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Title: Directing Stop Kiss by Diana Son within a Nontraditional Training Model.
Creator: Dilks, Rebecca, Listengarten, Julia, Weaver, Earl, Wood, Vandy, University of Central Florida
Abstract / Description: Despite the generally held view that the best way for a stage actor to give a strong theatrical performance is through a traditional training model, I hoped to develop a way for inexperienced actors to perform beyond expectation within the context of one production through a system of mentorship, expectation-setting, and tapping into young peoples' natural desire to identify with people and characters. I directed a production of Stop Kiss by Diana Son with a blend of experienced and...
Show moreDespite the generally held view that the best way for a stage actor to give a strong theatrical performance is through a traditional training model, I hoped to develop a way for inexperienced actors to perform beyond expectation within the context of one production through a system of mentorship, expectation-setting, and tapping into young peoples' natural desire to identify with people and characters. I directed a production of Stop Kiss by Diana Son with a blend of experienced and inexperienced actors to see if I could make this work, with mixed results. This thesis is a reflection on the process of directing Stop Kiss that was filled with multiple discoveries and challenges.
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Date Issued: 2015
Identifier: CFE0005940, ucf:50824
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0005940

Title: A CHORUS LINE: DOES IT ABIDE BY RULES ESTABLISHED BY ACTORS' EQUITY ASSOCIATION FOR THE AUDITION PROCESS?.
Creator: Hardin, Mark, Weaver, Earl, University of Central Florida
Abstract / Description: I have been cast as "Bobby" in A Chorus Line at Orlando Broadway Dinner Theatre in Orlando. I will use this opportunity as my thesis role. As part of my thesis defense, I will combine an analysis of the character of "Bobby" in A Chorus Line with an assessment of Actors' Equity Association's audition policies from 1970 to the present, and investigate whether the audition held in the show abides by the policies established by AEA for Broadway calls. "Bobby" has an interesting arc of development...
Show moreI have been cast as "Bobby" in A Chorus Line at Orlando Broadway Dinner Theatre in Orlando. I will use this opportunity as my thesis role. As part of my thesis defense, I will combine an analysis of the character of "Bobby" in A Chorus Line with an assessment of Actors' Equity Association's audition policies from 1970 to the present, and investigate whether the audition held in the show abides by the policies established by AEA for Broadway calls. "Bobby" has an interesting arc of development as he actually gives the director what he (the director) does not want, yet is still cast in the fictitious Broadway show. Why he would choose to stray from the director's instructions is an interesting question and demanding study. To facilitate my research on the character (aside from script and score analysis), I will interview Thommie Walsh (about for whom the role was written and the original "Bobby" on Broadway) as well as other men who have played the role to get insights into the character that will enhance my performance. Mr. Walsh will also elaborate on his real-life relationship with Michael Bennett and how that compares and contrasts with the relationship between "Bobby" and "Zach." I also will interview as many of the original cast members as possible (namely Baayork Lee) to get contributing memories and anecdotal evidence from the original production. A Chorus Line captures the one element all performers experience – the audition. The audition process has changed over the years, and I will focus on the development of protocol from the early 1970's (when A Chorus Line takes place) to the present. I will explore the manner in which the process has evolved and what A Chorus Line's contribution was (if any) to that process. This show has become so much a part of the musical theatre vernacular that historical exploration of procedures would also clarify how this work was structured. Were actors subjected to that intense style of audition on a huge stage in the early 1970s? Are they still today? My research will trace the history and rules governing auditions, performers and staff as delineated by Actors' Equity Association. I will also include a comparison of Equity to the variety of non-Equity auditions. Other sources will include rulebooks from AEA and interviews with dancers (past and present), AEA staff and Patrick Quinn, President of AEA.
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Date Issued: 2006
Identifier: CFE0000927, ucf:46753
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0000927

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.
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Date Issued: 2017
Identifier: CFE0006943, ucf:51667
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0006943

