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Title: Who do I Play: Appraising the Impact of Teacher-in-Role with Kindergartners in an ESOL Classroom.
Creator: Brantley, Kathryn, Wood, Mary, Thaxton, Terry, Niess, Christopher, University of Central Florida
Abstract / Description: Educators employing process drama, a non-presentational dramatic form, establish memorable classroom environments where students co-author their learning with teachers. Process drama facilitators often use the dramatic structure of teacher-in-role to guide and support the students. An instructor heightens tension, introduces new ideas, and encourages participation by engaging alongside students as a character. An educator employing process drama needs to determine the appropriate type of role...
Show moreEducators employing process drama, a non-presentational dramatic form, establish memorable classroom environments where students co-author their learning with teachers. Process drama facilitators often use the dramatic structure of teacher-in-role to guide and support the students. An instructor heightens tension, introduces new ideas, and encourages participation by engaging alongside students as a character. An educator employing process drama needs to determine the appropriate type of role to impact the development of a classroom drama; while negotiating tension felt between desires for student-led discovery and the necessity of meeting curriculum benchmarks.Academic studies establish process drama as a tool to aid English Students of Other Languages or ESOL classrooms. Process drama heightens comprehension, whole language usage and ownership of learning. Using the methodology of reflective practice I analyzed my teaching in role to determine how I negotiate diverse and conflicting objectives. I facilitated a six week process drama with four to six-year-old ESOL students at a learning centre in Hong Kong. This study improved this teacher's understanding and usage of teacher-in-role. The ideals of a process centered classroom were not always realized, but the needs of the population necessitated adaption from expectations. The experiences of the researcher indicate ambiguous character may not be the best way to motivate dialogue among this population of ESOL students. Students' age and English experience suggests using co-participant characters whose motivations are clearly defined. This study contributes to the discussion on what differing (")role types(") offer facilitators of process drama and how it may be used to meet demands of curriculum including development of performances. Process drama with very young students presents a field for further research investigating methods and practices to effectively structure process dramas that address their learning.
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Date Issued: 2012
Identifier: CFE0004227, ucf:48989
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004227

Title: TURNING TRICKS AND THE MODERN FEMALE PROTAGONIST: AN ANALYSIS OF THE PORTRAYAL OF THE ROLE OF THE DEMIMONDE FROM VIENNESE OPERETTA TO MODERN AMERICAN MUSICAL THEATRE.
Creator: Nay, Melissa, Weaver, Earl, University of Central Florida
Abstract / Description: The demimondaine, an exclusive courtesan in nineteenth-century Europe, and the modern mezzo-soprano protagonist are prevalent characters in American musical theatre and can be observed in various styles throughout European music and drama. In Arthur Schnitzler's The Little Comedy, the female protagonist is both a romantic heroine and mistress; and in Jules Renard's Le Pain de Ménage, the lead player is anything but the classic ingénue. In preparation for performance and...
Show moreThe demimondaine, an exclusive courtesan in nineteenth-century Europe, and the modern mezzo-soprano protagonist are prevalent characters in American musical theatre and can be observed in various styles throughout European music and drama. In Arthur Schnitzler's The Little Comedy, the female protagonist is both a romantic heroine and mistress; and in Jules Renard's Le Pain de Ménage, the lead player is anything but the classic ingénue. In preparation for performance and to further the research in the contemporary music comedy realm, I prepared for the roles of Josefine and Monica in the University of Central Florida's production of Barry Harman and Keith Herrmann's Romance, Romance through in-depth analysis on the performance development process of two distinct female protagonist characters. I first researched the historical world of the demimonde: identifying key characteristics of these famed courtesans and their fashionable emergence as "tart with a heart" characters in nineteenth-century dramatic works. Second, I traced the evolution of the "fallen woman" archetypal character and the mezzo-soprano from European grand opera and realism to contemporary musical theatre. This research better defined my character type and therefore assisted in performance preparation. Third, Act I's The Little Comedy is a period piece set in nineteenth-century Vienna, and Harman's and Herrmann's adaptation reflect the musical and social aspects of the time. Through historical research on operetta style and the creators' perspectives, I more fully developed my understanding and performance interpretation in Romance, Romance. Finally, I evaluated my characterization process with a discussion of the practical implementation of research on the musical performance process. This thesis document adds to the wealth of pre-existing musical theatre character analysis and discusses key components associated with the development of the modern female protagonist. Identifying the evolution of the "tart with a heart" stock character from its European origins to its current Broadway prominence, this manuscript advances the academic field with the illumination of the demimonde in American musical theatre. Last, for the purpose of developing believable and realistic characters for musical performance, this document analyzes and evaluates the research methods used to inform the rehearsal process when developing two female protagonist characters in contemporary musical theatre.
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Date Issued: 2008
Identifier: CFE0002470, ucf:47710
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002470

