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Finding Exuberance For The Role Shelby In Baltimore., Danielle Smart

Electronic Theses and Dissertations

This thesis documents my discovery of exuberance as the key to a successful performance and reveals the challenges I faced in developing a character whose major actions in the play fall into the category of masking (i.e. hiding, avoiding, dodging). I define exuberance and discuss how I came to understand that sustaining exuberance requires a great deal of technical expertise specifically in acting, movement and voice in order to accommodate the demands of the character. I contend that exuberance also requires commitment and nurturing of the actor’s personal artistic vision. This thesis will discuss some of the difficulties I faced …

Expression And Emotion In Music: How Expression And Emotion Affect The Audience’S Perception Of A Performance, Kelly Lynn Palusis

Selected Honors Theses

Expression and emotion in a musical performance affects how the music is perceived by the audience. A study of a song’s composer and the background of the music aids in improving the expression and understanding of vocal music. A study of theatre brings an extra dynamic to a musical performance. Maria Callas, for example, was a pioneer in combining these many factors into her performances. Her application of music and drama in opera makes her an ideal example of a complete and dynamic vocalist. The expression and emotion she poured into each performance transformed how people saw opera and music …

The Female Writer And Her Female Characters: A Coming Of Age Story, Stephanie N. Grilo

Theatre & Dance ETDs

In this essay, I review my growth and learning as a playwright in this MFA program. I position my play, Red Dirt, within the context of psychoanalysis and feminist theory as a study of the behavioral patterns that emerge when female melancholia and violent masculinity collide. I examine the praxis of my writing and research methodologies, as well as the technical, thematic, and academic aspects of my writing practice.

Center For Art & Theater News, Georgia Southern University

Center for Art & Theater (Archived)

• ‘B.F.A. Senior Exhibition’ Opens at Center for Art & Theatre in May

The George-Anne, Georgia Southern University

The George-Anne

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Big Fish: The Musical, Utah State Theatre, Jason Spelbring, Dallas Heaton

All Music Department Programs

Based on the celebrated novel by Daniel Wallace and the acclaimed Columbia Pictures film directed by Tim Burton, BIG FISH centers on Edward Bloom, a traveling salesman who lives life to its fullest... and then some! Edward's incredible, larger-than-life stories thrill everyone around him - most of all, his devoted wife Sandra. The story shifts between two timelines, the 1950's and 2001. In the present-day real world, Edward Bloom faces his mortality while Will prepares to be- come a father himself. In the storybook past, Edward ages from a teenager, encountering a Witch, a Giant, a Mermaid, and the love …

An Original Play Next Door: Domestic Abuse Addressed In The Theatre, Esther E. Karram

Senior Honors Theses

This creative thesis assesses how the theatre has addressed domestic violence in various shows such as Waitress and A Streetcar Named Desire. In this paper, the reality of abusive relationships and the victims who are trapped in them is examined, and the subject is addressed in an excerpt of the original two-act play entitled Next Door. Next Door is a domestic drama that hopes to represent accurately an abusive relationship and its complexities through the relationship of Anna and John and also seeks to portray the struggle of those on the outside who wish to help.

Bfs News Online, Georgia Southern University

Art: News & Publications (2008-2023)

• 18 Pixels: Undergraduate Graphic Design Portfolio Show opens at Center for Art & Theatre

Molded By The Flow Poster, University Of Southern Maine Department Of Theatre

Posters 2016-2017 Season

A Collaborative Creation of Theatre, Music, and Visual Art with Internationally-Acclaimed Artists Paul Dresher, Rinde Eckert and USM Students, Faculty, and Staff

This production is made possible with the support of the Libra Professorship at USM

Dimensions: 8" x 13"

Rapture. Redemption. Religion. Retail. Directing Samuel D. Hunter’S, A Bright New Boise, Chadwick R. Taylor

Johnny Carson School of Theatre and Film: Theses, Student Research, and Creative Work

This thesis contains the written documentation of the process of directing a theatrical production of A Bright New Boise by Samuel D. Hunter, in partial fulfillment of the requirements for Masters of Fine Arts in Directing for Stage and Screen at the University of Nebraska-Lincoln.

Topics addressed include play selection, background of the play and author, script analysis, concept development, casting, production and rehearsal process, director’s reflection, and critical responses and self-evaluation.

Advisor: Ian Borden

Hamlet: An Illuminating Look At Tragedy, Maxx Finn

Johnny Carson School of Theatre and Film: Theses, Student Research, and Creative Work

This thesis describes the research and production process of the lighting design of Hamlet, adapted by Wesley Broulik, performed in Howell Theatre, from November 17 through December 4 at the Johnny Carson School of Theatre and Film at the University of Nebraska. Hamlet was directed by Wesley Broulik. Maxx Finn acted as the production’s lighting designer, Kaitlyn Peterson designed the set, Haley Williams designed the costumes, Emily Callahan designed the sound, Andrea Besch acted as the properties master, and Travis Smith was the acting technical director.

