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Gee, Officer Krupke: An Actor's Casebook
Title
Gee, Officer Krupke: An Actor's Casebook.
Creator
Eichenlaub, Eric, Brotherton, Mark, Ingram, Kate, Niess, Christopher, University of Central Florida
Abstract / Description
In 2016, I was cast as Officer Krupke in a production of West Side Story at Orlando Shakespeare Theater in Partnership with UCF. Even though Krupke can be thought of as a minor character in the play, bringing him to life required a great deal of research and imagination. In order to ground myself in the reality of the role, I researched the effects of implicit bias in modern policing, applied that research to Uta Hagen's Nine Questions, and brought that knowledge into the rehearsal hall and...
Show moreIn 2016, I was cast as Officer Krupke in a production of West Side Story at Orlando Shakespeare Theater in Partnership with UCF. Even though Krupke can be thought of as a minor character in the play, bringing him to life required a great deal of research and imagination. In order to ground myself in the reality of the role, I researched the effects of implicit bias in modern policing, applied that research to Uta Hagen's Nine Questions, and brought that knowledge into the rehearsal hall and onto the stage. I examined how my character's interactions with Lieutenant Schrank influenced his actions and attitudes toward both street gangs in the play and reflected on how my research and these performances changed my point of view and helped me recognize my own biases. This thesis reflects that process and will serve as a tool available to any actor seeking to create his or her own interpretation of Officer Krupke.
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Date Issued
2018
Identifier
CFE0007327, ucf:52140
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0007327
ANTON CHEKHOV:THE CHARACTERIZATION AND INTERPRETATIONOF A HISTORICAL FIGURE FOR THE STAGE
Title
ANTON CHEKHOV:THE CHARACTERIZATION AND INTERPRETATIONOF A HISTORICAL FIGURE FOR THE STAGE.
Creator
gALLANT, Alan, Seay, Donald, University of Central Florida
Abstract / Description
ABSTRACT This thesis will explore the execution of the monograph role of "Anton Chekhov" in the original one-act play, An Evening with Anton Chekhov. The play script, rehearsal and public performances of the piece are all self- generated by the candidate, with the proper assistance of the thesis committee. This written thesis serves as the completion of the thesis project, and includes analysis of several key areas of the development of the script and thesis role. This document includes the...
Show moreABSTRACT This thesis will explore the execution of the monograph role of "Anton Chekhov" in the original one-act play, An Evening with Anton Chekhov. The play script, rehearsal and public performances of the piece are all self- generated by the candidate, with the proper assistance of the thesis committee. This written thesis serves as the completion of the thesis project, and includes analysis of several key areas of the development of the script and thesis role. This document includes the original script with endnotes and a structural analysis. Social and historical background of the character, Anton Chekhov, a real person, is presented. This background includes the history as it pertains to Anton Chekhov and the national mindset in pre-revolutionary Russia. This background is integral in not only the development of the character, but also of the script which supports the character. Much of what is contained in the script is from correspondences, anecdotes, and written material from and about Anton Chekhov. These materials will be used as interpretive tools in the development of the character, and includes clues to physical appearance and personality. The character analysis contained herein is, in part, a reflection of these historical and environmental concerns. In addition, external and internal portrayal and the means used to achieve them are discussed. These means include physical and vocal techniques for the stage in conjunction with the use of emotional recall, behaving "as if," and being emotionally and energetically present for the acting partner. Since this is a "one man show," the acting partner will take the form of the audience as other or confidante. This phenomenon, and its effect on the performance, is included in the written thesis. The acting approach in execution of the monograph will also be reflected in a journal, which will contain a record of the successes, challenges, choices and adjustments made in the rehearsal/performance process. Included among these will be the various adjustments made in order to achieve a higher level of spontaneity in movement and transition, and how this semi-improvisational approach aided in adjusting to each unique audience in performance. Analysis will be provided by members of the committee. Dr. Julia Listengarten and Mark Brotherton will submit performance analysis, while the committee chair, Dr. Donald Seay will also provide rehearsal reports. Script work on An Evening with Anton Chekhov will begin in October of 2005, with rehearsals commencing on February 6, 2006. Two performances will be given at the Black Box theatre on the campus of UCF on Monday, February 27, and Tuesday February 28, 2006.