Title: APPLIED DESIGN: AN EXPLORATION OF ARTS INTEGRATION THROUGH THEATRICAL DESIGN IN THE FOURTH GRADE CLASSROOM.
Creator: Fuss, Alicia, Listengarten, Julia, University of Central Florida
Abstract / Description: The purpose of this action-research study is to explore a new pedagogical tool for myself as a teaching artist: Applied Design. My ideas around Applied Design are rooted in the field of Creative Drama, and grew out of a desire to explore theatrical design in the same process-centered way that Creative Drama explores informal and improvisational drama techniques. To this end, I attempt to determine how the use of Applied Design affects both student engagement and student understanding when...
Show moreThe purpose of this action-research study is to explore a new pedagogical tool for myself as a teaching artist: Applied Design. My ideas around Applied Design are rooted in the field of Creative Drama, and grew out of a desire to explore theatrical design in the same process-centered way that Creative Drama explores informal and improvisational drama techniques. To this end, I attempt to determine how the use of Applied Design affects both student engagement and student understanding when applied as an interdisciplinary tool to Language Arts curriculum. For the purposes of this study, I introduced Applied Design as a discovery teaching methodology through a one-week Language Arts unit in a local fourth grade classroom. I collected data from the students, their classroom teacher and myself through questionnaires, written work and personal observation. As I examined the data, I discovered positive relationships between Applied Design and both student engagement and student understanding. Students responded to the discovery teaching methods enthusiastically, and embraced each design project with a dedication that appeared to inspire students to push through difficult moments in effort to complete each given task. Although the length of the study and amount of data generated limited my ability to draw widespread conclusions, the evidence suggests that further study in the applications of Applied Design is merited. This study also begins to discuss what such future study might look like, in effort to push the exploration of Applied Design forward. Ultimately, this action research study reinforced my conviction that process-centered theatrical design can serve as a useful tool for myself as a teaching artist, and inspired me to move forward in my understanding and exploration of its applications.
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Date Issued: 2010
Identifier: CFE0003383, ucf:48435
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003383

Title: THE RESURRECTION OF EVERYMAN.
Creator: Knoell, David, Listengarten, Julia, University of Central Florida
Abstract / Description: In March of 2005 I was a cast member in Mad Cow Theatre's production of the Morality drama Everyman. This classic tale on the condition of human dying is regarding as one of the greatest dramas of the Medieval period and is one of the first plays in the English language to be put into print. This thesis is an actor's journey into the history of Medieval theatre, the challenges of producing Everyman for a contemporary audience, and the techniques of acting implemented in the creation of...
Show moreIn March of 2005 I was a cast member in Mad Cow Theatre's production of the Morality drama Everyman. This classic tale on the condition of human dying is regarding as one of the greatest dramas of the Medieval period and is one of the first plays in the English language to be put into print. This thesis is an actor's journey into the history of Medieval theatre, the challenges of producing Everyman for a contemporary audience, and the techniques of acting implemented in the creation of allegorical characters. Medieval drama, like Everyman, is still relevant in today's world because it addresses universal themes of friendship, material wealth, and reverence towards death. It is the story of the human being, the power of beliefs, and the fear of death. This thesis reflects a group of artists' desire to give an audience the gift of insight into their common selves.
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Date Issued: 2006
Identifier: CFE0001086, ucf:46772
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001086