Title: THE MIRRORED WALLS OF REALITY:A JOURNAL OF SHATTERED REFLECTION.
Creator: Bryant, Lisa, Ingram, Kate, University of Central Florida
Abstract / Description: ABSTRACT Theatre in its most crude, poignant, and honest form exists as the unapologetic mirror of our world. It houses the piercing reflections of mankind's hope, fear, self-doubt, passion, joy, despair, brilliance, destitution, and desire. It becomes the image of all that man hopes to be, yearns to achieve, and knows he has destroyed. Theatrical performance is without equal in its ability to conjure visible truth from the reflection man sees everyday and hopelessly fails to recognize....
Show moreABSTRACT Theatre in its most crude, poignant, and honest form exists as the unapologetic mirror of our world. It houses the piercing reflections of mankind's hope, fear, self-doubt, passion, joy, despair, brilliance, destitution, and desire. It becomes the image of all that man hopes to be, yearns to achieve, and knows he has destroyed. Theatrical performance is without equal in its ability to conjure visible truth from the reflection man sees everyday and hopelessly fails to recognize. Ultimately, theatre demands that man see himself without the masks of excuse, ignorance, or makeup. It is the vision of this journey to honor theatre's mask-less demand. Through the development of a multi-scene theatrical performance; the collection and analysis of relevant research material; and the cultivation of a comprehensive journal outlining the processes, the challenges, and the revelations that will travel the same road--from the cluttered moments of conception to the still air of an empty room after an exhausting final bow--only a mirror will remain. Each component--production, research, and journal--will function as equally essential elements. They will illuminate the evolution of fully realized theatre and detail the composition of a common theatrical message: Truth is both the seed of desperation and discovery.
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Date Issued: 2006
Identifier: CFE0001166, ucf:46872
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001166

Title: Mindful Acting.
Creator: Lee, Terence, Reed, David, Thomas, Aaron, Ingram, Kate, University of Central Florida
Abstract / Description: As we transition into a more goal-oriented society, our ability to nurture and cultivate individual growth in emotional, spiritual, and mental awareness in the performing arts has been stifled by the desire to get ahead in our modern-day race for success. This fierce struggle brings with it a risk of subconscious deterioration in mental, spiritual and emotional health. As actors in an aggressive industry, we are often faced with the monumental task of preserving our artistry while competing...
Show moreAs we transition into a more goal-oriented society, our ability to nurture and cultivate individual growth in emotional, spiritual, and mental awareness in the performing arts has been stifled by the desire to get ahead in our modern-day race for success. This fierce struggle brings with it a risk of subconscious deterioration in mental, spiritual and emotional health. As actors in an aggressive industry, we are often faced with the monumental task of preserving our artistry while competing in the industry, and we often find ourselves overwhelmed by the inescapable pressures in the business of acting. In (")Mindful Acting("), I will synthesize a metaphysical approach to actor-training centered around the concept of mindfulness, meditation and the self. The goal of my thesis is to refine and integrate pre-existing actor training methods with practices in mindfulness and meditation to reclaim the actor's artistry in life and in performance.
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Date Issued: 2019
Identifier: CFE0007486, ucf:52666
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0007486

Title: The Revenge of the Second Banana: A Female Sidekick's Survival Guide.
Creator: Mason, Melissa, Weaver, Earl, Ingram, Katelyn, Lee, David, University of Central Florida
Abstract / Description: I returned to school to receive an MFA in Musical Theater for many reasons, but paramount was the need to further explore and develop my range as an actress. Throughout my career, I have played a variety of roles, but none as challenging or possibly as rewarding as the man-hungry secretary "(")Charlie"(") in James Valcq''s Zombies from the Beyond, produced by the Jester Theatre in Winter Garden, FL. Performing this role allowed me to achieve one of my objectives when entering the grad program...
Show moreI returned to school to receive an MFA in Musical Theater for many reasons, but paramount was the need to further explore and develop my range as an actress. Throughout my career, I have played a variety of roles, but none as challenging or possibly as rewarding as the man-hungry secretary "(")Charlie"(") in James Valcq''s Zombies from the Beyond, produced by the Jester Theatre in Winter Garden, FL. Performing this role allowed me to achieve one of my objectives when entering the grad program at UCF: to transition from a classical ing(&)#233;nue or soubrette into a leading lady or character actress; making Zombies from the Beyond the perfect capstone to my graduate experience.During the 1950s, American cinema was filled with sci-fi movies such as Forbidden Planet, The Thing from Another World, and Invasion of the Body Snatchers. Each movie depicted an otherworldly creature as the villain (a metaphor for the relationship between the United States and the USSR) who had only one purpose: total domination. Zombies from the Beyond aptly reveals the absurdity of the hysteria and paranoia surrounding the "(")cold war"(") and the "(")space race"(") that dominated America in the 1950s. The play makes comic use of the "(")double-red agent"(") and presents the belief that the space race and cold war inevitably were tied together, while examining Russia''s dirty tactics in the struggle for power.In addition to the historical ramifications of Zombies from the Beyond, post WWII America saw an explosive growth in female empowerment. Through each female character''s thoughts and actions on stage, Valcq''s musical tackles the struggle many women faced between the new feminist ideals and old-fashioned morals. My character, Charlene "(")Charlie"(") Osmanski, is the iconic man-hungry, working girl with a big heart (aka "(")The Sidekick"(")). She is a woman very much caught between the traditional values of the 1950s and the progressive, more feminist attitudes starting to take hold in the country.After accepting the role in Zombies from the Beyond, I realized my responsibility was to breathe new life into the role of the comedic sidekick while remaining true to the original vision and traditions that had been set forth by such brave comic pioneers as Rose-Marie, Thelma Ritter, and Vivian Vance. Faced with this daunting task and the enormity of creating a role with such a prominent historical and societal lineage, I asked myself, "(")What does an actor need to know in order to become the perfect sidekick?"(")To answer this compelling question and to ensure I did not fail in my task, I researched actresses who play a similar archetype; studied the evolution of the female comedienne; examined the audience''s relationship to the sidekick; and discussed the character''s future as an integral force in contemporary theatre, all in a convenient survival guide.Ultimately, the evolution of the mainstream audience and their shifting requirements for entertainment impact the sidekick''s portrayal on stage; however, since post-modernistic audiences no longer need one definitive stereotype or archetypal character, the ideas I set forth are not finite or absolute in nature. Instead, they create a basic foundation that serves as a guide for the actor when creating a similar character while ensuring the sidekick''s place as a relevant and sustainable character for generations to come.
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Date Issued: 2011
Identifier: CFE0004135, ucf:49110
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004135

