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1
Taylor, Shanea. „DIRECTING AUTOBIOGRAPHICAL THEATRE“. VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1935.
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This is an exploration of the director's role in autobiographical theatre. The director is in a unique position when storytelling on a personal level is being executed theatrically. I explored this topic over the course of directing three plays, each of which contained a strong personal storytelling element, which broadened my perspective of the director's role. The three plays were Slashtipher Coleman’s The Neon Man and Me, Birth by Karen Brody, and Will Power to Youth Richmond presents: William Shakespeare’s Romeo and Juliet. Traditionally, the director’s role includes a myriad of tasks. These tasks can include and are not limited to creating pictures on stage that reflect the story being told, coaching actors in their craft specific to the production, vocal and movement coaching, viii creating a concept, interpreting and translating the action, and being the intermediary amongst the creative team in reaching the overall artistic vision. However, when the director is presented with personal stories to shape and mold, this role changes; no longer can the director wear a traditional hat and assume that the story will tell itself through a series of pictures, but now the director dons different hats and accesses other skills that more closely reflect those of mentor, spiritual leader, psychologist, teacher, and friend. This thesis is a narrative of the explorative process that one director experienced when staging these three prototypes of autobiographical theatre.
2
Williams, Robert Hunter. „Directing For the Small Professional Theatre: Directing "Nothing Sacred"“. VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/763.
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The challenges of producing and directing small professional theatre in any metropolitan area are many. This thesis is concerned with the process of finding a producing theatre, casting, rehearsal and staging the play, "Nothing Sacred" by George F. Walker, in the Washington D.C. metropolitan area. Unlike many thesis projects this one was conducted completely outside of the university setting and is thus a true reflection of the small professional theatre community.
3
Vrtis, Brian Robert. „Teaching Theatre History: Re-Directing an Existing Course“. VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1409.
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4
Cooley, Brock J. Mr. „Student Directing Thesis: Directing a Main Stage Show“. Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/188.
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My thesis gives insight on directing a main stage production at the collegiate level as a student. Specifically directing Tradin’ Paint, an original piece from playwright Catherine Bush a native of Abingdon Virginia, and a company playwright for the Barter Theatre. In the thesis I discuss how I arrived at different conclusions for my show through different research. I discuss the experience of being a director over professors, and my own peers, and how all of these challenges and discoveries eventually gave me a finished product to be proud of. If a director were to look at this work, they will find chapter two interesting, as it is my prompt book, with blocking and little notes on the script. This thesis is a great representation of a student directing thesis: Directing a Main stage Show.
5
Hopkins, Boone J. „An Exploration of Process: Directing All My Sons“. VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/14.
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The role of the director in the contemporary theatre is constantly evolving in relationship to the art form. This thesis explores the process of directing Arthur Miller's American Tragedy All My Sons . Produced on the campus of Virginia Commonwealth University in December 2006, the role of the director is explored as it relates to this university community. The examination focuses on challenges surrounding script selection, casting, rehearsal, and ultimately production. By exploring the process of directing this production of All My Sons, larger revelations are discovered about the changing role of leadership in academic theatre.
6
Angelone, Alison. „A COMPARATIVE ANALYSIS OF DIRECTING & CHOREOGRAPHING MUSICAL PRODUCTIONS FOR PROFESSIONAL, ACADEMIC AND COMMUNITY THEATRES“. VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1767.
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In my thesis, I plan to explore the realms of academic, professional and community theatre through the eyes of a director and choreographer. Highlighted themes will consist of the varying approaches to the script, music and choreography. This thesis will also include specific teaching and or non-existent teaching methods for professional, academic and community theatre. Included will be three definitive case studies which will consist of one musical production per academic, community and professional theatrical setting. I will focus on the director/choreographer’s overall approach to the research, rehearsal and final performance processes for the Pioneer Theatre Company’s production of My Fair Lady, Virginia Commonwealth University’s production of Chicago and St. Michael’s Catholic Church production of Starting Here, Starting Now.
