Cleveland State University
Dominican University of California
East Tennessee State Universtiy
Edith Cowan University
Scripps College
Sotheby's Institute of Art
University of Central Florida
Otterbein University
Minnesota State University, Mankato
On Mochizuki: Interview With Mikata Shizuka And Udaka Tatsushige,
2021
Kyoto Sangyō University
On Mochizuki: Interview With Mikata Shizuka And Udaka Tatsushige, Diego Pellecchia, Rebecca Teele Ogamo
Mime Journal
No abstract provided.
Guise And Disguise: Nō Costumes In The Context Of Cultural Norms,
2021
Medieval Japanese Studies Institute
Guise And Disguise: Nō Costumes In The Context Of Cultural Norms, Monica Bethe
Mime Journal
No abstract provided.
On Ataka: Interview With Udaka Michishige And Sugi Ichikazu,
2021
Kyoto Sangyō University
On Ataka: Interview With Udaka Michishige And Sugi Ichikazu, Diego Pellecchia, Rebecca Teele Ogamo
Mime Journal
No abstract provided.
Introducing Genzai Nō: Categorization And Conventions, With A Focus On Ataka And Mochizuki,
2021
Kyoto Sangyō University
Introducing Genzai Nō: Categorization And Conventions, With A Focus On Ataka And Mochizuki, Diego Pellecchia
Mime Journal
No abstract provided.
Mochizuki: History And Context,
2021
Meiji Gakuin University
From Ataka To Kanjinchō: Adaptation Of Text And Performance In A Nineteenth-Century Nō-Derived Kabuki Play,
2021
University of California at Santa Barbara
From Ataka To Kanjinchō: Adaptation Of Text And Performance In A Nineteenth-Century Nō-Derived Kabuki Play, Katherine Saltzman-Li
Mime Journal
Nō techniques and play borrowings provided important infusions into kabuki throughout its history, but in the nineteenth century, a genre of kabuki plays in close imitation of nō or kyōgen wasadded to the kabuki repertoire. The genre came to be called matsubamemono, meaning “[nō/kyōgen-derived kabuki] plays [performed] on a stage with a pine painted on the back wall” or “pine-boardplays.”1 These plays are the focus of this article, in which I first introduce the genre and its place in kabuki history, and then discuss its most famous example, the play Kanjinchō (Hattori 17–40; Meisakukabuki zenshū 181–197 ...
Us, Abundantly: From Africa To The Americas,
2021
CUNY Hunter College
Us, Abundantly: From Africa To The Americas, Karisma Jay
School of Arts & Sciences Theses
"Us, AbunDantly," a Live theatrical dance performance and film, delves into the African Diaspora and its influences. An artistic and academic project built upon the amplification of Black excellence and Black pride, this paper contextualizes a work within the oral histories and contemporary dance studies of a powerfully ancestral community.
“It’S The Only Thing We Have”: Whisper Networks Among Women Theatre Actors,
2021
University of Kentucky
“It’S The Only Thing We Have”: Whisper Networks Among Women Theatre Actors, Richard Edward Carter
Theses and Dissertations--Communication
Women who secretly warn one another via informal communications about men in their environment who may engage in some kind of misconduct are participating in a whisper network. This dissertation employs the narrative paradigm to understand how these networks function in the context of professional actors. Interviews conducted with actors who have worked in a variety of communities were analyzed in order to better understand how whisper networks function as warning systems that must be created because conventional means of protection may not exist or be trusted in their industry.
Theater, Trauma, And The Rehearsal To Recovery,
2020
Ateneo de Manila University
Theater, Trauma, And The Rehearsal To Recovery, Missy V. Maramara
Magisterial Lectures
Using theoretical concepts, Missy talks about the ways that theater provides a platform for healing.
Speaker: Missy Maramara holds a Master of Fine Arts in Drama (Performance) from the University of Arkansas in Fayetteville through the International Fulbright Scholarship Program. She also trained at the L'École Internationale de Théâtre Jacques Lecoq in Paris and at Tectonic Theater Project in New York City. A Filipino actress with television and film credits, Missy is primarily a theater actress with local and international performances. She has worked with Tanghalang Pilipino, New Voice Company, Repertory Philippines, PETA and Dulaang UP. She performed her ...