Title: The Expansion of Financial Regulation to Include Humanitarian Issues:An Examination of the Development of Conflict Mineral Reporting Requirements Using Actor-Network Theory.
Creator: Tennant, Robert, Roberts, Robin, Robb, Sean, Sutton, Steven, Roberts, Sherron, University of Central Florida
Abstract / Description: This study conceptually and empirically examines the establishment of certain financial regulation that resulted from the Global Financial Crisis (GFC) of 2007-2009. The crisis led to the establishment of the most extensive change in the regulation of the financial sector since the Great Depression (Green, 2011). During the forty years leading up to the crisis, the United States had engaged in a process of increased deregulation to promote greater efficiency (Yaron (&) Hendershott, 1998). The...
Show moreThis study conceptually and empirically examines the establishment of certain financial regulation that resulted from the Global Financial Crisis (GFC) of 2007-2009. The crisis led to the establishment of the most extensive change in the regulation of the financial sector since the Great Depression (Green, 2011). During the forty years leading up to the crisis, the United States had engaged in a process of increased deregulation to promote greater efficiency (Yaron (&) Hendershott, 1998). The belief that reduced regulation would improve efficiency and foster innovation became the mantra of many economic advisers to policy setters, to the point that as the regulations were relaxed there tended to be little fanfare or outrage to changes in regulation policy. This is true with both republican and democrat administrations throughout this period. Since 2000, there have been two major legislative actions that can be viewed as antithetical to the principle of deregulation, the first being Sarbanes-Oxley, which occurred as a result of Enron and other accounting scandals. The second, known as the Dodd-Frank Act, resulted in legislation that bailed out various sectors of the economy and fundamentally changed the structure of financial regulation in the United States.Specifically, I examine one part of this regulation related to corporate disclosure of activities that deal with conflict minerals. Within the political debates over regulation of corporate disclosure, an interest in corporate activities in war-torn areas emerged. Ultimately, regulation was adopted that required corporations to disclose operative activities that included mining of minerals in countries affected by political conflict. My research explicates using an actor-network approach, how and why activities in the U.S. political arena led to mandated disclosure of corporate activities dealing with the mining of local mineral deposits eventually referred to as (")conflict minerals.(") My findings show that a confluence of unlikely parties found common ground in their assessment of the issues surrounding the mining of conflict minerals and worked together towards the adoption of disclosure regulation that lead to more transparency in corporate reporting of their involvement in commercializing mineral deposits.
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Date Issued: 2017
Identifier: CFE0006668, ucf:51234
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0006668