7
Adolphi, Pamela S. „Pamela on Directing Three the Hard Way: An Exploration of Theatrical and Communicative Processes“. Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2065.
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The direction of the play Three the Hard Way by Linda Eisenstein achieved the playwright's intent and the super objective of the play. The application of theatrical and communicative processes facilitated the direction of the desired metacommunicatations associated with the family's dynamics by expressing the struggles and perceptions associated with the family and their relationships. The implementation of the director's prompt book illustrates the use of proxemics in creating picturizations for the stage. In addition, the exploration of the directing process and the progression of the production are examined in daily journal entries. The successes of the directorial approach and implementations are considered, as well as the aspects of the production that may not have reached full potential.
8
Villada, Diego. „Bananas in the Mist: Directing Amazing Adventures of the Marvelous Monkey King“. VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1542.
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This thesis details -in personal narrative form- the process by which the author directed a production of Elizabeth Wong's Amazing Adventures of the Marvelous Monkey King at Dr. Michael M. Krop Senior High School in Miami, Florida. The following text explains elements of pre-production, presents relevant research associated with the play, describes the production process in detail, and states conclusions drawn by the author about the experience. The work challenged both the ensemble and the director to seek new avenues of expression and theatricality different from those traditionally explored in their respective educational settings.
9
Yount, Sarah Mansell. „What's a Female Director To Do? The Women of Medea Redux and the Men of Someone Who'll Watch Over Me: A Study of the Sexes“. VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1765.
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My thesis will explore the role of the female director. The two plays on which I will focus, Neil LaBute’s medea redux and Frank McGuinness’s Someone Who’ll Watch Over Me, call for quite different casts. The former involves a woman in a police interrogation room; the latter involves three men in a Lebanese prison. Despite the overt masculinity of these plays, traces of femininity permeate. Indeed, my status as a female director provided one of the clearest paths into these plays when I directed them last year at Virginia Commonwealth University. My gender also greatly influenced my direction of the actors. My experiences working on these shows provided a backdrop from which to reflect on my role as a female director in a male-dominated field. In my thesis I will reference notes I took during the rehearsal process. I will also include much of my dramaturgical research. Finally, throughout my writing process, I will attempt to define “masculine” and “feminine” both with regard to theatre and to theatre direction. This document was created in Microsoft Word 2003 for Mac.
10
Cho, Joon Hui. „Adapting and Directing a Princess' Drum: A Directorial Journey Toward Shamanistic Ritual in Non-Verbal Physical Theatre“. VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/116.
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This thesis is my directorial narrative of a production of A Princess' Drum performed the Newdick Theatre in Shafer Street Playhouse at Virginia Commonwealth University on May 5-7, 2006. This thesis is the exploration of physical non-verbal theatre through adapting and directing Korean playwright, In-Hun Choi's Doong-Doong-Nangrang-Doong. Chapter one of this .thesis examines shamanistic ritual in the pre-production. Chapter two explores movement and voice centered physical work in the production process. Chapter three covers reflections of the process after the performance.
11
Onyedike, Adanma. „Onye Mbu: 'My Identity' Pedagogical Applications of the Surreal and Absurd in Adrienne Kennedy's Funnyhouse of a Negro“. VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1678.
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ONYE MBU: MY IDENTITY PEDAGOGICAL APPLICATIONS OF THE SURREAL AND ABSURD IN ADRIENNE KENNEDY'S FUNNYHOUSE OF A NEGRO By Adanma N. Onyedike, M.F.A A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2009 Major Director: Dr. Noreen Barnes, Director of Graduate Studies Department of Theater This document investigated my personal journey of discovering, developing, and later executing skill in teaching the theatrical arts. The re examination of the steps that led to my current success was important in order to qualify the receiving of my M.F.A. in Theater Pedagogy. Starting from my Undergraduate career, the thesis touched on lessons that I have learned throughout my career. My academic and professional theatrical works were also included. These lessons were implemented in my direction of the production Funnyhouse of a Negro which was my Thesis Directing Project. I consider this document a guidebook for those who are interested in teaching Theater Arts.