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Date Issued
2006
Identifier
CFE0000961, ucf:46722
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0000961
Mixed Reality Experiences in the M.Ed. Educational Leadership Program: Student Perceptions
Title
Mixed Reality Experiences in the M.Ed. Educational Leadership Program: Student Perceptions.
Creator
Buckridge, Hilary, Taylor, Rosemarye, Doherty, Walter, Baldwin, Lee, Olan, Elsie, Mitchell, Paul, University of Central Florida
Abstract / Description
The purpose of the study was to ascertain the perception of students in the M.Ed. in Educational Leadership program of mixed reality experiences using TeachLivE(TM) in preparation for the challenges of school leadership. Specifically, the study analyzed the use of mixed reality virtual practice with immediate coaching and feedback in the preparation of educational leadership masters' level students before they engaged in real time communications with parents and teachers. The study...
Show moreThe purpose of the study was to ascertain the perception of students in the M.Ed. in Educational Leadership program of mixed reality experiences using TeachLivE(TM) in preparation for the challenges of school leadership. Specifically, the study analyzed the use of mixed reality virtual practice with immediate coaching and feedback in the preparation of educational leadership masters' level students before they engaged in real time communications with parents and teachers. The study encapsulates the perceptions of the master's degree in educational leadership students through the following research questions: (a) To what extent, if any, do Educational Leadership M.Ed. students believe the TeachLivE(TM) parent conference and teacher post observation conference simulation experiences to be helpful in developing their communications skills with parents and teachers? (b) To what extent, if at all, do Educational Leadership M.Ed. students believe the TeachLivE(TM) coaching feedback was helpful in developing their communications skills with parents and teachers? (c) To what extent do student reflections of the TeachLivE(TM) experience indicate it is beneficial in increasing skill in communicating with parents and teachers immediately following the mixed reality simulation? (d) To what extent do Educational Leadership M.Ed. students perceive the TeachLivE(TM) experience to be beneficial in influencing leadership behaviors as they relate to communication with parents and teachers at the end of the second semester administrative internship?Students from the college of education in a large university participated in the study (N = 141). Results show a high-perceived value of the simulation experience and the coaching and feedback in the development of administrative conferencing and communication skills. Descriptive statistics used to answer the research questions show the highest mean for the perceived value of the coaching and feedback, close to (")strongly agree("), from parent conference participants (M = 4.86), followed by teacher conference participants (M = 4.76).Responses for the simulation being beneficial from parent conference participants were also high (M = 4.71), close to (")strongly agree(") and from the teacher conference participants between agree and (")strongly agree(") (4.59). The perceptions of the simulation being realistic practice were between (")agree(") and (")strongly agree(") with parent conference were (M = 4.63) and teacher conferences (M = 4.46).The participant perceptions for the simulation being helpful in building confidence in communication skills was between (")agree(") and (")strongly agree(") for the parent conference (M = 4.41) and close to (")agree(") for the teacher conference (M = 4.14).Participant responses at the conclusion of the internship in practice indicated high value of the mixed reality simulation with mean scores between (")agree(") and (")strongly agree("), in relation to the experience was beneficial to the development of speaking confidence when conferencing with parents (M = 3.57), and the coaching feedback was helpful (M = 3.56). Responses were consistent in rating between (")agree(") and (")strongly agree(") for program continuance immediately following the simulation (M = 4.62), and after the internship (M = 3.67).Recommendations of the study were to ensure that all students have access to the authentic practice model provided by the TeachLivETM mixed reality simulation lab through identified target courses. In addition, it was recommended that more practice opportunities are integrated into the program. These additional experience should include multiple opportunities within the same target courses, as well as investigate additional course work within the Educational Leadership M.Ed. program to integrated the mixed reality simulation to practice specific leadership skills. A final recommendation of this study was to provide opportunities for students to schedule additional practice time in the lab to improve personal professional practice. These recommendations will support the continued development of administrative communication skills of Educational Leadership M.Ed. students, through accurate, realistic and complex situational practice.
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Date Issued
2016
Identifier
CFE0006081, ucf:50950
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0006081
DIRECTION OF REFLECTION: THE MEANS BY WHICH ONE ESTABLISHES DIRECTORIAL AND CHOREOGRAPHIC PROFICIENCY
Title
DIRECTION OF REFLECTION: THE MEANS BY WHICH ONE ESTABLISHES DIRECTORIAL AND CHOREOGRAPHIC PROFICIENCY.