This thesis contains the entire lighting design process for Hamlet, including initial meetings, conceptualization, …

Demo 26, Columbia College Chicago

Alumni Newsletters

Alumni newsletter from Spring-Summer 2017 entitled "DEMO 26". The issue is 60 pages.

Women, Politics, And Humor On Stage: Directing “The Taming”, Kayla Minton Kaufman

Honors Thesis

As a culmination of my Theatre Arts degree, I directed Lauren Gunderson's "The Taming." The three-woman cast was composed of Tiffani Williams (Patricia), Jena Fakroddin (Katherine), and Alex Luce (Bianca). In the play, Katherine, a contender for Miss America, kidnaps Patricia, a conservative senator's aide, and Bianca, a liberal blogger, and demands they join her in rewriting the Constitution of the United States of America. The production played for three nights in Foley 110, a black box space, with a full house each night.

Letters To Mei Lanfang, Alexandra Dare Norman

Mahurin Honors College Capstone Experience/Thesis Projects

As a male actor of female Dan characters, Mei Lanfang (1894-1961) is known throughout the world as the most representative performer of Chinese opera – particularly for his performance of Concubine Yu in the Peking opera Farewell My Concubine. A feminist analysis of his work in this opera reveals a series of assumptions about the definition of “Woman” in both theatre and life. This project is solo performance piece formatted in a series of open letters to Mei Lanfang, interspersed with personal stories investigating what it truly means to be a Woman – as an actor, a Christian, a feminist, …

Anton In Show Business (March 30-April 1, 6-8, 2017), Jane Martin

Student Theatre Programs

Program for Anton in Show Business (March 30-April 1, 6-8, 2017).

To view the photos from this production of Anton in Show Business, please click here.

Opera & Musical Theatre Scenes, Usu Opera, Dallas Heaton

All Music Department Programs

Opera & Musical Theatre Scenes with selections from A Little Night Music, Carmen, The Consul and Hairspray

The Merry Wives Of Windsor Poster, University Of Southern Maine Department Of Theatre

Posters 2016-2017 Season

Fully stage opera by Otto Nicolai

Directed by Cary Libkin

Musical direction by Scott Wheatley

Southern Maine Symphony Orchestra conducted by Robert Lehmann

Dimensions: 8" x 13"

Ite, Poly, University: 3 Levels, 1 Play, 4 Casts, Margaret Chan

Research Collection School of Social Sciences

A report on a first time educational project across three levels of Singapore educational institutions. The ITE-Republic Polytechnic-Singapore Management University theatre collaboration to stage Chong Tze Chien's "Charged" (2017) at ITE Central on 31 March to 1 April 2017.

Two Unknown Essays By Craig On The Production Of Shakespeare's Plays, Patrick Le Boeuf

Mime Journal

In the 1920s and 1930s, Craig drafted two essays on Shakespeare, neither of which was completed nor published. Although they cannot be ranked among Craig’s most inspired writings, these two unfinished essays are of great interest, as they show that Craig, then in his fifties-sixties, was walking on a thin line dividing two most contrasted landscapes: on the one hand he was more attracted than ever to forms of radical modernity, on the other hand he was at risk of indulging in gratuitously archaeological reconstitutions, while being aware of that danger.

Dreaming Of Light: On Edward Gordon Craig, Peter Sellars

Mime Journal

Sellars reflects on Craig’s legacy, emphasizing Craig’s focus on “making theatre out of light,” and casting Craig as “John the Baptist to Bob Wilson.” Sellars highlights the importance of Craig’s “keeping the dream space open,” but he also criticizes Craig for not traveling to experience the predominantly Asian cultures whose performance traditions he appropriated. Craig and Sellars have a shared interest in the functions of Baroque opera in socially cataclysmic times; Sellars speaks about the influence of Craig upon his stagings of Purcell and the St. Matthew Passion (first staged in 2010). Sellars celebrates Craig’s attempt to rescue the voice …

A Note On Sanity In Stage Productions Of Shakespearean Plays, Patrick Le Boeuf

Mime Journal

A previously unpublished essay by Edward Gordon Craig which elucidates his ideas about the “right” way to produce Shakespeare. Edited, with notes, by Patrick Le Boeuf.