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Correro, Augustine III. „Performing Tennessee Williams“. VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2713.
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This thesis is dedicated to illustrating the unique challenges of staging works by the playwright Tennessee Williams, and to making suggestions on how to avoid common pitfalls in production, performance, and direction of his plays. It uses evidence from the playwright’s various biographical works as well as insight and conjecture from the author’s experience to illuminate these challenges and help the reader to avoid hackneyed or ineffective staging practices. It touches on the effect of film adaptations on stage performances; the typical portrayal of American Southern characters onstage; the aural ramifications of Williams’s poetry to a now-visually-centered audience; stylistic elements similar to Williams’s contemporaries, including Rice, Brecht, O’Neill, and others; the delicacy of Williams’s signature meter and rhythm in his plays; dramaturgical groundwork in the playwright’s intentions; and a systemization of archetypical Williams characters. This thesis does not prescribe a cut-and-dried set of rules and regulations for performing Williams’s works, for the simple reason that the Williams canon is so diverse that no singular set of “tricks” will be effective in every play. Furthermore, the author understands that a producer, director, or actor will not find use in all facets of a rigid “system”. The thesis does outline a number of practices whose aims are to make productions more effective from an integral perspective. There are exercises to attempt, questions to pose, and matters to consider in the staging of Williams’s plays during any part of production—from in-class reading to designing the scenery, and from deciding why to put a Williams play in a season to the living moments of an actor’s performance. The thesis aims to be helpful, informative, and accessible, rather than doctrinaire: much like the playwright’s works, its purpose is to illuminate dark corners of something that viewers think they already fully understand.
13
Devlin, Daniel F. „Looking For Ways To Ruin A Perfectly Good Day: Masculinity in bash: the latter-day plays by Neil LaBute“. VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/716.
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Neil LaBute is one of the most prolific and challenging playwrights in America today. My thesis will explore his work bash: the latter-day plays through the frame of the performance and use of masculinity by his characters, and will create a vocabulary through which the remainder of LaBute's works can be studied, both in terms of academic scholarship and the practical application of that scholarship to the process of theatrical creation.
14
Brown, Reginald C. „Fire and Cloud: An Adaptation of Richard Wright's Short Story to the Stage“. VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/34.
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This thesis records and details my journey of bringing to the stage Fire and Cloud, a short story by one of America's most respected and controversial writers, Richard Wright. It chronicles what I learned about him as a writer and the value of his work for the stage. In producing Fire and Cloud the director endeavored to assemble of group of actors who were willing to take risks while creating an environment for them in which they could function effectively as an ensemble.
15
White, Lauren. „Unlisted Properties: An Exploration in Solo Performance“. VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1601.
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This thesis studies the process of creating, producing and performing a solo performance titled UNLISTED PROPERTIES. We intend to intertwine historical text and contemporary narratives to create portraits of women throughout different periods of history/her-story dealing with the theme of women as property or owning others as personal property. The historical text will be taken from the self-written works of Mary Chesnut, Harriet A. Jacobs, and Elizabeth Packard. The contemporary pieces have been pulled from a variety of sources, which include an interview with Mary Ford, an Army bride during World War II, Pagan Moss, a website blogger describing her experiences working in the sex industry, and Bhumika Ghimire a New York freelance writer who recalls her trials as a new housewife in an article for American Chronicle. Lauren will discuss her roles as actor, co-writer, and dramaturge, and Jason will discuss his work as a director, co-writer and producer.
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Smith, Jason. „Unlisted Properties: An Exploration in Solo Performance“. VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1599.
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This thesis studies the process of creating, producing and performing a solo performance titled UNLISTED PROPERTIES. We intend to intertwine historical text and contemporary narratives to create portraits of women throughout different periods of history/her-story dealing with the theme of women as property or owning others as personal property. The historical text will be taken from the self-written works of Mary Chesnut, Harriet A. Jacobs, and Elizabeth Packard. The contemporary pieces have been pulled from a variety of sources, which include an interview with Mary Ford, an Army bride during World War II, Pagan Moss, a website blogger describing her experiences working in the sex industry, and Bhumika Ghimire a New York freelance writer who recalls her trials as a new housewife in an article for American Chronicle. Lauren will discuss her roles as actor, co-writer, and dramaturge, and Jason will discuss his work as a director, co-writer and producer.