Creator
Wood, Nicholas, Weaver, Earl, University of Central Florida
Abstract / Description
Introduction I examined how one may establish directorial and choreographic proficiency in the contemporary society of American musical theatre. I did so by completing an examination of five personal observations in my craft. These observations included: (1) Directorship and choreography of Welcome to Vegas, an original jukebox musical; (2) Mentorship on Theatre UCF's Nine as Assistant Director and Co-Choreographer; (3) Research on the methodologies of various directors and choreographers; (4...
Show moreIntroduction I examined how one may establish directorial and choreographic proficiency in the contemporary society of American musical theatre. I did so by completing an examination of five personal observations in my craft. These observations included: (1) Directorship and choreography of Welcome to Vegas, an original jukebox musical; (2) Mentorship on Theatre UCF's Nine as Assistant Director and Co-Choreographer; (3) Research on the methodologies of various directors and choreographers; (4) Directorship and choreography of Welcome to Broadway, an original jukebox musical; and (5) Assistant to the Program Director of Broadway Theatre Project. I evaluated parallels of my directing and choreography methodologies with those of noted directors and choreographers in the entertainment industry. These industry professionals include famed choreographer Ernest O. Flatt, Ron Field, Hermes Pan, Joe Layton, and Lee Theodore, acclaimed directors Harold Clurman, Dr. Louis E. Catron, and Jon Jory, and prolific director-choreographers Patricia Birch, Donald Saddler, Bob Avian, Bob Fosse, Tommy Tune, and Michael Bennett, as well as Professor Weaver. I have worked for people who believe that experience alone is enough to make one a successful director, choreographer, or director-choreographer. My experience working with and observations of professional directors, choreographers, and director-choreographers, however, has proven that it takes more than experience alone in order to succeed. I predicted the process of establishing my own directorial and choreographic proficiency will stem from a combination of inspiration, mentorship, trial and error, and experience. Background A director coordinates and mounts theatrical productions while unifying the script, design elements, and cast to serve the world of the play. By dictionary definition, a director is, "�a person who supervises the production of a show for stage or screen with responsibility for action and rehearsals" (Webster 414). Underneath the producer, the director serves as the apex of the production. As compared to directors, choreographers fill a more visually aesthetic capacity in musical theatre. A choreographer is "�a person who designs or arranges the movement of a dance" (Webster 259). The choreographer acts in lieu of the director wherever there is music and step sequence. This is the case with exception being given to the director-choreographer. In an interview with Svetlana McLee Grody, Donald Saddler, original member of the American Ballet Theatre, expressed, "...director choreographer really give a musical a whole concept, a patina of style. Their contribution is a good 40 - 50 percent of the success of the show" (Grody and Lister 16). Experiences I will explicitly reflect on four profound career proceedings. Each will be as an effort to learn to become a better director-choreographer. These observations will chronicle an insightful phase of my learning process. Welcome to Vegas Welcome to Vegas is an original jukebox musical I authored, produced, directed, and choreographed. It was intended that the production would be a cathartic experience for the audience, allowing them to escape from the confines of everyday life by entering the humorous, loquacious, and musical world of the play. The story chronicles the triumphs and misadventures of a struggling young man in New York. When this waiter-by-day, singer-by-night becomes the opening act of a famous Vegas lounge singer, he embarks on an outrageous and witty journey across America in his Pontiac GTO. The musical's book was written while I attended my first semester at the University of Central Florida. The absurd vignette-style scenes were inspired by the sketch comedy of The Carol Burnett Show and the staging of Ernest O. Flatt. The production rehearsed four days per week for nine weeks and utilized a cast of 17 performers who ranged in age from 6 to 67. During production numbers, I drew strongly on the choreographic and visual inspiration of Bob Fosse, utilizing knocked-knees, sickled feet, 1960s movement influence, and a significant use of props, white gloves, fishnet tights, and bowler hats. I used this choreographic and visual concept to create a fervent contrast to the set and costumes, which emulated the visual aesthetics of Stan Lee's comic books. Nine With music and lyrics by Maury Yeston and a script by Arthur Kopit, Nine is a dark musical based on Federico Fellini's 8 1/2 and catalogues "...the last days of a director's once brilliant career" (Kopit 66). As the Assistant Director and Co-Choreographer, I was mentored by and worked directly under Professor Earl Weaver, Artistic Director of Theatre UCF. Upon entering my apprenticeship, I anticipated an authoritarian relationship where I would serve as a supervisory assistant, without exploiting my creative skills. To my pleasant