Title: "TRULY AN AWESOME SPECTACLE": GENDER PERFORMATIVITY AND THE ALIENATION EFFECT IN ANGELS IN AMERICA.
Creator: Gorney, Allen, Campbell, James, University of Central Florida
Abstract / Description: Tony Kushner's two-part play Angels in America uses stereotypical depictions of gay men to deconstruct traditional gender dichotomies. In this thesis, I argue that Kushner has created a continuum of gender performativity to deconstruct these traditional gender dichotomies, thereby empowering the effeminate and disempowering the masculine. I closely examine Kushner's use of Brechtian and Aristotelian tenets in the first Broadway production of the play to demonstrate that Kushner sought to...
Show moreTony Kushner's two-part play Angels in America uses stereotypical depictions of gay men to deconstruct traditional gender dichotomies. In this thesis, I argue that Kushner has created a continuum of gender performativity to deconstruct these traditional gender dichotomies, thereby empowering the effeminate and disempowering the masculine. I closely examine Kushner's use of Brechtian and Aristotelian tenets in the first Broadway production of the play to demonstrate that Kushner sought to induce social awareness of gay male oppression, contingent on the audience's perception of Kushner's deconstruction of the traditional gender dichotomy. I also scrutinize the role of the closet and its implications in the play, primarily analyzed with Eve Kosofsky Sedgwick's theoretical framework, suggesting Kushner's partiality to openly gay men who can actively participate in the cessation of gay male oppression.
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Date Issued: 2005
Identifier: CFE0000901, ucf:46731
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0000901

Title: IT WILL TURN VICIOUS: AN EXPLORATION OF THE CYCLE OF AUDIENCE RIDICULE IN FRENCH DRAMA.
Creator: Elfont, Stephanie C, Thomas, Aaron C., University of Central Florida
Abstract / Description: The intent of this thesis is to investigate the prominence of audience ridicule in the French theatre from the medieval sottie to Ionescan Absurdism of the mid-twentieth century. Throughout the history of French drama, playwrights have exploited this tactic with either the purpose of invoking an emotional or intellectual response or inciting a social or political call to action. This exploration takes particular interest in shaming theatrical audiences during periods of political unrest,...
Show moreThe intent of this thesis is to investigate the prominence of audience ridicule in the French theatre from the medieval sottie to Ionescan Absurdism of the mid-twentieth century. Throughout the history of French drama, playwrights have exploited this tactic with either the purpose of invoking an emotional or intellectual response or inciting a social or political call to action. This exploration takes particular interest in shaming theatrical audiences during periods of political unrest, analyzing the ways in which playwrights employed language, studies of characters, and plot-related content to highlight the prevalent and pervasive ills of society and of humanity. The majority of the literature from the sixteenth and seventeenth centuries criticizes the aristocracy, the clergy, and the crown. As we approach revolutionary France, the theatre all but abandons intrigue in favor of the tears that flowed that from the ocean of English Sentimentalism. Melodrama and the well-made play adorned the early-nineteenth century, while the later part of the century brought French theatre Jarry�s pataphysics and his affinity for audience shaming that set the stage for the impending onslaught of twentieth-century ridicule. The avant-garde movement flourished at the beginning of the century with the Dadas and the Surrealists responding to humanity�s response to the War to End All Wars. When Ionesco arrived at the forefront of the French theatre mid-century, he employed the most effective audience ridicule tactics invented by his predecessors and created his Absurdist theatre. Ionesco writes: �take a circle, caress it, and it will turn vicious� (38). From the fifteenth century to the twentieth century, the cycle of audience ridicule was indeed vicious in a theatre that sought to effect positive change in a rapidly changing society.
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Date Issued: 2016
Identifier: CFH2000040, ucf:45521
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFH2000040

