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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)
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
The forging of modern Broadway Sound Design Techniques amid the Fires of the Rock Musicals in the Late 1960s and 1970s.
Title
The forging of modern Broadway Sound Design Techniques amid the Fires of the Rock Musicals in the Late 1960s and 1970s.
Creator
Tracey, Timothy, Warfield, Scott, Koons, Keith, Chicurel, Steven, University of Central Florida
Abstract / Description
From the ancient Greek theater, through the dawn of the Renaissance, beyond the development of Shakespearean theater, to the Broadway theater boon in the 1920s, sound reinforcement within the theater remained virtually unchanged. Through Broadway's Golden Age, directors and producers relied on architectural acoustics to carry sound throughout the theaters. This is not surprising given that most of the theaters were built in the early 1900s, before the invention of any electric sound...
Show moreFrom the ancient Greek theater, through the dawn of the Renaissance, beyond the development of Shakespearean theater, to the Broadway theater boon in the 1920s, sound reinforcement within the theater remained virtually unchanged. Through Broadway's Golden Age, directors and producers relied on architectural acoustics to carry sound throughout the theaters. This is not surprising given that most of the theaters were built in the early 1900s, before the invention of any electric sound reinforcement technology. Moreover, early attempts at amplification in the 1940s yielded dismal results. Eventually, the maturation of the integrated book musical and the invasion of the rock musical in the late 1960s demanded more than architectural acoustics alone could provide. Abe Jacob, the sound designer of Hair and Jesus Christ Superstar, led the efforts to create a modern approach to sound design. Relying on his rock-and-roll touring experience and the introduction of technological advancements within the recording industry, Jacob and others forged a modern approach to sound design specifically within the framework of the Broadway musical, which helped restore the fading industry of the Broadway musical in the late 1960s.These new approaches served well the human irony and concept musicals of the 1970s by Sondheim and other emerging composers. Sound design was critical to the successful mounting of the mega-musicals of the 1980s (Cats, Les Miserables, Starlight Express, The Phantom of the Opera, Miss Saigon, etc.). Now, modern day composers collaborate early in the creation process with sound designers and create original works with the power of modern sound design in mind, such that today, sound design is a fundamental design discipline employed in every Broadway musical(-)from the initial show concept conversations all the way through opening night.
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Date Issued
2015
Identifier
CFE0005726, ucf:50158
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005726
PLUNGERS AND PRODUCTIVITY: A STUDENT ARTIST'S SURVIVAL GUIDE TO MULTI-TASKING
Title
PLUNGERS AND PRODUCTIVITY: A STUDENT ARTIST'S SURVIVAL GUIDE TO MULTI-TASKING.
Creator
Wansa, Amanda, Chicurel, Steven, University of Central Florida
Abstract / Description
To be a fully functioning theatre practitioner, the developing student artist becomes equipped with a practical skill set that is ordinarily cultivated through formal training and study. Typically, organized study leads him/her to focus on a specific facet of the business: acting, directing, design, etc. However, students often develop a vast array of talents and skills within the profession and find themselves standing at a crossroads between what "kind" of artist to be; what singular aspect...
Show moreTo be a fully functioning theatre practitioner, the developing student artist becomes equipped with a practical skill set that is ordinarily cultivated through formal training and study. Typically, organized study leads him/her to focus on a specific facet of the business: acting, directing, design, etc. However, students often develop a vast array of talents and skills within the profession and find themselves standing at a crossroads between what "kind" of artist to be; what singular aspect of the arts on which to focus. Why not do it all? For those students who "do it all", there is an additional challenge: the artist who is a student immersed in daytime study and nighttime production obligations has to wear two caps. One is that of the learner and one is that of the employee, the producer, and perhaps even the teacher. When are these caps traded or are they both worn through all processes? This thesis will reveal my creative and practical processes from two productions at the University of Central Florida for which I played on- and offstage roles: I worked as a Sound Designer and featured actor in Sophie Treadwell's Machinal; I was the Vocal Director for Urinetown: The Musical, and also played Penelope Pennywise, a leading role. I will describe the challenges and successes of each project by examining the following evidence: my personal process with each piece, demonstrated through reflection and examples from the work; interviews with those involved in the productions as well as outside reviews and feedback; and research of each play. Research will include production history, intent of authors, and aspects that informed my work both onstage and off. Did multi-tasking sacrifice the quality of my work for any of my delegated tasks? Did I enjoy more success in my progress in time management, the ability to solve problems, and collaboration process with fellow artists, or in the actual on-stage products? What aspects of my training in my graduate program added to the quality of my work on these productions? Does being a multi-tasking artist help or hurt one's career in theatre?
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Date Issued
2009
Identifier
CFE0002579, ucf:48283
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002579
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