17
Zimmerman, David Todd. „Performing Taboo: The Creation of an Aesthetic through the Exploration of Censorship in Theatre and the Challenges of Directing Killer Joe“. VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/435.
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This document explores the performance of taboo on the stage. The exploration is focused around the establishment of my personal aesthetic, which was developed through my studies at Virginia Commonwealth University. Starting with my first trip to Broadway, my journey goes through the class work that I did at VCU and the two plays that I did on the Shafer Street Alliance Laboratory Theatre stage: my performance and use of latex costumes in Funnyhouse of a Negro, and my direction and the troubles with producing Killer Joe. The exploration concludes with a look at the theatre in parts of Virginia and the ability to pursue an acting career with an aesthetic that pushes boundaries.
18
Lewis, Donzell. „Welcome to the Circus: Finding ways to Artistically Express the Martial Way“. VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2478.
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This thesis explores various artistic and ritual practices of martial arts in relation to its presentation on stage. As a martial artist and actor I believe there are complementary practices in both crafts interdisciplinary of each other. For a martial artist, the individual’s performance and execution of martial arts techniques can be enhanced through emotional availability and characterization. For the actor, the martial arts can help condition the body physically, mentally and emotionally to create a grounded presence of connectivity to the earth. However, sometimes the martial arts are viewed as a militaristic discipline and not as artistic expression. I believe that the martial arts can be both discipline and artistry. Over the past three years of my graduate studies I have explored different methods to merge these methodologies. This thesis examines a successful devised show conceived by students and myself at our martial arts studio (dojang), at Martial Arts World of Powhatan, in Powhatan Virginia. This thesis’ examination describes and evaluates the production we titled M.A. Cirque: the Evolution (Martial Arts Circus: an evolution of martial arts). The M.A. Cirque is a theatrical martial arts performance expanded out of a ten minute competition routine to become a thirty minute production performed in Las Vegas, Nevada. Secondly, an exploration for further analysis of a supplemental martial arts demonstration titled Battle at Olympus: A new martial arts super show, describes the revisit of the theatrical process that was developed when devising the M.A. Cirque.
19
Schebetta, Dennis Christian. „From Darkness to Light: Examining the Role of Playwright/Director on Obscura“. VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1428.
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The aim and scope of my thesis is to examine the process of playwrights directing their own work, using the production of my play Obscura as an example of personal research, as well as examples of other dramatists. I will examine the advantages and disadvantages that playwrights face when directing their own work. I will compare several methods to my own production of Obscura. I wrote the play in the Spring of 2005 which culminated in a reading in April, followed by a workshop production in the Fall of 2005 in the Newdick Theater at Shafer Street Playhouse.
20
Foley, Damian T. „Fleshing out the fictive soul: A screen actor’s personalisation of characterisation through collaborative subtextual improvisation“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2600.
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This practice-led research formulates a method for collaborative characterisation by merging the filmmaker/director’s approach and the screen actor’s technique. This method provides access to a deeper emotional ‘inner world’ submerged within the imagined subconscious of the fictive character. This exploration into varying improvisational filmmaker/director’s practices aimed to identify the most effective methods of supporting the screen actor’s access to emotional subtext by submergence and living through the fictive character’s subjective experience. The outcome is a flexible directorial approach focused on collaborative characterisation method/s to be employed during the filming process while remaining within the scripted context.
The research was inspired by luminary improvisational and collaborative filmmakers, including John Cassavetes and Mike Leigh, and further contextualised by contemporaries such as Derek Cianfrance, Milos Forman, Darren Aronofsky and Lynn Shelton. This thesis draws parallels between the theoretical underpinnings of their approaches and the pedagogical frameworks of acting technique authors, teachers and coaches, including Judith Weston, Sandford Meisner, William Esper and Robert Carnegie.