Title: THROUGH THE KALEIDOSCOPE LENS - THE AFFECTS OF THE DRAMATIC PROCESS AND PRODUCT ON THE LIVES OF ACTORS WITH DISABILITIES.
Creator: Weberman, Karen, Alrutz, Megan, University of Central Florida
Abstract / Description: This case study investigates how participating in the process of drama and the product of theatre affects the lives of persons with developmental and physical disabilities. In the summer of 2008, I documented the experiences of the actors in Kaleidoscope, a five-week musical theatre program in which 18 teenagers and adults created an original musical theatre production through a partnership between Asolo Repertory Theatre and Community Haven for Adults and Children with Disabilities in...
Show moreThis case study investigates how participating in the process of drama and the product of theatre affects the lives of persons with developmental and physical disabilities. In the summer of 2008, I documented the experiences of the actors in Kaleidoscope, a five-week musical theatre program in which 18 teenagers and adults created an original musical theatre production through a partnership between Asolo Repertory Theatre and Community Haven for Adults and Children with Disabilities in Sarasota, Florida. In an effort to understand how moving through the rehearsal process and culminating product influenced and changed the lives of the actors within the Kaleidoscope community, I conducted three rounds of interviews with eight selected actors and two rounds of interviews with artistic and clinical staff, as well as documented personal observations through my role as a participant/observer. The major through lines of my data detail how drama, movement, dance, and voice work cultivated change in the actors' socialization, self-confidence, and self-expression. While participating in the art shaped the actors' lives in a variety of ways, the production of Dream Out Loud grew from collaborative efforts that challenged and celebrated both individuality and equality within the spectrum of difference among the ensemble. As I also studied Kaleidoscope as a whole to guide the design of my own program, I sought to discover methods of sustaining growth that stem from participating in both the dramatic process and product. Due to their wide spectrum of disabilities, the actors experienced a variety of changes, and for some, no changes at all in socialization, self-confidence, and self-expression. I concluded that while every actor did not walk away from Kaleidoscope having made great changes within The Three Ss, participating in the program was an artistically and socially valuable experience for each actor.
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Date Issued: 2009
Identifier: CFE0002846, ucf:48067
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002846

Title: no touchdown dance.
Creator: Conner, William, Sandler, Barry, Wolfe, Jesse, Schlow, Stephen, Finch, Randy, University of Central Florida
Abstract / Description: Less Lost is a feature-length film by William Chase Conner, made as part of the requirements for earning a Master of Fine Arts in Film (&) Digital Media from the University of Central Florida.
Date Issued: 2013
Identifier: CFE0004986, ucf:49551
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004986

Title: Living with Marie: Dramatherapy in the Creation of Performable Theatre.
Creator: James, Madelyn, Listengarten, Julia, Ingram, Kate, Wood, Vandy, University of Central Florida
Abstract / Description: Living with Marie is a project aiming to adapt dramatherapy techniques so that they are better suited to the creation of theatre in an attempt to educate audiences of the struggles some individuals cope with while living with mental illness. By using the practices implemented by dramatherapists Sue Jennings, John Casson, R. M. Simon, and Phil Jones, the evolution of my play Living with Marie can be seen as first originating in imagery before progressing to text and finally, performable art....
Show moreLiving with Marie is a project aiming to adapt dramatherapy techniques so that they are better suited to the creation of theatre in an attempt to educate audiences of the struggles some individuals cope with while living with mental illness. By using the practices implemented by dramatherapists Sue Jennings, John Casson, R. M. Simon, and Phil Jones, the evolution of my play Living with Marie can be seen as first originating in imagery before progressing to text and finally, performable art. This venture, inspired by my own psychotic struggle, gives audiences a glimpse into the clandestine existence of a nameless Young Woman and her m(&)#234;l(&)#233;e with a schizophrenic embodiment of her mental disorders named Marie.
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Date Issued: 2017
Identifier: CFE0006949, ucf:51659
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0006949