Title: THE BRAGGART SOLDIER: AN ARCHETYPAL CHARACTER FOUND IN "SUNDAY IN THE PARK WITH GEORGE".
Creator: Gebb, Paul, Weaver, Earl, University of Central Florida
Abstract / Description: In preparation for performance, an actor must develop an understanding for the character they portray. A character must be thoroughly researched to adequately enrich the performance of the actor. In preparation for the role of the "Soldier" in the production, Sunday in the Park with George, it is important to examine the evolution of the "Braggart Soldier" archetypal character throughout the historical literary canon. It is also of equal importance to study an author's canon of literature...
Show moreIn preparation for performance, an actor must develop an understanding for the character they portray. A character must be thoroughly researched to adequately enrich the performance of the actor. In preparation for the role of the "Soldier" in the production, Sunday in the Park with George, it is important to examine the evolution of the "Braggart Soldier" archetypal character throughout the historical literary canon. It is also of equal importance to study an author's canon of literature to acknowledge the reoccurring use of similar archetypal characters in order to successfully interpret the intentions of the author. This thesis paper will be divided into four main sections. First, research of the evolution of the "Braggart Soldier" archetypal character from Greek Theater to Contemporary Theater will help to define the character type. Second, historical production research associated with the musical's creation will also provide a deeper insight into the musical's inception. Sunday in the Park with George was based on the painting A Sunday on the Island of La Grande Jatte. Furthermore, a specific focus will be placed on the painting's creation, the background of the Soldier's inclusion in the painting, the musical's collaborative process, and critical responses of the original production. Third, research of four other Stephen Sondheim shows in which similar archetypal characters appear will demonstrate the author's utilization of the character type. The characters referenced from Sondheim's shows will be: Miles Gloriosus from A Funny Thing Happened on the Way to the Forum; Carl Magnus from A Little Night Music; The Princes from Into the Woods; and John Wilkes Booth from Assassins. By studying the scripts and scores of each of these shows, a pattern of character traits will be revealed to enlighten the actor's preparation for the role of the "Soldier" in Sunday in the Park with George. Lastly, an understanding of the musical's overall structure and themes helps to further define the characterization revealed from script and score analysis. This thesis project will contribute to the pre-existing canon of musical theatre research but will also provide insight to non-musical actors who are researching similar archetypal characters. Musical theatre performers who are preparing for Stephen Sondheim shows can apply this research to help understand the role of this archetypal character in the context of each show.
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Date Issued: 2007
Identifier: CFE0001598, ucf:47158
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001598

Title: THE SEARCH FOR TRUTH IN THE DIGITAL CINEMATIC SPACE AND GREEN SCREEN PERFORMANCES.
Creator: Dalton, Kade, Shults, Kate, University of Central Florida
Abstract / Description: With the advent of the blockbuster and its visual effects, film has grown to accept these effects and the technology behind them, namely green screen mattes, as cornerstones to the post-production process. The propensity of green screen in all types of productions, especially those involving actors and their performances, raises questions about the methodology and workflow behind its common practice. Using real-life environments and people to create narrative scenes, this project explores the...
Show moreWith the advent of the blockbuster and its visual effects, film has grown to accept these effects and the technology behind them, namely green screen mattes, as cornerstones to the post-production process. The propensity of green screen in all types of productions, especially those involving actors and their performances, raises questions about the methodology and workflow behind its common practice. Using real-life environments and people to create narrative scenes, this project explores the utilization of matte backgrounds to inform the rehearsal and performance aspects of cinematic story-telling.
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Date Issued: 2014
Identifier: CFH0004714, ucf:45409
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFH0004714

Title: LA DIVINA: THE BIRTH OF THE SINGER/ACTOR.
Creator: Cooper, Shelley, Weaver, Earl, University of Central Florida
Abstract / Description: In the world of Musical Theatre and Opera, it is not acceptable to simply have a pretty voice; you must be able to portray the character you are singing and ground it in reality. Drama in music theatre was highlighted in the Early Romantic Movement by bel canto composers Rossini, Bellini and Donizetti who re-designed the opera scene format to better tell the story. Late Romantic composers, Puccini and Verdi, took it a step further by writing music to compliment the drama of the story....
Show moreIn the world of Musical Theatre and Opera, it is not acceptable to simply have a pretty voice; you must be able to portray the character you are singing and ground it in reality. Drama in music theatre was highlighted in the Early Romantic Movement by bel canto composers Rossini, Bellini and Donizetti who re-designed the opera scene format to better tell the story. Late Romantic composers, Puccini and Verdi, took it a step further by writing music to compliment the drama of the story. Twentieth- Century Opera singer Maria Callas is admired for her famous portrayals of title roles in Rossini, Bellini, Donizetti, Verdi and Puccini operas. Callas combined bel canto vocal technique with her dramatic, realistic acting in her opera roles and revolutionized the art form. Callas stressed the importance of understanding and interpreting text and music with precision, detail, specifics and artistry. Her techniques set the standard for future aspiring singer/actors. In the 1970Ã‚Â's, Callas lost her ability to sing, so she conducted Master Classes at the Julliard School of Music. Her Master Classes were the inspiration for Tony Award-Winning Playwright Terrence McNallyÃ‚Â's biographical play, Master Class. The play, Master Class, shows Callas as an overbearing, intimidating diva instructing opera students. The play also contains several vulnerable flashback monologues that break down the layers of CallasÃ‚Â' harshness. McNallyÃ‚Â's script shows Callas as a guarded, domineering, and callous woman; however, when she is singing or talking to her lover, she becomes a vulnerable, exposed, and available woman. With research and examination of CallasÃ‚Â' life, operatic career, operatic composers, bel canto technique, and music analysis, I wrote an original script to portray the multi-dimensional Callas in a one-woman show featuring famous arias Callas is known for singing.
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Date Issued: 2010
Identifier: CFE0003478, ucf:48973
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003478