Hamlet's Last Act: Artist's Statement, Sam J. Gold

Mime Journal

Gold contextualizes his performance piece Hamlet’s Last Act (video will be available on the Action, Scene, and Voice website going live in Summer 2017). He reflects on his own journey and process in creating the show, and also offers some fascinating information about Craig’s relationship to Asian puppetry traditions. Gold’s innovative show turns Craig’s wood engravings for the Cranach Press Hamlet into Balinese wayang kulit shadow puppets; Gold later discovered that Craig actually knew of this genre and referenced it in certain works. Gold explains how in Hamlet’s Last Act, Craig’s published engravings literally become performers, breaking down the …

Edward Gordon Craig, Étienne Decroux, And The Rediscovery Of Mime, Harvey Grossman

Mime Journal

In this edited transcription of his remarks at the 2013 Pomona College (California) conference “Action, Scene and Voice,” Harvey Grossman elucidates the theory and practice of his two most important teachers: Edward Gordon Craig and Étienne Decroux. Grossman elucidates Craig’s much-debated comments on the “Art of the Theatre,” as well as Craig’s influence upon the French corporeal mime Étienne Decroux. He relates in detail Craig’s positive response to seeing Decroux and his students (among them Jean-Louis Barrault and Éliane Guyon) perform in 1945.

The Shadow Puppets Of Elsinore: Edward Gordon Craig And The Cranach Press Hamlet, James P. Taylor

Mime Journal

Taylor considers the role that book arts may play in Craig’s theories of the new theatre, or the Art of the Future. He expands our understanding of Craig’s design work to include print culture, examining his engravings for the monumental editions of Hamlet published by Count Harry Kessler’s Cranach Press in 1929–30. Taylor explores the relationship of Craig’s designs for the 1912 Moscow Art Theatre production of Hamlet to his engravings for the German and English-language Cranach Press editions of the play. He suggests that it was only with this print publication that Craig finally achieved the absolute artistic control …

Our Puppets, Our Selves: Puppetry's Changing Paradigms, Claudia Orenstein

Mime Journal

Taking up the topic of puppetry, Orenstein forges connections between Craig’s vision of the übermarionette and the rise of “New Puppetry” today. She examines the use of puppets to explore similarities and differences between the technological anxieties of modernists versus contemporary artists. In addition, she calls for a more careful and contextualized attention to Craig’s puppet theory, with a close reading of the übermarionette passage in "On the Art of the Theatre." Orenstein returns to some of the most well-known and much-studied passages and theories from Craig’s early work, but considers them from the fresh vantage point of contemporary puppetry …

Contents - Edward Gordon Craig Special Issue 2017, Jennifer A. Buckley, Anne Holt

Mime Journal

Cover, front matter, and contents for Mime Journal Special Issue, "Action, Scene, and Voice: 21st-Century Dialogues with Edward Gordon Craig." Guest editors: Jennifer Buckley and Annie Holt.

Editors' Note - Action, Scene, And Voice: 21st-Century Dialogues With Edward Gordon Craig, Jennifer A. Buckley, Anne Holt

Mime Journal

A roadmap to this Special Issue of Mime Journal. This issue emphasizes the tissue of influences that shaped Craig’s own work and continue to impact contemporary theater and performance. By focusing on the historical contexts in which his ideas were developed and those in which they have been received, the essays counter the widely held perception of Craig as the solitary genius of the “Art of the Theatre.” His claims of originality and singularity have too often obscured the connections between his work and that of other artists—especially the dancer Isadora Duncan, upon whom two of the pieces included here …

The Revolutionary: On Isadora Duncan And Edward Gordon Craig, Jennifer A. Buckley, Lori Belilove

Mime Journal

Jennifer Buckley interviews dancer, choreographer, and teacher Lori Belilove on Isadora Duncan’s practice and legacy. Belilove argues for Duncan’s modernism, and emphasizes her impact upon Edward Gordon Craig’s developing aesthetic and his career. This edited transcription of their conversation takes its point of departure from Craig’s portfolio of six drawings of Duncan in action, Isadora Duncan: Sechs Bewegungsstudien, Insel Verlag, 1906. Belilove sees both Craig and Duncan as poised between late Victorianism and modernism, and she contends they shared a modernist impulse toward abstraction. Belilove also comments on her own practice as a performer and as a teacher passing …

The Dancer And The Übermarionette: Isadora Duncan And Edward Gordon Craig, Olga Taxidou

Mime Journal

Olga Taxidou analyzes the ambiguous concept for which Edward Gordon Craig is best known—the “übermarionette”—alongside Isadora Duncan’s discussions of the liberated dancer. Highlighting the emphasis on futurity in Craig’s and Duncan’s manifestos and theories, she contends that this pairing works to undo the binaries between Hellenism and modernism, and between mechanistic and vitalistic aesthetics. Emphasizing the impact of Nietzsche’s The Birth of Tragedy (1872) and Charles Darwin’s evolutionary theories upon Duncan’s theory and practice, Taxidou locates Duncan within an intellectual vanguard that includes Jane Harrison and her fellow Cambridge Ritualists as well as major modernist poets.

Nine Ways Of Opening Macbeth, Patrick Le Boeuf

Mime Journal

A previously unpublished essay by Edward Gordon Craig in which Craig considers various directorial and casting choices for Shakespeare's Macbeth. Edited, with notes, by Patrick Le Boeuf.