Cast(E) Playbill,
2020
Providence College
Cast(E) Playbill, Providence College
Playbill and Promotions
Providence College Department of Theatre, Dance & Film
A Virtual Event
Premiering November 12, 2020 at 7:30pm
Cast(e)
A devised performance piece inspired by Black voices and responding to racial injustice
CREATIVE & PRODUCTION
Erin Joy Schmidt............Director
Kelly Slader...................Stage Manager
David Costa-Cabral.........Costume Designer
Jimmy Calitri.................Managing Director of Theatre
Megan Chang.................Vocal Coach
Matt Corey.....................Producer/Musician
Trevor Elliott..................Technical Director, Visual Editor
Gabe Luxton...................Asst. Technical Director, Sound Editor
Talia Triangolo................Production Office Coordinator
ENSEMBLE
Sydney Cahill, Santiago Najarro Cano, Starling (Estarlyn Hiraldo), Abbie Joy, Halle Pratt, Kari Elisa Robles, Lucille Vasquez, Nana Akua Asante*, Acklynn ...
Cast(E) Poster,
2020
Providence College
Cast(E) Poster, Providence College
Playbill and Promotions
Providence College Department of Theatre, Dance & Film
A Virtual Event
Premiering November 12, 2020 at 7:30pm
Cast(e)
A devised performance piece inspired by Black voices and responding to racial injustice
Directed by Erin Joy Schmidt
Please visit the link below for more information:
theatre.providence.edu/current-season
Say “Yes And” To Improv: It’S Good For Your Brain,
2020
Trinity University
Say “Yes And” To Improv: It’S Good For Your Brain, Anthony F. Tresca
The Macksey Journal
Everyone improvises from the moment life begins, but few know what exactly happens when you improvise. Neuroscience shows the biological basis, and thus, the universality and practical application of improvisation. This recent research on the subject of improv shows why—for centuries—humans have been drawn to improv. The paper begins by offering historical antecedents to contemporary improvisation; then, moves on to discuss the rich history of American improvisation and the move towards integrating spontaneity into improvisational performances. Through close analysis of what makes something spontaneous, the effects of spontaneity on individuals have shown the “naturalness” of improv and its ...
Composing The Performance Of Ōto Shōgo’S The Water Station,
2020
University of Massachusetts Amherst
Composing The Performance Of Ōto Shōgo’S The Water Station, Vishnupad Barve
Masters Theses
This written portion of my thesis documents my process as a director in composing the Performance of Ōto Shōgo’s The Water Station in collaboration with a creative team of designers, dramaturgs, stage managers and performers.
I share with the reader my processes toward fostering cohesion and collaboration among a team while composing a theatrical experience that departs from many theatrical conventions. I discuss significant learnings from several areas of dramaturgical and performance research that dovetail within the performance: aesthetics of divestiture, dramaturgy of simultaneity and composition of psychophysical score, and how I used this research to support the communication ...
"Yes And": Exploring And Heightening The Positive Psychology In Improvisation,
2020
University of Pennsylvania
"Yes And": Exploring And Heightening The Positive Psychology In Improvisation, Bridget Erica Elam
Master of Applied Positive Psychology (MAPP) Capstone Projects
This capstone contains a brief introduction to positive psychology and the art of improvisation, including a review of the literature that supports improvisation’s potential well-being effects. Also included in this capstone is a description of an exploratory study on improvisation and well-being. In this study, positive and negative affect, resilience, loneliness, and perceived life satisfaction was measured among a group of actors and improvisers from all over the United States. The study also features qualitative data, collected from the same participants, coded for positive emotion, engagement, relationships, meaning and accomplishment (PERMA) in order to consider whether working without a ...