Title: Performing Jason Robert Brown's The Last Five Years: An Exercise in Communication On Stage and Off.
Creator: Sucharski, David, Niess, Christopher, Weaver, Earl, Boyde, Melinda, University of Central Florida
Abstract / Description: Communication, in its most basic sense, is foundational for any personal, human interaction and relationship. As theatre artists, we are charged with communicating complex story lines, conceptual ideas, and emotion to an audience. Sound communication is paramount to every aspect of a musical production, be it communication between actors/characters, actor and director, amongst the production team, and arguable the most important, between the actors and the audience. My years of education as a...
Show moreCommunication, in its most basic sense, is foundational for any personal, human interaction and relationship. As theatre artists, we are charged with communicating complex story lines, conceptual ideas, and emotion to an audience. Sound communication is paramount to every aspect of a musical production, be it communication between actors/characters, actor and director, amongst the production team, and arguable the most important, between the actors and the audience. My years of education as a Masters in Fine Arts candidate in Musical Theatre have been spent polishing my ability to communicate physical and emotional choices with greater accuracy, depth, and truth. By staging Jason Robert Brown's musical The Last Five Years and performing the role of Jamie, this performance thesis will explore, develop, and examine my mastery of the aforementioned varied forms of communication, all of which are necessary in building a successful musical production. Research will be conducted to gather information on relevant topics, including the history of The Last Five Years, the life of Jason Robert Brown, and his musical and theatrical influences. By further understanding Brown, his life, and his ideas about his works, I hope to more fully understand and communicate the message of the musical itself. A dramatic and musical structural analysis will provide further depth and insight into the piece, with the hopes of informing my production and individual performance. A thorough character analysis will provide connective tissue that will allow myself, as the actor, to more effectively communicate the psychological and emotional make up of the character Jamie. Lastly, the thesis document will culminate with a production journal, documenting the pre-production, rehearsal, and performance process. Through the journaling process, I will document and address the journey that I have experienced with the production, giving focus and attention to its many obstacles and discoveries, successes and failures, all of which have contributed to my personal growth as a young theatre artist.
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Date Issued: 2012
Identifier: CFE0004324, ucf:49465
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004324

Title: Zooming In On The Money Shot: An Exploratory Quantitative Analysis of Pornographic Film Actors.
Creator: O'Neal, Erin, Huff-Corzine, Lin, Corzine, Harold, Pritchard, Adam, Potter, Roberto, University of Central Florida
Abstract / Description: Sex work is one of the rare elements of our society that is both accepted and stigmatized. Ironically enough, it is stigmatized without being studied in depth. The truth is we know very little about sex work and even less about pornography(-)the most legal of genres. While researchers have spent a great deal of time determining the effects that pornography has on viewers, particularly juvenile viewers, little research has been done on the men and women who make pornography. A 43 question...
Show moreSex work is one of the rare elements of our society that is both accepted and stigmatized. Ironically enough, it is stigmatized without being studied in depth. The truth is we know very little about sex work and even less about pornography(-)the most legal of genres. While researchers have spent a great deal of time determining the effects that pornography has on viewers, particularly juvenile viewers, little research has been done on the men and women who make pornography. A 43 question survey was created and disseminated to those in the pornographic film industry, both amateur and professional, resulting in 210 respondents from all walks of life. The results of the inquiry show that social scientists know relatively little about working in pornography, having a profound impact on the current discussion and future research. Additionally, this investigation presents a new and creative method for surveying hard to reach, hidden, or sensitive subject populations that will aid in aspects of future research on sex work and other stigmatized behaviors.
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Date Issued: 2016
Identifier: CFE0006365, ucf:51532
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0006365