Apart from literature and practice reviews, this research involved three practice-led phases: shadowing improvisational filmmaking practice alongside studio exploration, semi-structured interviews (with the student actors), and journaling. Investigation into Leigh’s process was extended by direct observation and participation in the creative practices of directors Chris Edmund and Robert Marchand. The initial inquiry into Leigh’s process investigated whether any improvisational techniques could be extended to evoke an unexpected moment-to-moment awareness in an actor’s performance during the actual filming.
This led to the second phase of questioning to determine which techniques practiced by Leigh could be reformulated and extended to those of filmmakers such as Cassavetes, Cianfrance and Shelton. In addition, Judith Weston’s active engagement in improvisational rehearsal techniques led me to participate in her directors’ workshop at Judith Weston Studio in Los Angeles, California.
The findings from the first two phases resulted in a third, unexpected question, suggesting this directing approach be reframed and contextualised by the acting technique pedagogies of Weston and Meisner. Consequently, the final significance of my research findings occurred while auditing a Meisner acting class taught by founding director Carnegie at the Playhouse West, North Hollywood, California. This research offers an alternative model for collaborative directors, which is based on Meisner’s acting technique and newly aligned with the directing practices of Cassavetes and Shelton. My conclusive outcome involved reformulating screen acting techniques based on Meisner’s departure from Konstantin Stanislavski. Subsequently, this reformulation clarified and revealed my own pedagogical schism with Leigh’s and Weston’s approaches.
The goal remained to find an acting technique that would cohesively merge with a directing approach that allowed the actor to retain immediacy and spontaneity while staying emotionally congruent with the character’s imaginative backstory and yet working moment-to-moment with their still emerging ‘life script’. The significance of this research is its formulation of a collaborative language and working method for actors, directors and filmmakers focused on evoking an authentic voice for the fictive character as if they possessed a consciousness of their own volition while living through the actor.
21
Decker, Ryan M. „Story & Style: Pursuing Excellence on the Academic Stage“. ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2518.
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The following thesis is a brief view of the 2017-2018 production of Marco Ramirez’s contemporary play The Royale, as produced by Theatre UNO, the theatre production arm of the University of New Orleans’ Department of Film & Theatre. This thesis will include initial responses, analysis, interpretation, production synthesis and communication, and reflection with conclusions on performance, directing, and pedagogy in academic theatre. This thesis is supported by documentation of the production process, including a scored script. The play was performed in New Orleans, Louisiana at the University of New Orleans Performing Arts Center’s Robert E. Nims Theatre, November 9-19, 2017; the University of New Orleans Performing Arts Center’s Soundstage, February 17, 2018; and in San Angelo, Texas at the Angelo State University’s Auditorium Theater, twice on March 2, 2018, as part of the Kennedy Center American College Theatre Festival, Region VI (KCACTF VI).
22
Arreola, Dora A. „Staging Through Rituals: Directorial Exploration of The Imaginary Invalid“. Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/266/.
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Rawlings, Cara E. „The Civil War: A Collaboration in Direction and Choreography“. VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/751.
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This text is a partial record of the development of the Virginia Commonwealth University production of The Civil War: A Musical that opened on April 7, 2005 for a three-week run ending April 28, 2005. The greater part of the text is devoted to the evaluation of the underlying principles of direction and choreography applied in the creation of an artistically aid financially successful production of this size. Included in the evaluation of The Civil War: A Musical are analyses of the directors' --Patti D'Beck and David Leong --individual creative processes, aesthetics, and working styles. The result of this evaluation and analysis is a compilation of the fundamental principles of direction and choreography applied The Civil War: A Musical as a methodology for the creation of theatre. Further reflections on collaboration and artistry serve as the culmination of lessons inherent in both the creation of the Theatre VCU production of The Civil War: A Musical and in the author's three years of study in the VCU Master of Fine Arts program in Theatre Pedagogy with an emphasis in Movement Direction and Choreography.
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Mayo, Megan E. „Building a workable model for youth theatre an exploration into a courageous and complex field“. Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4798.
