTERS IN A MODERN SCRIPT.
Creator: Bacala, Desiree, Boyd, Belinda, University of Central Florida
Abstract / Description: The focus of this thesis is my performance in the play The Trial of Ebenezer Scrooge by Mark Brown. I will research and perform the role of The Ghost of Christmas Past, a role which also plays the parts of Fan and Belle from Charles Dickens's A Christmas Carol. I shall perform in The Trial of Ebenezer Scrooge at the Orlando Shakespeare Theatre, in Partnership with UCF in December 2008 as a part of their 2008-2009 Signature Series season. The main focus of this thesis is the exploration of...
Show moreThe focus of this thesis is my performance in the play The Trial of Ebenezer Scrooge by Mark Brown. I will research and perform the role of The Ghost of Christmas Past, a role which also plays the parts of Fan and Belle from Charles Dickens's A Christmas Carol. I shall perform in The Trial of Ebenezer Scrooge at the Orlando Shakespeare Theatre, in Partnership with UCF in December 2008 as a part of their 2008-2009 Signature Series season. The main focus of this thesis is the exploration of how to create a performance of a classical character for a modern audience. I hope to maintain the integrity of Dickens's characters written in 1843, while performing in a contemporary script written by Mark Brown in 2004. My performance and research question is how to successfully communicate Brown's version of the story and still keep the spirit of the Dickensian characters as they were first written. I aim to discover and address the problems that may arise in combining the two versions of the characters. I will begin with my belief that contemporary humor and storytelling balanced with the essence of the classic characters that audiences may remember from the novel or other versions of this story will give the most effective, rich performance. Playwright Mark Brown strives for this balance in his script and my research for the role will focus on finding elements in my performance that satisfy both elements. My research will include deep examination of Fan, Belle, and the Ghost of Christmas Past, as they appear in both Dickens' novel A Christmas Carol and in The Trial of Ebenezer Scrooge. I will look at different interpretations of the characters in the many stage and film versions of this story that have been created since the original to investigate how others have attempted to update or recreate the roles for their audiences. My research will also include an interview with the playwright for insight about his process of integrating old with new. My written thesis will include the findings of my research and preparation, a detailed rehearsal and performance journal, and extensive analysis of my discoveries, all of which will hopefully lead to a conclusive and useful approach for portraying contemporary characters derived from classical literature.
Show less
Date Issued: 2009
Identifier: CFE0002638, ucf:48228
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002638

Title: MY, CLAUDIUS: A CASE AGAINST THE KING AS VILLAIN.
Creator: Blackwelder, Kevin, Rusnock, Joseph, University of Central Florida
Abstract / Description: The role of Claudius in ShakespeareÃ‚Â's The Tragedy of Hamlet has traditionally been affixed with the label of villain, coupled with a presumption of malice. This prejudice has plagued the role, relegating it to shallow melodrama throughout the majority of the playÃ‚Â's 440 odd-year history. Although it has now become more commonplace to see him portrayed as a capable, intelligent, even initially likable king, this has only been the case for the...
Show moreThe role of Claudius in ShakespeareÃ‚Â's The Tragedy of Hamlet has traditionally been affixed with the label of villain, coupled with a presumption of malice. This prejudice has plagued the role, relegating it to shallow melodrama throughout the majority of the playÃ‚Â's 440 odd-year history. Although it has now become more commonplace to see him portrayed as a capable, intelligent, even initially likable king, this has only been the case for the past 50 years or so, and even so the label of villain and the assumption of malice persist and prevail even in contemporary practice. While the author is reluctant to insist on the benevolence of the King as imperative, they do contend that Claudius should not be portrayed as a villain. Doing so undermines the primary conflict - that of Hamlet vs. Claudius - cripples the possibilities for exploration of the King as a role, hinders the potential for HamletÃ‚Â's journey, and absolves the viewer of active engagement by playing directly into expectations. Within this thesis, consideration of historical analysis and editorial tradition are utilized in order to demonstrate a progressively encompassing disregard that has led to the roleÃ‚Â's neglect. An account of the 2006 University of Central Florida Conservatory Theatre production is used to validate the necessity of avoiding a villainous portrayal of the King. A brief description of the authorÃ‚Â's ideal Claudius explores the realm of possibility opened by such non-villainous portrayal, and potential for the roleÃ‚Â's complexity is examined through a thorough voice/text analysis and brief discussion of Jaques LecoqÃ‚Â's movement equilibrium theory via appendices.
Show less
Date Issued: 2010
Identifier: CFE0003132, ucf:48648
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003132