Title: Routing, Localization and Positioning Protocols for Wireless Sensor and Actor Networks.
Creator: Akbas, Mustafa, Turgut, Damla, Boloni, Ladislau, Georgiopoulos, Michael, Brust, Matthias, Bassiouni, Mostafa, Zhao, Yue, University of Central Florida
Abstract / Description: Wireless sensor and actor networks (WSANs) are distributed systems of sensor nodes and actors that are interconnected over the wireless medium. Sensor nodes collect information about the physical world and transmit the data to actors by using one-hop or multi-hop communications. Actors collect information from the sensor nodes, process the information, take decisions and react to the events.This dissertation presents contributions to the methods of routing, localization and positioning in...
Show moreWireless sensor and actor networks (WSANs) are distributed systems of sensor nodes and actors that are interconnected over the wireless medium. Sensor nodes collect information about the physical world and transmit the data to actors by using one-hop or multi-hop communications. Actors collect information from the sensor nodes, process the information, take decisions and react to the events.This dissertation presents contributions to the methods of routing, localization and positioning in WSANs for practical applications. We first propose a routing protocol with service differentiation for WSANs with stationary nodes. In this setting, we also adapt a sports ranking algorithm to dynamically prioritize the events in the environment depending on the collected data. We extend this routing protocol for an application, in which sensor nodes float in a river to gather observations and actors are deployed at accessible points on the coastline. We develop a method with locally acting adaptive overlay network formation to organize the network with actor areas and to collect data by using locality-preserving communication.We also present a multi-hop localization approach for enriching the information collected from the river with the estimated locations of mobile sensor nodes without using positioning adapters. As an extension to this application, we model the movements of sensor nodes by a subsurface meandering current mobility model with random surface motion. Then we adapt the introduced routing and network organization methods to model a complete primate monitoring system. A novel spatial cut-off preferential attachment model and center of mass concept are developed according to the characteristics of the primate groups. We also present a role determination algorithm for primates, which uses the collection of spatial-temporal relationships. We apply a similar approach to human social networks to tackle the problem of automatic generation and organization of social networks by analyzing and assessing interaction data. The introduced routing and localization protocols in this dissertation are also extended with a novel three dimensional actor positioning strategy inspired by the molecular geometry. Extensive simulations are conducted in OPNET simulation tool for the performance evaluation of the proposed protocols.
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Date Issued: 2013
Identifier: CFE0005292, ucf:50564
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0005292

Title: PORTRAYING POINTILLISM: AN ACTRESS'S JOURNEY THROUGH POINTILLISM TO DEFINE THE ROLE OF DOT IN SONDHEIM AND LAPINE'S MUSICAL SUNDAY IN THE PARK WITH GEORGE.
Creator: Staffel, Chris, Tollefson, Kristina, University of Central Florida
Abstract / Description: Upon receiving a role, an actor must research the major themes, concepts, and relationships associated with the play, its collaborators, and the character they are to portray. Only by layering this combination of research and analysis to the rehearsal process and performances in a detailed format can an actor cohesively transform the learned knowledge from the performer's training and research to a finished product on stage. Many forms of art are created using a similar process. This...
Show moreUpon receiving a role, an actor must research the major themes, concepts, and relationships associated with the play, its collaborators, and the character they are to portray. Only by layering this combination of research and analysis to the rehearsal process and performances in a detailed format can an actor cohesively transform the learned knowledge from the performer's training and research to a finished product on stage. Many forms of art are created using a similar process. This thesis will explore the similarities between the Post-Impressionist technique of pointillism and the actor's process in developing a role. Upon observing the basic process of each technique, one can conclude that the method of consistently adding many specific elements eventually creates a finished product whether it is in the form of a painting on a canvas or a performance on a stage. By paralleling these two artistic techniques, a new contribution to musical theatre is made by presenting a fresh outlook for performers in their approach to creating roles. Research on pointillism and George Seurat's painting technique when interwoven with Stephen Sondheim's techniques in music theory (specifically the examples derived from the score of Sunday in the Park with George), and compared to my technique and process as the actor playing the role of Dot in the University of Central Florida Conservatory Theatre's 2006 Spring production of Sunday in the Park with George, demonstrates how the theories of pointillism and the actor's process are clearly comparable and arguably inseparable.
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Date Issued: 2006
Identifier: CFE0001380, ucf:47009
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001380