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.
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Date Issued: 2004
Identifier: CFE0000116, ucf:46185
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0000116

Title: Building a Workable Model for Youth Theatre: An Exploration into a Courageous and Complex Field.
Creator: Engstrom, Megan, Brotherton, Mark, Ingram, Katherine, Listengarten, Julia, University of Central Florida
Abstract / Description: As an active director of productions featuring youth actors, I find myself debating the same questions continuously: Are there clear and demonstrated differences between working with young people and adults when directing a youth theatre production? Are there approaches and methods of working with young people that differs greatly from working with adults? Are these methods supported and utilized by those working professionally in the field? Is there an ideal format for a theatre producing...
Show moreAs an active director of productions featuring youth actors, I find myself debating the same questions continuously: Are there clear and demonstrated differences between working with young people and adults when directing a youth theatre production? Are there approaches and methods of working with young people that differs greatly from working with adults? Are these methods supported and utilized by those working professionally in the field? Is there an ideal format for a theatre producing only productions with youth? I believe that directing young actors tends to require a shift in focus due to the pliability, sensitivity, and inexperience of the actors. I feel the director must take into account the emotional, developmental, and educational needs of the young people and at the same time remain focused on the creation of a product with artistic integrity and clear storytelling. Due to the didactic nature of Youth Theatre, directing young people often requires an awareness of process over product despite the similar end goal of directing adults.Since little research or literature exists about the differences between working with adults versus young people, I will pursue information by interviewing several recognized professionals in the field of Theatre by and for Youth. I will examine their multiple methods, techniques, and practices of working with young people. In addition, I will use my personal experience working with youth at the Orlando Repertory Theatre in Florida and Coterie Theatre in Missouri. Through an investigation into the emerging field of Youth Theatre coupled with my education, I plan to develop a workable and effective youth theatre company based upon these findings with the hope it might inspire others working in this field.
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Date Issued: 2011
Identifier: CFE0004107, ucf:49101
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004107

Title: A PERSONAL EXPLORATION INTO THE ETHICS AND RESPONSIBILITIES OF A THEATRE TEACHING ARTIST.
Creator: Dunn , Amie, Weaver , Earl, University of Central Florida
Abstract / Description: As an artist in the field of theatre for young audiences, I encounter many definitions of Ã‚Â'teaching artist,Ã‚Â' and within each definition lies a new set of physical, educational, and psychological responsibilities. While the term Ã‚Â'teaching artistÃ‚Â' continues to evolve and grow, I am interested in exploring a common struggle among teaching artists: What does it mean to be an ethical and responsible...
Show moreAs an artist in the field of theatre for young audiences, I encounter many definitions of Ã‚Â'teaching artist,Ã‚Â' and within each definition lies a new set of physical, educational, and psychological responsibilities. While the term Ã‚Â'teaching artistÃ‚Â' continues to evolve and grow, I am interested in exploring a common struggle among teaching artists: What does it mean to be an ethical and responsible teaching artist? This thesis allows me to create a personal definition of Ã‚Â'teaching artistÃ‚Â' while exploring the relationship between responsibility, ethics, and community-based teaching. I begin by formulating my current understanding and beliefs about what it means to be a responsible teaching artist. I research how others in the TYA field, specifically Michael Rohd, Stephani Etheridge Woodson and Barbara McKean have dealt with issues of ethics and responsibility through four specific questions: How does my personal culture, race, gender, sexual orientation, and beliefs positively or negatively affect the work I do with young people? How does a teaching artist manage an environment in which there are inherently therapeutic qualities, without stepping into the role of therapist, and maintain a healthy relationship with the young people and the work? How do teaching artists maneuver through a structure where the ideologies of the teacher are guiding the project on a macro level but not a micro level? Is it possible or necessary to share responsibility with young people? As a reflective artist I canÃ‚Â't help but question, challenge, and rethink choices I make in facilitation. I would venture to say it would be irresponsible not to do so. I am hopeful this exploration will not only improve my personal teaching but also allow and inspire others to take a look at their practice in terms of ethics and responsibility.
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Date Issued: 2010
Identifier: CFE0003012, ucf:48339
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003012