Title: Rebirth of the Renaissance Man: Creating Actor Agency through Ensemble Theatre.
Creator: Grassett, Kody, Ingram, Kate, Thomas, Aaron, Reed, David, University of Central Florida
Abstract / Description: Contemporary models of educational and commercial theatres espouse the belief that theatre is the true collaborative art form: one in which artists of different talents, training programs, and experiences can come together to briefly create something more significant than themselves. However, as the theatre has moved into the twenty-first century, the ensemble nature that is so unique to theatrical performance is frequently abandoned for a streamlined top-down structure of theatre making, one...
Show moreContemporary models of educational and commercial theatres espouse the belief that theatre is the true collaborative art form: one in which artists of different talents, training programs, and experiences can come together to briefly create something more significant than themselves. However, as the theatre has moved into the twenty-first century, the ensemble nature that is so unique to theatrical performance is frequently abandoned for a streamlined top-down structure of theatre making, one in which monetary, scheduling, and efficiency concerns inhibit the true creation of an ensemble. For multi-faceted theatre artists who have interest and talents in more than one field of the theatre, the current reigning structure of theatrical creation can seem restrictive, even reductive to their creative potentials. In this thesis, I explore a revived form of theatrical creation centered around the concept of the total ensemble artist, or the modern-day equivalent to the Renaissance man, an artist and student of many different passions. By developing a model of theatrical creation that allows and encourages an actor's agency in the creative process, I hope to show that the ensemble approach to theatre making, in which actors must work together to create and support a production in intimate and challenging ways, is beneficial and necessary to both theatre artists and the audiences that come to view theatrical productions. Rather than being limited to the confines of the categorized and structured model of commercial theatre, these artists will be able to work together to create individualized, meaningful stories on stage that allow the theatre to remain influential, relevant, and representational of our collective experiences.
Show less
Date Issued: 2017
Identifier: CFE0006943, ucf:51667
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0006943