Title: An actor's approach: stepping into a role and a world of the past.
Creator: Gosselin, Danielle, Listengarten, Julia, Wood, Mary, Brown, James, University of Central Florida
Abstract / Description: To step into a character and a world of the past, the actor must not discard the present, but seek to find connections and links between the worlds. I was cast in the Orlando Shakespeare Theater production of Sense and Sensibility, a Jon Jory adaptation of Jane Austen's novel, in the role of Lucy Steele. This was an equity production, and it ran February 6th (-) March 17th, 2013, in the Orlando Shakespeare Theater's Margeson Theater. Lucy is a female character from England in a period often...
Show moreTo step into a character and a world of the past, the actor must not discard the present, but seek to find connections and links between the worlds. I was cast in the Orlando Shakespeare Theater production of Sense and Sensibility, a Jon Jory adaptation of Jane Austen's novel, in the role of Lucy Steele. This was an equity production, and it ran February 6th (-) March 17th, 2013, in the Orlando Shakespeare Theater's Margeson Theater. Lucy is a female character from England in a period often referred to as the Regency era. As a woman from today's United States of America, first I explored how Lucy's words and actions fit into the society of her time, and second I explored how I, a contemporary actor, could organically step into her shoes.One of the greatest tools I had to help me address these questions was the playwright himself, Jon Jory. He was at the Orlando Shakespeare Theater for the 2012 Harriett Lake Festival of New Plays, during which he gave a keynote address and taught a master class in acting, in which I participated. Furthermore, I had the unique opportunity to personally interview him regarding Sense and Sensibility and his connection to the world of Austen and her characters. Along with applying this insight, I applied tools from his acting master class to my work on his Sense and Sensibility text. This special access to the playwright greatly influenced the work and served as a key into Lucy's world.In addition to working with the playwright, I further researched Austen and her work, because Lucy and her world originate there. I explored various resources about England's Regency era society and the role of women in this society. By comparing the world and people of the play to the current cultural and political landscape with which I am most familiar, I found fundamental links between people living in different times and places, breaking down walls between Lucy's world and my own. Finally, this performance thesis project utilized the practical acting, voice, and movement skills, which I cultivated in my studio work as an MFA acting candidate at the University of Central Florida. It was a wonderful opportunity as an aspiring young actor to participate in an equity production and work with professional actors. I exercised my stage dialects training by using a standard British dialect, and I applied what I learned in my theatre styles acting class and in various movement classes to develop the behavior and physicality of my character. In order to preserve the new information gained from this study, I chronicled my explorations and discoveries throughout the rehearsal and production process. Through my work with the playwright Jon Jory, my research on Jane Austen and the Regency era, and my application of what I learned in the studio, I strove to create a model process for an actor to utilize when stepping into a role and a world of the past.
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Date Issued: 2013
Identifier: CFE0004685, ucf:49874
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004685

Title: INSTITUTIONAL DESIGN AND ECONOMIC INEQUALITY: SOCIOECONOMIC ACTORS AND PUBLIC POLICY IN GERMANY AND THE UNITED STATES.
Creator: Hudson, Jennifer, Kinsey, Barbara, University of Central Florida
Abstract / Description: In this thesis I conduct a comparative analysis of the influence of socioeconomic actors, business and labor, on public policy in Germany and the United States, specifically public policy that has an impact on economic inequality. The objective of this study is to gain a better understanding of how institutional constructs may determine the level of influence by different socioeconomic actors on public policy. In particular, I examine the link between institutional design and economic...
Show moreIn this thesis I conduct a comparative analysis of the influence of socioeconomic actors, business and labor, on public policy in Germany and the United States, specifically public policy that has an impact on economic inequality. The objective of this study is to gain a better understanding of how institutional constructs may determine the level of influence by different socioeconomic actors on public policy. In particular, I examine the link between institutional design and economic inequality, specifically the relative influence of business interests in varying types of capitalist economies and democratic systems, and assess those facets of institutional design that may facilitate the channeling of business influence in policy making. I explore institutional changes in the German political and economic system beginning in the late 1980s to determine whether these changes have altered the policy making process over time, and analyze similarities with institutional changes that have taken place in the United States beginning in the late 1970s to present. Further, I examine whether shifts in institutional design indicate that the German system is transitioning towards a more liberal model similar to that of the United States, and consider what effects this may have on the level of economic inequality in Germany. To conduct my analysis I use the Institutional Analysis and Development (IAD) framework; based on the IAD framework I create a conceptual map of the channels by which socioeconomic actors are involved in the policy making process. I evaluate the policy-making process in both formal and informal policy arenas. The policy areas analyzed include corporate governance, industrial relations, and tax, welfare and minimum wage policy during the selected time periods. The analysis shows that the institutional designs that produced the selected policies benefit business interests and may contribute towards economic inequality. The larger goal is to develop research that will build a theoretical foundation to help us identify how these systems may be improved to produce a more equitable allocation of economic resources.
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Date Issued: 2014
Identifier: CFH0004690, ucf:45243
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFH0004690