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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 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.ID: 030646248; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 109).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Theatre for Young Audiences Track
25
Vidal, Christopher Drew. „Integrating Actor Training into Movement Design: An Analysis of the Fight Direction in Tamburlaine and Edward II“. VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/770.
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The following thesis draws from a recent production assignment at the Shakespeare Theatre Company in Washington, D.C., in which I acted as Associate Fight Director under Broadway Fight Director Rick Sordelet. We worked on three shows in all: William Shakespeare's Taming of the Shrew, and Christopher Marlowe's first play, Tamburlaine, and his last, Edward II. By analyzing and assessing the working methods utilized during this production process, I hope to elucidate the most effective elements, and finally synthesize the tenets of my own working method. Structurally, I will recount the experience chronologically, from preproduction to performance, treating the pros and cons in each section of production. As a movement designer, I am interested in choreographic methods that both draw organically from actor's impulses, and integrate acting choices immediately. Too often the acting work is left off until the end; the actors are expected to layer their choices onto a fight that was not choreographed with those choices in mind. Instead, I seek to articulate a working method that allows and guides actors towards physical engagement with specific objectives, and that enables actors to make active choices from the very beginning.
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Brien, Timothy A. „Searching For the Impossible Dream, Staging the Impossible Script“. VCU Scholars Compass, 2003. http://scholarscompass.vcu.edu/etd/923.
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This thesis is an exploration of the novella The Malady of Death by Marguerite Duras and my subsequent production of this book. It covers Duras' history and influences in writing this book while at the same time gives an account of all my directorial attempts with this piece. With regards to Duras, the influence of the nouveau roman writers in the mid twentieth century and her relationship at the time of her writing Malady is discussed. For my part, I divulge my initial exposure to the piece, the previous attempts to stage the work, my latest attempt with extensive research, and finally providing self analysis with regards to this latest production. It is my hope that after reading this thesis the reader will immerse themselves into the world of Duras while at the same time rethink their approach to theater.
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Campanella, Tonia Sina. „Intimate Encounters; Staging Intimacy and Sensuality“. VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1730.
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Davis, Nona Lee. „The anatomy of a fight scene characterization through stage combat and movement“. Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4932.
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The study of stage combat is designed to fabricate the illusion of physical combat without causing harm to the performers. Most research in this field does not take into account the characterization of the actor during the training of a fight scene. An actor primarily learns the stunt choreography of the scene and often times the subtleties of the character is often forgotten. Scenes that involve physical contact are an essential aspect of the dramatic action. My aim is to eventually devise a process that will consistently create fight scenes that maintain the integrity of the fight director's work as well as the mastery of the actor's character composition. I am aware this is an ambitious project therefore will I approach this endeavor in two stages. This document will cover the first stage of this project: the investigation of the current process of several professionals who have varying experiences with fight choreography. I will propose and explore the significance of a series of questions a director, actor and fight choreographer should answer before embarking upon a fight sequence successfully. Questions such as: How important is the stunt physiologically and psychologically on the character? Does gender play a role in a fight sequence? Do size, age, and race play a role on character choice in a sequence? Why did the character choose that weapon? Where did that character learn to fight and why in that style?ID: 029810107; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Appendices A-E are interviews with Jeanine Henry, Claire Eye, Tim Bell, Vicki Phillips, Bobby Talbert respectively.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 93-94).
M.A.
Masters
Theatre
Arts and Humanities
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Joo, Kyung Mee. „Three different Jocastas by Racine, Cocteau and Cixous“. Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4687.