The Collaborators Draw The Circle,
2020
University of New Orleans
The Collaborators Draw The Circle, Gary K. Lengel
University of New Orleans Theses and Dissertations
The mystical appeal of a circle reverberates throughout the practice of theatre: from the story circles of our ancestors echoing through the caves and across the ancient savannahs to the modern-day arena palaces that allow playwrights, directors, actors, producers, designers, craftspeople, and, ultimately audiences, to engage and embrace our retold truths, we face each other in circles. This writing references academic instruction and professional experiences in live theatre, documenting various appearances of the circle metaphor as the rehearsal core drives through the production process. It is an endorsement of the circle’s power to the initial table read and beyond ...
Kinesthetic Language: A Dialect Of Kinesics,
2020
California State University - San Bernardino
Kinesthetic Language: A Dialect Of Kinesics, Terrill Suzanne Corletto
Electronic Theses, Projects, and Dissertations
Human communication requires the disciplines regarding physical fitness, codified language, and the performing arts to overlap, and exist symbiotically. Within the realm of artistic performance, the three disciplines working together deliver a deliberate message in a way unique to performing artists. The general tendency to compartmentalize sports, communication, and the performing arts into their pigeonhole categories of Kinesiology, Linguistics, and Theatre Arts is impractical, particularly for performing artists simply because all of the disciplines are mutually dependent in the context of all kinesthetic communications.
The purpose of this paper is to define and discuss several concepts and the ways in ...
Aligning Assessments With Course Outcomes,
2020
CSUSB
Aligning Assessments With Course Outcomes, Carol Damgen, Carol L. Damgen
Q2S Enhancing Pedagogy
This reflection is based on an educational assignment from my Oral Interpretation of Literature course at California State University, San Bernardino, May 2019.
A consistent focus and goal for me as an educator is to align assessments with course outcomes.
The learning outcome for this class session focused on the cognitive approach- “students will develop the skills to communicate an oral interpretation of literature to an audience with believability, dramatic action and honesty.”
The intention of this class period was for my students to clearly understand the difference between acting, reading and oral interpretation. Oral Interpretation is a type of ...
Providing Useful Feedback,
2020
CSUSB
Providing Useful Feedback, Carol Damgen, Carol L. Damgen
Q2S Enhancing Pedagogy
This reflection is based on an educational assignment from my Oral Interpretation of Literature course at California State University, San Bernardino, April 2019.
Assessment is an essential part of education. However, assessment shouldn’t necessarily come from only one source-the teacher. I believe students benefit from receiving feedback from not only their instructor, but from their peers and lastly from themselves. This layered reflection allows one to learn from what others feel about their work. It is essential to have a second eye if we are to grow as learners.
This multi-perspective view allows the student to offer critical analysis ...
Planning An Effective Class Session,
2020
CSUSB
Planning An Effective Class Session, Carol Damgen, Carol L. Damgen
Q2S Enhancing Pedagogy
This reflection is based on an educational assignment from my Intro to Theatre course at California State University, San Bernardino, April 2019.
As an educator, I am always interested in combining new techniques with tried and true approaches. My hope is twofold- enhance my students learning and keep me inspired.
The concept of a beginning, middle and end in all classes, provides structure for your students and keeps the pedagogy focused.
I incorporated the “I do, we do, you do” approach to support a well-balanced framework for the class period. This technique is a creative take on a beginning, middle ...
Developing And Using Grading Guides, Checklists, And Rubrics,
2020
CSUSB
Developing And Using Grading Guides, Checklists, And Rubrics, Carol Damgen, Carol L. Damgen
Q2S Enhancing Pedagogy
This reflection is based on an educational assignment from my Intro to Theatre Arts course at California State University, San Bernardino, May 2019.
Providing students guidance when taking on a new assignment is essential. This direction may be achieved through a variety of sources: lectures, videos, examples of past students work, rubrics etc.
One approach, which may benefit the learner in the immediate and have a lasting impression, is teaching students to use the grading tool at hand (rubric/checklist) to improve assignments.
Following an example you have provided, the instructor will work with their students to use either a ...