Title: STUDY OF SYMBOLIC EXPRESSIONS IN PEKING OPERA'SCOSTUMES AND LYRICS.
Creator: Li, Yiman, Akita, Kimiko, University of Central Florida
Abstract / Description: This thesis represents an analysis of symbolic expressions used to convey traditional Chinese cultural values in marital relations as expressed through costumes and lyrics in Peking Opera plays and performances. Two symbols, dragon and phoenix, were selected from the costume collection. Four symbols--bird, tiger, wild goose, and dragon--were selected from compilations of lyrics. These symbols were selected because they expressed Chinese core cultural values, an imperial ideology based on...
Show moreThis thesis represents an analysis of symbolic expressions used to convey traditional Chinese cultural values in marital relations as expressed through costumes and lyrics in Peking Opera plays and performances. Two symbols, dragon and phoenix, were selected from the costume collection. Four symbols--bird, tiger, wild goose, and dragon--were selected from compilations of lyrics. These symbols were selected because they expressed Chinese core cultural values, an imperial ideology based on Confucian thoughts, which were practiced rigidly during Qing Dynasty (1644-1911). Modeling Theory is applied to argue that dragon and phoenix as visual symbols convey ideas about characters' background, marital relationship, social status shifts, and socio-culturally desirable values. Social Drama Theory is employed to analyze the lyrics to understand how ideal images of husband and wife are constructed. The archetypes of Chinese traditional culture that have influenced Chinese thought and action for centuries are discovered and discussed.
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Date Issued: 2008
Identifier: CFE0002149, ucf:47505
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002149

Title: DRAMA + MATH = DRAMATH.
Creator: Bryson, Lucy, Weaver, Earl, University of Central Florida
Abstract / Description: Arts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or...
Show moreArts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or teachers. The clear connection between drama and the core subjects of history and literature allow teaching artists to easily create units utilizing both curriculum areas. Mathematics does not present clear connections to drama and the prevalence of mathematics anxiety, especially in the arts, prevents connections from being made. As an educator, theatre artist and lover of mathematics, Arts-Across-the-Curriculum provides me a opportunity to meld these together as a way to help young people find excitement in their education. Partnering with a fourth grade teacher, I developed a unit of lesson plans using playwriting as a way to understand word problems that was user-friendly for a teacher with no arts training. The Dramath Unit was integrated into the class as part of regular curriculum taught by the participating classroom teacher. Based on feedback from the participating teacher, I revised the unit for future use.
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Date Issued: 2011
Identifier: CFE0003618, ucf:48871
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003618