revelation, I served as an intimate and integral component of the production's artistic process, conceptualizing choreography, staging three numbers, and giving notes, in addition to the duties of a managerial assistant. I created a choreographic vision for my work by fusing the styles of the Parisian Folies Bergere with American burlesque, Metro-Goldwyn-Mayer Golden Age movie musicals, and, of course, Bob Fosse's sensual silkiness. I did this while attempting to blend with and compliment Professor Weaver's choreographic style that resided within his world of the production. Welcome to Broadway Welcome to Broadway is an original jukebox musical I authored, produced, directed, and choreographed. My directorial style was greatly influenced by Professor Weaver, after observing his methodologies on Nine. My choreographic style strongly had been inspired by Bob Fosse and Michael Bennett. The production opened and ran for a nearly sold out engagement. My intention for the show was to encapsulate all the magic of the MGM Golden Age movie musicals into 105 minutes, featuring a cast of 25 entertainers, ranging in skill from first production to Equity veteran. My script was highly inspired by the cliche romanticism of Hollywood hits, such as Casablanca, Royal Wedding, Holiday Inn, The Public Enemy, and White Christmas. The story picks up where Welcome to Vegas left off. Michael, the formerly struggling young artist, has now made a name for himself, has inherited a production company, and is about to open his first show on Broadway when things begin to go awry. A jealous, washed-up producer has concocted an outrageous scheme to get rid of Michael on opening night. Chaos ensues behind the scenes, while the show must go on in front of the curtain. My scenic vision was to capture the auspicious spectacle of Footlight Parade, Mary Poppins, and Singing in the Rain. In post-show reflection, I realized my production displayed some similarities to Susan Stroman's succinct comedic timing and physical humor and Hal Prince's fast, moment-to-moment pace, leading me to believe that, perhaps, I had been subconsciously influenced by their works. Broadway Theatre Project Broadway Theatre Project celebrating its 26th anniversary as a summer intensive that Playbill.com refers to as "...the world's most prestigious musical theatre arts education program for high school and college students" (Broadway Theatre Project web). Entering my third year with the project, I serve as the Assistant to the Program Director and Director of Public Relations. My contribution is both administrative and creative, as I work directly under Program Director/Music Director David Sabella-Mills, Co-Artistic Director Darren Gibson, and President/Co-Artistic Director Debra McWaters. Gibson has established himself as a performer and dance captain working with Broadway veteran Ann Reinking on the national and European tours of Fosse. In addition, he has staged ballets for the Richmond Ballet, the Boston Ballet, and the American Ballet Theatre. He is currently Education Director for TexARTS. Gibson is an excellent mentor because he has a wealth of knowledge he is willing to share with me. For instance, he has taught me that in order to be an outstanding choreographer, one must look deeper than merely studying other musicals; one must study how/by whom the choreographers of those musicals were initially inspired. By heeding his counsel, I will be able to go from modifying and/or re-teaching others' choreography to establishing my own choreography. McWaters has had an enviable career directing and choreographing on stages around the world, including Broadway. For 15 years, she served as Assistant then Associate Choreographer for Reinking on Chicago, Fosse, and The Visit. She is an excellent mentor for me because not only is she a disciple of Fosse's, but she has afforded me the opportunity to serve as her Assistant to the Choreographer for three numbers, including staging the original choreography to "Yellow Shoes." This will allow me to analyze and understand the inner workings of a true artistic genius who is seasoned in the craft I wish to pursue. Industry Professionals Additionally, I will research the styles, methodologies, and philosophies of numerous established industry professionals, including: Ernest O. Flatt Ernest O. Flatt was "a dancer, choreographer and director who won four Emmy Awards for his work in television" (Obituary: Ernest O. Flatt). He made his silver-screen debut as a dancer in Dancing in the Dark and his television debut as choreographer in Your Hit Parade. He danced with Gene Kelly in Singin' in the Rain, choreographed the movie Anything Goes, and his dancers were fixtures on The Judy Garland Show, The Entertainers, and The Steve Lawrence Show. Flatt's most lasting television work was for The Carol Burnett Show, on which he served as the choreographer for eleven years (Grody and Lister 24). Despite the fact that Flatt is primarily recognized as a television choreographer, I am compelled to study his work because I admire his style. Although it is reminiscent of years gone by, particularly with partnering, his work is still entertaining and holds value for contemporary theatre as classic musicals are being revived. Studying his work in-depth will serve to enhance my style by showing me how to vary my choreography so the dance numbers do not all look similar. In addition, Flatt believed that allowing the ensemble