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This study is about three French plays in which Jocasta, the mother and wife of Oedipus, is shared as a main character: La Thebaide (The Theban Brothers) by Jean Racine, La Machine Infernale (The Infernal Machine) by Jean Cocteau, and Le Nom d’Oedipe (The Name of Oedipus) by Helene Cixous. Jocasta has always been overshadowed by the tragic destiny of Oedipus since the onset of Sophocles’ works. Although these three plays commonly focus on describing the character of Jocasta, there are some remarkable differences among them in terms of theme, style, and stage directions. In The Theban Brothers, Racine’s 17th century play, Jocasta is described as a deathlike mother, while Cocteau’s Jocasta, in The Infernal Machine, is portrayed as an “extravagant, liberal, and hilarious” lady. In The Name of Oedipus, Cixous portrays Jocasta as a woman possessing hermaphroditic characteristics, ushering in a new era of resistance to the age-old paternal hierarchy. As for style, Racine’s neoclassical play shows a strict respect for the three unities of time, space, and action. Cocteau’s avant-garde play neglects all these rules, while Cixous goes even further by destroying the order of languages, as illustrated by her “feminine writing.” Freed from Western orthodoxy, Cixous wants to contribute to the creation of cosmic unity. Her deconstructionist play intends to regenerate the world by establishing a new order and new point of view towards universality. The stage directions of these plays are also an important key to better understanding theatrical evolution. It is
through the stage directions, indicated both implicitly and explicitly in these three plays, that enables us to appreciate the theatrical transformation in terms of visualization as well as metaphysics. In sum, the transformation of theme, style, and stage devices in portraying their own Jocastas demonstrates that while these three plays are deconstructional to one another, each denying the existing value and orders of their respective time periods, they are also constructional in that they all attempt to open a new horizon of theatre.ID: 029049980; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2010.; Includes bibliographical references (p. 70-71).
M.A.
Masters
Department of Theatre
Arts and Humanities
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Proud, Glenn W. III. „Mindful Theatremaking: Reflections of A New Brain and Dead Man's Cell Phone, and the Art of Applying Mindfulness in a Directorial Process“. 2015. https://scholarworks.umass.edu/masters_theses_2/231.
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In this thesis, I seek to answer if applying the art of mindfulness to my directorial process can provide a greater experience of satisfaction and promote stronger effectiveness in the level of communication and cooperation amongst the collaborative artists in our theatremaking process, compared to previous departmental productions.
This thesis will explore my journey and cultivation of mindfulness from both a personal and artistic perspective. I define the mindfulness-based principles of Mindful Decision Making, Mindful Listening & Loving Speech, and Shifting Negatives to Positives, and provide case studies of their application in my two production processes William Finn’s A New Brain and Sarah Ruhl’s Dead Man’s Cell Phone, which were a part of UMass Amherst Theatre’s 2014-2015 season.
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Sloane, Brianna A. „Strike A Note Of Wonder: A Director's Adventures In Peter Pan“. 2015. https://scholarworks.umass.edu/masters_theses_2/177.
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This written portion of my thesis documents how I, as Director, set about to bring J.M. Barrie’s classic, Peter Pan to the contemporary stage. I take the reader through my in-depth research into Barrie’s many adaptations of his story, seeking an understanding of the evolution of Peter Pan and noting major elements that were retained across time and those that were changed, in search of the “true” story of Peter Pan. I explore how my discoveries informed design choices, were folded into rehearsals, and ultimately arrived on stage.
In seeking the backbone of a classic, the vast interpretive history of Peter Pan and its many adaptations also gave me a sense of freedom to make my own changes. I discuss the major re-imagining of Tiger Lily and the Redskins to become the collaboratively created Never Landers, a dance ensemble of otherworldly characters sprung from the land itself.
I explore the major themes I identified in the play and discuss decisions to bring darkness, longing and loneliness to the stage rather than glossing over the complex elements of the story in order to create something cute for children. Finally, I offer an exploration of the production process as a major collaboration with many artists and consider various elements of my collaborations with the design team, fight director, dance choreographer, and the actors.
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Bayeza, Ifa. „Infants of the Spring: Disrupting the Narrative“. 2018. https://scholarworks.umass.edu/masters_theses_2/629.
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This written portion of my thesis will document and codify how I as dramaturg, writer and director adapted and staged the classic Harlem Renaissance novel Infants of the Spring by Wallace Thurman. I walk the reader through how seeing as a director influenced my creative choices through key aspects of production: script development, design, and building the ensemble. The thesis will conclude with a post-production reflection and summary.