Title: TRUE WILL VS. CONSCIOUS WILL: AN EXPLORATION OF ALEISTER CROWLEY'SCONCEPTS OF TRUE WILL AND CONSCIOUS WILL AND ITS POSSIBLEAPPLICATIONS TO A MIDSUMMER NIGHTS DREAM, MARISOL, AND WICKED.
Creator: Payne, John, Listengarten, Julia, University of Central Florida
Abstract / Description: In our lives we will have to make hundreds upon thousands of choices. The effects of these choices will follow us with varying intervals; some effects may be brief while others may literally last a lifetime. In these moments that we are forced to chose, it ultimately comes down to two options, what we should do, and what we want to do. Essentially, it is a choice between the head and the heart. Playwrights depend on these moments of choice, for it is the basis of almost all plays. At some...
Show moreIn our lives we will have to make hundreds upon thousands of choices. The effects of these choices will follow us with varying intervals; some effects may be brief while others may literally last a lifetime. In these moments that we are forced to chose, it ultimately comes down to two options, what we should do, and what we want to do. Essentially, it is a choice between the head and the heart. Playwrights depend on these moments of choice, for it is the basis of almost all plays. At some point, the protagonist must make a choice, even if the choice is not to choose. In the early part of the 20th Century, a religious philosopher by the name of Aleister Crowley helped to define these choices, or as he referred to them, Wills. In essence, he stated that everyone has a True Will and a conscious will, and the path that you will ultimately follow is contingent on the choices you make in your life. Following your True Will, the path of 'the heart' will lead you to a sense of Nirvana, while following your conscious will, the path of 'the head' leads to a life unfulfilled. While some called him demonic (he occasionally referred to himself as 'The Beast With Two Backs) others saw him as a sage – someone to esoterically explain the chaotic and industrial world of the early 1900's. Aleister Crowley seemed to be one of those few men that you either loved, or hated, or hated to love. At the dawn of the 20th Century, he was an English philosopher and religious guru that made a call to arms to the general populous to start living a better life. His theories will be explained fully in Chapter One, but ultimately he wanted everyone to achieve their True Will and leave their conscious wills by the wayside. He felt that this process could be achieved through what he referred to as his 'theorems' on magick. It is unknown exactly how the idea came to him to add the 'k' to the original magic; however speculation reveals he might have taken from the original Greek word magikE. Contrary to the modern definition of magic (the art of producing illusions by sleight of hand), Crowley felt that his magick was significantly more complex. Pulling on philosophies from the Egyptians and the Celts along with basic Buddhist principles, he defined his magick within his twenty-eight 'theorems'. Ultimately, he philosophized that magick was a way to enlighten a person, or, for the purposes of this thesis a character's True Will4 and to avoid following their conscious will. In layman's terms, Crowley saw it as an argument between the head (conscious will) and the heart (True Will). While the main focus of this thesis is on the tension and outcome of the decision of a character to follow their True Will or their conscious will, it is impossible to talk about these two concepts without discussing, at least in part, magick. Crowley saw magick as the practice and process to achieve True Will. This study, therefore, involves both homonyms, magic and magick. By applying this process as defined by Crowley in his self-named theorems to plays and musicals that have been defined as strictly 'magic,' I am looking for not only the exact moment in which the main protagonists in each play define and execute their decision to follow their True or conscious Wills, but also to critically examine their journey to that fatal decision. I describe it as such because I feel that a characters fate may truly depend on the choice that they make. These philosophies are not new to the philosophical world. Other theorists such as Schopenhauer and Nietzsche and their relation to Crowley's theories will be discussed later; however I felt that because Crowley is the one who his responsible for rejuvenating the word 'magick' from the Greeks in the 20th Century, I should be able to use his theories as a modern lens to examine A Midsummer Nights Dream, Marisol, and Wicked. I plan to take plays that cross both genre and era and consider not only (1) what can be illuminated using this 'Crowlean lens', but I also to highlight (2) any universal truths, by which I mean any ideological or philosophical ideas that appear in all three plays, that can be found in works as diverse as the ones that I have chosen. While their connection to True Will may be tangential in nature, if there are things in common in these plays that are brought to light using Crowley's lens, then I feel it is worth noting. By examining these two factors I will be able to see if critics have accurately defined these plays. My goal is to add the 'Crowlean lens' to the already existing approaches to critically examining a theatrical piece. This lens, as defined before, is simply taking Crowley's concepts of True Will and conscious will and their link to the progression of magick within a character to illuminate the characters choices leading up to their breaking point in which they must ask themselves "Do I chose what I should do, or what I want to do?" The three plays I chose were done for specific reasons. The basic criterion was to choose on a basis of (1) chronology, (2) genre, (3) and magical reference5. I took three plays that entertained the religious, philosophical, and fantastical nature of what I felt best applied to Crowley's theories. Keeping in mind that Crowley interpreted his magick as a philosophy, a religion, and a way of life to ultimately achieving True Will, I felt it pertinent to explore these aspects of each play as well. In the musical Wicked, the philosophical nature of the piece asks the question 'Are people born wicked? Or do they have wickedness thrust upon them?' This question can be answered through a variety of subjects. By exploring these issues within the context of its main character, Elphaba, (pronounced EL-fa-ba), and a variety of themes throughout this musical (including behavior, appearance, deception, honesty, courage and labeling) we find that True Will and conscious will in the land of Oz are flowering. Defining our True Will, according to Crowley, takes constant affirmations and diligent calculations of our feelings and utilizing those to aid in making the right choice for that specific moment6. In this fashion, Marisol marries the idea of what the author calls 'magical realism' in a post-apocalyptic New York City with a fervent religiosity all while underscoring the political nature of the 1980s indigent cleanup initiated by then mayor Ed Koch. Through the character of Marisol Perez, we find that not only is the choice between True Will and conscious confusing, but it can be potentially lethal. Within the structure of this play is also where Crowley's spiritual views on True Will and conscious will become highlighted. The Lovers (Helena, Demetrius, Hermia, and Lysander) in Shakespeare's fantastical A Midsummer Night's Dream is the perfect backdrop to explore Crowley's more eccentric philosophies on magick and how these philosophies relate to True and conscious will. In essence, I plan to not only explore the choices that these four individuals make due to acts of both types of magic(k), but their ultimate consequences as well. It also must be noted that during the process of this thesis, the one overarching theme throughout all three plays dealt with Crowley's theory of self-preservation. I feel that this is innately tied into the idea of True Will. By achieving True Will, we are inherently attempting to make the best choices for ourselves. This inherently keeps alive the innate human instinct of survival. At the end of this thesis, I hope to defend that Crowley's concepts of True Will and conscious will, when applied in tandem with Crowley's concepts of magick, can be a valid lens to examine theatrical works, old and new alike.
Show less
Date Issued: 2008
Identifier: CFE0002456, ucf:47712
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002456