Title: The Relationship Between Married Partners' Individual and Relationship Distress: An Actor-Partner Analysis of Low-income, Racially and Ethnically Diverse Couples in Relationship Education.
Creator: Munyon, Matthew, Young, Mark, Hagedorn, William, Daire, Andrew, Sivo, Stephen, University of Central Florida
Abstract / Description: Couples experiencing relationship distress often require professional help, such as counseling and couple and relationship education (CRE). Research recently discovered that among couples in counseling, a circular relationship exists between individual and relationship distress(-)stress begets stress. Until this study, a similar examination had not been conducted among couples selecting CRE. This study examined the relationship between individual and relationship distress among married...
Show moreCouples experiencing relationship distress often require professional help, such as counseling and couple and relationship education (CRE). Research recently discovered that among couples in counseling, a circular relationship exists between individual and relationship distress(-)stress begets stress. Until this study, a similar examination had not been conducted among couples selecting CRE. This study examined the relationship between individual and relationship distress among married couples that had children, were from predominantly low-income and racially and ethnically diverse backgrounds, and selected CRE. A correlational research design was employed and framed in the social interdependence theory. The actor-partner interdependence model was conducted within a three-level hierarchical model. The results confirmed that a circular relationship exists between individual and relationship distress(-)distress begets distress. Within the circular model of individual and relational functioning, personal individual distress predicted partner individual distress as well as personal and partner relationship distress, and personal relationship distress predicted personal individual distress and partner relationship distress. The extent to which distress begot distress was stronger among women, those with low income, and those who were unemployed. The results also revealed a continuum of individual and relational functioning. Dyad members interact along a continuum from intrapersonal individual functioning to interpersonal relational functioning. The continua meet at the nexus of negotiation or the heart of interpersonal interaction, where dyad members communicate and make decisions, among other actions. Implications related to the findings of this study as well as inspirations for future research are discussed.
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Date Issued: 2012
Identifier: CFE0004284, ucf:49529
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004284

Title: THE ACTOR'S ROLE IN DEVELOPING NEW PLAYS.
Creator: Haney, Brooke, Lee, David, University of Central Florida
Abstract / Description: The constant development of new plays is vital for theatre to stay relevant. There is a desire, a yearning, a need to see the issues we face in our lives on stage in current contexts, and to watch characters living with them. The ability, as an Actor, to be an asset to the process of creating new works is invaluable. For my thesis, I discuss the role of the Actor in the process of developing new plays for the stage. I say "discuss" because I venture to guess that this role is constantly...
Show moreThe constant development of new plays is vital for theatre to stay relevant. There is a desire, a yearning, a need to see the issues we face in our lives on stage in current contexts, and to watch characters living with them. The ability, as an Actor, to be an asset to the process of creating new works is invaluable. For my thesis, I discuss the role of the Actor in the process of developing new plays for the stage. I say "discuss" because I venture to guess that this role is constantly evolving. There may be as many ways to approach the process as there are collaborative teams. Therefore, I do not suggest there is one right way in which an Actor can play a part in the process of new play development, nor do I intend this to be a comprehensive look at all the roles an Actor can play. However, I discovered some best practices, which I put into a list and seized this opportunity to cultivate my skills in these areas. My intent was to work and speak with Playwrights and Directors, learning from them what they value in an Actor at the various phases of new play development, and to nurture these skills within myself. I utilized my discoveries in the World Premiere of Triangle Logic by Debbie Lamedman. As theatre is a collaborative art, I learned to shift and adapt my role, depending on the other collaborators. While Triangle Logic was the larger focus of my thesis work, I also sought additional smaller projects, such as the workshop productions of Steven Christopher Yockey's play, Heavier Than, part of Orlando Shakespeare Theater's PlayFest 2010, and Orlando Repertory Theater's devised play Writes of Spring, I thinK his NamE Was rick. I applied techniques I learned while working on Triangle Logic to the other new projects, where appropriate. I endeavored to evaluate each experience objectively, while recognizing that they were, by nature, subjective experiences.
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Date Issued: 2011
Identifier: CFE0003702, ucf:48810
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003702

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actor (3)	+ -
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Business (1)	+ -
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