Title: Immediacy in Comedy: How Gertrude Stein, Long Form Improv, and 5 Second Films Can Revolutionize the Comedic Form.
Creator: Hluch, Alexander, Listengarten, Julia, McCoy, Allen, Brotherton, Mark, University of Central Florida
Abstract / Description: Comedy has typically been derided as second-tier to drama in all aspects of narrative. Throughout history, comedy has seen short shrift in both critical reception and academic investigation. Merit is simply placed on drama far before that of comedy. This is not for comedy's own lack of skill or craft, but simply for comedy's misappropriation as a narrative form. Throughout the years, by way of either competition or economic superiority, comedy has been pigeonholed into the typified dramatic...
Show moreComedy has typically been derided as second-tier to drama in all aspects of narrative. Throughout history, comedy has seen short shrift in both critical reception and academic investigation. Merit is simply placed on drama far before that of comedy. This is not for comedy's own lack of skill or craft, but simply for comedy's misappropriation as a narrative form. Throughout the years, by way of either competition or economic superiority, comedy has been pigeonholed into the typified dramatic structure that drama so thoroughly encapsulates. Being forced into a form that exemplifies complex, climactic structure and explicit character development, comedy in its purest form has suffered through the ages. Gertrude Stein's theory of Landscape Drama, and, more specifically, immediacy, is best attuned to comedy in its truest form. Comedy does not require sweeping character development, obtuse narrative design, or fantastic spectacle to produce superior works of art. Comedy, when compared to drama, exists best in a much more punctuated format. Stein's theories, while never intended for comedy, align absolutely perfectly with the comedic genre's design. And epitomized through long form improv on the stage, and the newly-fashioned digital short made profitable by the proliferation of the internet and digital culture, comedy's purest form has become more readily available as narrative has progressed throughout history. With this thesis, I intend to display the disparity between comedy and drama due to comedy's misallotment into a format that does not properly encapsulate it to its most fulfilling embodiment. Through this display, I seek to uncover the debt done to the comedic form from centuries of neglect in academic query and merit in order to best prove comedy's need for critical scrutiny. Further, in doing so I hope to better construe a community of comedic research and criticism in order to create better art and more diverse comedic offerings.
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Date Issued: 2013
Identifier: CFE0005097, ucf:50727
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0005097

Title: All of Chinese Literature Condensed: A Sourcebook from the Playwright, Director, and Biggest Fan.
Creator: Emerson, Whitney, Routhier, Mark, Tan, Huaixiang, Brotherton, Mark, University of Central Florida
Abstract / Description: Aristotle stated in his Poetics that theatre's dual purpose was to educate and entertain. Centuries later the Roman Horace and Indian Bharata echoed his same sentiments. I intend to realize all three theorist's ideas on the theatre by creating an original educational and entertaining work and bringing it to performance. The audience will retain information without being aware of learning if it is presented in a pleasurable way.The most important geopolitical relationship of this century will...
Show moreAristotle stated in his Poetics that theatre's dual purpose was to educate and entertain. Centuries later the Roman Horace and Indian Bharata echoed his same sentiments. I intend to realize all three theorist's ideas on the theatre by creating an original educational and entertaining work and bringing it to performance. The audience will retain information without being aware of learning if it is presented in a pleasurable way.The most important geopolitical relationship of this century will be between China and America. In order to educate the American public about the culture of The Middle Kingdom, I propose to write and direct my own play, condensing all three thousand years of Chinese literature into a one hundred and ten minute performance. I will benefit from the personal nature of this thesis by experiencing every stage of a play's production: from idea to page to performance. My thesis will be made of three major parts: conceiving and writing the play, a journal of directing the debut production, and a third section made of choices, influences, and reflection on the entire experience. In this manner, the ideas swirling in my head may be made clear to others reading this thesis. The play itself will be a comical distillation of ten selected works of Chinese literature. Four non-gender specific American actors will seem to make up the show as it performs in a tongue-in-cheek way. Taking my stated goal of entertaining and educating the audience to heart, the overarching plot of the play will center on the four actors teaching the audience about the literature and culture of China by acting out scenes and telling stories. The information in the scenes will be targeted to a normal American citizen's educational level with liberal doses of humor added. The four actors will be playing fictionalized versions of themselves and at times breaking character by explaining and setting up the theatricality of the piece to the audience. Part of the fun of the show will be seeing how these actors explain a subject as obtuse as Chinese literature to Americans. Perhaps a cooking metaphor is the best way to think of the play: I will chop up raw Chinese literature, the actors will boil it onstage, the theatregoer will consume the mix, and exit the theatre full of entertaining intellectual nourishment.My experiences directing and producing the finished play will be recorded in a journal as a resource for future directors. I imagine directing the play will be the most challenging aspect of this thesis. How is the play changed when other people interact with it? How will the audience receive it? In addition, Committee Chair Mark Routhier and my thesis Committee Members, Mark Brotherton and Tan Huaixiang, will also give written responses to the play's performances. The play will be performed October 10-13, 2013 in the University of Central Florida's Performing Arts Complex Studio 2 classroom. In the final section I will write a reflection on the entire process. This will serve the dual purpose of giving me a place to collect my thoughts and giving others a special insight to the growth they might experience when producing this play. Foremost among my influences in writing a play with this subject matter are the style and tone of The Reduced Shakespeare Company.
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Date Issued: 2013
Identifier: CFE0004993, ucf:49548
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004993