Title: THE EARLY MODERN SPACE: (CARTOGRAPHIC) LITERATURE AND THE AUTHOR IN PLACE.
Creator: Myers, Michael, Gleyzon, Francois-Xavier, University of Central Florida
Abstract / Description: In geography, maps are a tool of placement which locate both the cartographer and the territory made cartographic. In order to place objects in space, the cartographer inserts his own judgment into the scheme of his design. During the Early Modern period, maps were no longer suspicious icons as they were in the Middle Ages and not yet products of science, but subjects of discourse and works of art. The image of a cartographer's territory depended on his vision�both the nature and placement of...
Show moreIn geography, maps are a tool of placement which locate both the cartographer and the territory made cartographic. In order to place objects in space, the cartographer inserts his own judgment into the scheme of his design. During the Early Modern period, maps were no longer suspicious icons as they were in the Middle Ages and not yet products of science, but subjects of discourse and works of art. The image of a cartographer's territory depended on his vision�both the nature and placement of his gaze�and the product reflected that author's judgment. This is not a study of maps as such but of Early Modern literature, cartographic by nature�the observations of the author were the motif of its design. However, rather than concretize observational judgment through art, the Early Modern literature discussed asserts a reverse relation�the generation of the material which may be observed, the reality, by the views of authors. Spatiality is now an emerging philosophical field of study, taking root in the philosophy of Deleuze & Guattari. Using the notion prevalent in both Postmodern and Early Modern spatiality, which makes of perception a collective delusion with its roots in the critique of Kant, this thesis draws a through-line across time, as texts such as Robert Burton's An Anatomy of Melancholy, Thomas More's Utopia, and selections from William Shakespeare display a tendency to remove value from the standard of representation, to replace meaning with cognition and prioritize a view of views over an observable world. Only John Milton approaches perception as possibly referential to objective reality, by re-inserting his ability to observe and exist in that reality, in a corpus which becomes less generative simulations of material than concrete signposts to his judgment in the world.
Show less
Date Issued: 2015
Identifier: CFH0004899, ucf:53148
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFH0004899

Shakespeare (7)	+ -
Theatre (2)	+ -
Twelfth Night (2)	+ -
acting (2)	+ -
Acting (1)	+ -

Acting A Christmas Carol The Trial of Ebenezer Scrooge Mark Brown Orlando Shakespeare Theater (1)	+ -
Actress (1)	+ -
Anatomy (1)	+ -
Antisemitism (1)	+ -
Antisemitism in literature (1)	+ -
As You Like It (1)	+ -
Brecht (1)	+ -
Brook Hanemann (1)	+ -
Brother (1)	+ -
Cartographic Gaze (1)	+ -
Cartography (1)	+ -
Character Analysis (1)	+ -
Characters (1)	+ -
Claudius (1)	+ -
Crowley (1)	+ -
Deleuze & Guattari (1)	+ -
Drama (1)	+ -
Early Modern (1)	+ -
Emblem (1)	+ -
Embodiment (1)	+ -
Feminism (1)	+ -
Feste (1)	+ -
Gaze (1)	+ -
Gender Performance (1)	+ -
Icarian (1)	+ -

ETD Collection (10)	+ -
Honors Collection (1)	+ -
PRISM: Political & Rights Issues & Social Movements (1)	+ -

Merchant of Venice. (1)	+ -
Shylock. (1)	+ -

University of Central Florida (11)	+ -
Listengarten, Julia (5)	+ -
Ingram, Kate (2)	+ -
Ingram, Katherine (2)	+ -
Bacala, Desiree (1)	+ -

Search In

Sort Results By:

Narrow results by:

Topical Subject

Collection

Title as Subject

Genre

Type of Resource

Language

Creator

Format

Owner