or solo performer to contribute too much was stifling to his creativity (Grody and Lister 32). On previous productions, I have fallen into this pitfall. Further study of his work will enable me to subscribe to his focus and not be so influenced by what dancers are comfortable doing, as opposed to what they can do in order to expand their personal growth and my growth as a choreographer. Harold Clurman One of the three founders of New York City's Group Theatre, Harold Clurman directed more than 40 productions and was nominated for several Tony Awards. In addition, he was a widely-feared theatre critic for over 30 years; he helped to shape American theatre by writing about it. I will specifically study On Directing, one of Clurman's seven published works on the art of directing. Elia Kazan, who is commonly referred to as one of the most honored and influential directors in Broadway and Hollywood history, has called this particular book "the most influential book on direction ever written" (Clurman Preface). I would be compelled to study Clurman based on Kazan's recommendation alone; however, I am even more motivated to do so because I am discovering that I closely practice his stated philosophy on directing, "Direction is a job, a craft, a profession, and at best, an art. The director must be an organizer, a teacher, a politician, a psychic detective, a lay analyst, a technician, a creative being�All of which means he must be a "great lover" of the art" (Clurman 14). By examining the work of a man who is credited with helping to shape American theatre and whose philosophy so closely matches mine, I desire to formally establish my methodology as a director. Jon Jory Jon Jory learned to act first-hand from his parents, who were successful Hollywood actors of the 1940's and 50's, earning his Actors' Equity card as a young child. He grew to prominence as a director in the early 60's and, since then, he has mounted over 1,300 professional productions. I will specifically study Jory's Tips: Ideas for Directors. Jory says that he worked "making the same mistakes for years that a tip or two by a peer or veteran could have shortcutted" (xiii). His goal with this book is to help directors improve their craft more quickly by passing along the tips he has learned over the years. I am compelled to study Jory because of his willingness to share his tips on what has made him a successful director for approximately one-half of a century spanning nine countries. In addition, he headed the Actor's Theatre of Louisville, Kentucky, for more than 31 years, which he helped to build into one of America's most respected regional theatre companies, earning him a special Tony Award for Achievement in Regional Theatre (Jory xv). Since one of my professional goals is to become an Artistic Director at a regional theatre, Jory is a perfect selection for my research. Bob Fosse Deeply inspired by Fred Astaire and coping with his own psychological and physical abnormalities, Bob Fosse created the most unique and stylized iconic movements and vocabularies in musical theatre history. His most lasting works included Chicago, Damn Yankees, Cabaret, Sweet Charity, and Pippin. Fosse is an eight-time Tony Award-winning consummate artist. Ben Vereen says, "To have worked with Bob Fosse is to have had your hand directly on the pulse of life. To have applied this world-recognizable style into your repertory is to truly know how to dance forever" (McWaters Foreward). I have had the good fortune of learning his distinct techniques from some of his disciples while studying at Broadway Theatre Project. I am compelled to study Fosse because he was a renowned producer, director, choreographer, playwright, screenwriter, dancer, and actor--all of which are aspirations of mine. According to Vereen, Fosse was often called "demanding," "strenuous," and a "task master," yet he was highly respected by his dancers (McWaters Foreword). Fosse's ability to earn respect while demanding perfection is a quality I hope to learn and emulate with further study of his work. Tommy Tune Tommy Tune, nicknamed Broadway's tallest tapper, is considered one of Broadway's most accomplished director-choreographers. He is a 10-time Tony Award winner. "Tommy is the first person in theatrical history to have won a Tony Award in four different categories: Best Featured Actor, Choreography, Best Actor, and Direction" (Grody and Lister 142). At the June, 2015 Tony Awards ceremony, he received a Lifetime Achievement Honor. I am compelled to study Tune's methodology because he is considered a living legend; he has been a big time showman for over 50 years. In addition, I am compelled to study Tune's philosophy because he speaks to me with respect to security as an artist. Tune says, "There is no such thing as security. You must always be willing to expect the unexpected because the journey is never what you expect it to be. So be prepared to be surprised" (Grody and Lister 149). I must learn to trust this philosophy as I face not only the uncertainty of life beyond graduation from the University of Central Florida, but also as I face each door that opens in my future. Michael Bennett Michael Bennett's fascination with West Side Story was the impetus for Bennett to become a director-choreographer of the standing of Jerome Robbins (Grody and Lister 114). As a director, choreographer, writer, and actor, Michael Bennett is a seven-time Tony Award winner. His choreographic