Title: Evaluating Improvisation as a Technique for Training Pre-Service Teachers for Inclusive Classrooms.
Creator: Becker, Theresa, Hines, Rebecca, Beverly, Monifa, Hopp, Carolyn, Hamed, Kastro, University of Central Florida
Abstract / Description: Improvisation is a construct that uses a set of minimal heuristic guidelines to create a highly flexible scaffold that fosters extemporaneous communication. Scholars from diverse domains: such as psychology, business, negotiation, and education have suggested its use as a method for preparing professionals to manage complexity and think on their feet. A review of the literature revealed that while there is substantial theoretical scholarship on using improvisation in diverse domains, little...
Show moreImprovisation is a construct that uses a set of minimal heuristic guidelines to create a highly flexible scaffold that fosters extemporaneous communication. Scholars from diverse domains: such as psychology, business, negotiation, and education have suggested its use as a method for preparing professionals to manage complexity and think on their feet. A review of the literature revealed that while there is substantial theoretical scholarship on using improvisation in diverse domains, little research has verified these assertions. This dissertation evaluated whether improvisation, a specific type of dramatic technique, was effective for training pre-service teachers in specific characteristics of teacher-child classroom interaction, communication and affective skills development. It measured the strength and direction of any potential changes such training might effect on pre-service teacher's self-efficacy for teaching and for implementing the communication skills common to improvisation and teaching while interacting with student in an inclusive classroom setting. A review of the literature on teacher self-efficacy and improvisation clarified and defined key terms, and illustrated relevant studies. This study utilized a mixed-method research design based on instructional design and development research. Matched pairs t-tests were used to analyze the self-efficacy and training skills survey data and pre-service teacher reflections and interview transcripts were used to triangulate the qualitative data. Results of the t-tests showed a significant difference in participants' self-efficacy for teaching measured before and after the improvisation training. A significant difference in means was also measured in participants' aptitude for improvisation strategies and for self-efficacy for their implementation pre-/post- training. Qualitative results from pre-service teacher class artifacts and interviews showed participants reported beneficial personal outcomes as well as confirmed using skills from the training while interacting with students. Many of the qualitative themes parallel individual question items on the teacher self-efficacy TSES scale as well as the improvisation self-efficacy scale CSAI. The self-reported changes in affective behavior such as increased self-confidence and ability to foster positive interaction with students are illustrative of changes in teacher agency. Self-reports of being able to better understand student perspectives demonstrate a change in participant ability to empathize with students. Participants who worked with both typically developing students as well as with students with disabilities reported utilizing improvisation strategies such as Yes, and..., mirroring emotions and body language, vocal prosody and establishing a narrative relationship to put the students at ease, establish a positive learning environment, encourage student contributions and foster teachable moments. The improvisation strategies showed specific benefit for participants working with nonverbal students or who had commutation difficulties, by providing the pre-service teachers with strategies for using body language, emotional mirroring, vocal prosody and acceptance to foster interaction and communication with the student.Results from this investigation appear to substantiate the benefit of using improvisation training as part of a pre-service teacher methods course for preparing teachers for inclusive elementary classrooms. Replication of the study is encouraged with teachers of differing populations to confirm and extend results.
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Date Issued: 2012
Identifier: CFE0004516, ucf:49273
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004516

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