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Full-Text Articles in Arts and Humanities
Actors Without An Audience? Performance Analysis Of The "Borderlands" Live Action Role Playing Epic, Shelley Wind Hooper
Actors Without An Audience? Performance Analysis Of The "Borderlands" Live Action Role Playing Epic, Shelley Wind Hooper
Electronic Theses and Dissertations
This case study details the preparations and performances that occurred for the Live Action Role-Playing (also known as LARP) events hosted by the Maine Adventure Society, Inc. (or MASI) in the summer of 2002. Explaining the MASI organizational structure and documenting these events substantiates current scholarly publications pertaining to LAW practices and performance studies. The "Borderlands" events are examined as a performance art form. This work is organized into six chapters with a list of works cited, a list of figures and a list of tables. Chapter 1 is an introduction to the study of LARP. In Chapter 2, the …
Scenic Design For Alan Ayckbourn's Taking Steps, David Adkins
Scenic Design For Alan Ayckbourn's Taking Steps, David Adkins
Electronic Theses and Dissertations
A theatrical scene designer is responsible for creating the physical space in which a play takes place. This is accomplished through reading and analyzing the script, researching materials related to the production, discussions with the director, and collaboration with other designers. This thesis focused on the process involved in designing a set, as described by J. Michael Gillette in his book, Theatrical Design and Production, (Third Edition) and how that process was applied to Alan Ayckbourn's farce Taking Steps. The play provided a unique educational challenge for a scenic designer, as it requires that three floors of a …
In The Wings Without A Cue: How Industrialization Upstaged America's Actors And How They Can Re-Take Center Stage, Jay H. Skriletz
In The Wings Without A Cue: How Industrialization Upstaged America's Actors And How They Can Re-Take Center Stage, Jay H. Skriletz
Electronic Theses and Dissertations
The social, political, and economic forces of industrialization have transformed the actors' art, especially the relationship between the performer and the audience. When the consolidation of theatre ownership superceded the centuries old tradition of actormanagement, the transmutation of actors into commodities commenced. With the ascendancy of film as the dominant mode of theatrical production this transformation has accelerated until the creative interaction of living performers and audience is not merely an anomalous curiosity: it is nearly extinct. Industrialization has reduced the status of actors and their influence upon the workplace. Employment equilibrium has been distorted by the "star system" of …