works were highly athletic and engrossed in technique. He is best known for his work on Promises, Promises; Follies; Company; and A Chorus Line, and he was fortunate to have had the opportunity to be inspired by such greats as Bob Fosse, Michael Kidd, Ron Field, Lee Theodore, and Danny Daniels (Grody and Lister 114). I am compelled to study Bennett because our early backgrounds are similar: neither of us had dance lessons until we were in our teens, and neither of us could read music, although we both listened to a great deal of it. I am inspired to learn/practice Bennett's methodologies for overcoming these challenges, such as his recommendations to see every musical possible in order to see how good directors-choreographers work and to prepare for a show as far as possible ahead of time (Grody and Lister 101). In addition, I am compelled to study Bennett's technique of compensation when he could not choreograph a number as conceptualized due to the limited skill of the dancer(s) with whom he was working at the time (Grody and Lister 103). Studying and applying these methods and techniques when faced with challenges will enable me to be a better director-choreographer. Deduction It is essential for me to delve into extensive research of directorial and choreographic concepts and pedagogy because I strongly desire to learn the means by which one establishes proficiency as a Director-Choreographer artist. It will help me to answer such questions as: How does one begin to direct/choreograph a piece? How knowledgeable does one need to be with respect to music? How knowledgeable does one need to be with respect to different forms of dance? What affects one most with respect to choreographing a number? Is there value in working with assistants? Since my study will include not only my own personal experiences and observations, but also those of renowned professionals, it will enable me to formally establish my own unique style of directing and choreographing.
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Date Issued
2015
Identifier
CFH0004889, ucf:45417
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH0004889
Performing Jason Robert Brown's The Last Five Years: An Exercise in Communication On Stage and Off
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
Gesture Assessment of Teachers in an Immersive Rehearsal Environment
Title
Gesture Assessment of Teachers in an Immersive Rehearsal Environment.
Creator
Barmaki, Roghayeh, Hughes, Charles, Foroosh, Hassan, Sukthankar, Gita, Dieker, Lisa, University of Central Florida
Abstract / Description
Interactive training environments typically include feedback mechanisms designed to help trainees improve their performance through either guided- or self-reflection. When the training system deals with human-to-human communications, as one would find in a teacher, counselor, enterprise culture or cross-cultural trainer, such feedback needs to focus on all aspects of human communication. This means that, in addition to verbal communication, nonverbal messages must be captured and analyzed for...
Show moreInteractive training environments typically include feedback mechanisms designed to help trainees improve their performance through either guided- or self-reflection. When the training system deals with human-to-human communications, as one would find in a teacher, counselor, enterprise culture or cross-cultural trainer, such feedback needs to focus on all aspects of human communication. This means that, in addition to verbal communication, nonverbal messages must be captured and analyzed for semantic meaning.?The goal of this dissertation is to employ machine-learning algorithms that semi-automate and, where supported, automate event tagging in training systems developed to improve human-to-human interaction. The specific context in which we prototype and validate these models is the TeachLivE teacher rehearsal environment developed at the University of Central Florida. The choice of this environment was governed by its availability, large user population, ?extensibility and existing reflection tools found within the AMITIES ??framework underlying the TeachLivE system.?Our contribution includes accuracy improvement of the existing data-driven gesture recognition utility from Microsoft; called Visual Gesture Builder. Using this proposed methodology and tracking sensors, we created a gesture database and used it for the implementation of our proposed online gesture recognition and feedback application. We also investigated multiple methods of feedback provision, including visual and haptics. The results from the conducted user studies indicate the positive impact of the proposed feedback applications and informed body language in teaching competency.In this dissertation, we describe the context in which the algorithms have been developed, the importance of recognizing nonverbal communication in this context, the means of providing semi- and fully-automated feedback associated with nonverbal messaging, and a series of preliminary studies developed to inform the research. Furthermore, we outline future research directions on new case studies, and multimodal annotation and analysis, in order to understand the synchrony of acoustic features and gestures in teaching context.
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Date Issued
2016
Identifier
CFE0006260, ucf:51053
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0006260