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2017

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Articles 451 - 480 of 588

Full-Text Articles in Theatre and Performance Studies

Three Damn Letters, Katherine Ammon Jan 2017

Three Damn Letters, Katherine Ammon

Honors Program Theses

Amyotrophic lateral sclerosis (ALS) is a terminal disease that destroys a patient's motor neurons. In the play Three Damn Letters, a sarcastic woman must accept her own ALS diagnosis while also balancing her relationships with her father, husband, and son. This seriocomedic play explores themes of family roles, disability, love, and death.

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Rehearsing Justice: Theatre, Sexuality And The Sacred, Victoria Rue Jan 2017

Rehearsing Justice: Theatre, Sexuality And The Sacred, Victoria Rue

Faculty Publications, Social Sciences

The theatre actor’s process in a rehearsal hall is reality and metaphor. It can be a rehearsal for justice, where we can live freely. In this laboratory the actor becomes all of us. Like the actor, we inhabit our bodies and our sexualities, sometimes as spiritual practice, or as sacred and creative, even as incarnations. In particular, women’s bodies remember what it is like to be no-body and what it is like to be a some-body. The texts of women’s bodies contain their history of pain, wellness and illness.In creating a character, the actor creates a biography, an inner life, …

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Art Infested Water, January 2017, Nova Southeastern University Department Of Performing And Visual Arts Jan 2017

Art Infested Water, January 2017, Nova Southeastern University Department Of Performing And Visual Arts

Department of Performing and Visual Arts Newsletters

No abstract provided.

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“Why (Not) Philosophy Of Stand-Up Comedy?”, Sheila Lintott Jan 2017

“Why (Not) Philosophy Of Stand-Up Comedy?”, Sheila Lintott

Faculty Contributions to Books

Stand-up comedy has been largely ignored by analytic philosophers of art, including those interested in comedy and humor. This is somewhat surprising, given the immense popularity of stand-up comedy and the rock star status enjoyed by some comedians today. I suspect that philosophers are just as likely to enjoy stand-up comedy as anyone else; in some cases (i.e. for some philosophers and some comedians), probably more likely. Here I offer some reasons philosophers of art should take the time to consider stand-up comedy and possible explanation for why philosophers of art have paid far less attention to stand-up comedy than …

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Dancing Through Life: Dance As Physical Therapy To Prevent Falls, Salon Gegel Jan 2017

Dancing Through Life: Dance As Physical Therapy To Prevent Falls, Salon Gegel

Honors Projects

The basis of this project was to create a series of dance-based exercise activities to be used as part of an exercise class for elderly people who are classified as fall risks. The idea was to approach exercise through a medium that was convenient and versatile for the class leader, while being comfortable and fun for participants. The activities were developed and presented over the course of the six-week P.L.A.C.E. Program, held at the Montessori School of Bowling Green. Participants met four times to take part in a guided exercise class, and enjoy other activities. At these sessions, participants were …

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Physical Miseducation: How Public Schooling In The Us Is Harmful To Students’ Bodily Well-Being, Rachel Fredericks Jan 2017

Physical Miseducation: How Public Schooling In The Us Is Harmful To Students’ Bodily Well-Being, Rachel Fredericks

Scripps Senior Theses

This paper explores the history of physical education in the United States, as well as a general look into how public schooling affects how kids learn about and come to view their bodies. Theory and research by Michel Foucault, Elias Norbert, and Katy Bowman form the theoretical framework for this essay, and accounts of visits to a local elementary school to observe PE also grounds the work in present-day experiences. The work concludes that public schools in the US improperly teach students about how to listen to and care for their bodies.

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Obsidian In Sand: A Reflection On Tokenism And The Fight For Visibility In Predominately White Spaces, And A Declaration That Black Lives Matter, Dimitri Jai Woods Jan 2017

Obsidian In Sand: A Reflection On Tokenism And The Fight For Visibility In Predominately White Spaces, And A Declaration That Black Lives Matter, Dimitri Jai Woods

Theses and Dissertations

As with most art in academia, the term “Abstract”, as a sort of summation of the proceeding discussion, does not quite fit. What you may experience in the following pages is more akin to my attempt at staying true to the artistic nature of my thesis project, while “reflecting” on it in a pseudo-academic tone. I put the word reflecting in quotation marks, as I do not truly feel as if this project is, or ever will be complete. It is (rather, intends to be) an ever-growing, ever-evolving experiment in expression. Luckily for you, this is being written after some …

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Before Crenshaw: A Historiographical Look At Intersectional Identity In Three Twentieth-Century American Plays By Eaton, Grimké, And Treadwell, Emily Goodell Jan 2017

Before Crenshaw: A Historiographical Look At Intersectional Identity In Three Twentieth-Century American Plays By Eaton, Grimké, And Treadwell, Emily Goodell

Graduate Dissertations and Theses

This thesis anachronistically applies Kimberlé Crenshaw’s term intersectionality to three dramatic texts using Thomas Postlewait’s model of theatre historiography. These plays were authored by twentieth century female playwrights who had similar intersectional lives as the leads discussed. Yuki, from the 1901 novel turned 1903 Broadway play A Japanese Nightingale, was crafted by Winnifred Eaton. Yuki’s identity will be the subject of the first chapter. The second chapter examines the identity of Rachel from Angelina Weld Grimke’s anti-lynching play Rachel. For the third chapter, the identities of both female leads fromHope for a Harvest by Sophie Treadwell are analyzed. …

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Magic Sheet, Brandon Washington Jan 2017

Magic Sheet, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

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Electrical Equipment List, Brandon Washington Jan 2017

Electrical Equipment List, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

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Instrument Schedule, Brandon Washington Jan 2017

Instrument Schedule, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Wish List, Brandon Washington Jan 2017

Wish List, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

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Rhythm Analysis, Brandon Washington Jan 2017

Rhythm Analysis, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

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Research Analysis: Act Iii, Scene Iii, Brandon Washington Jan 2017

Research Analysis: Act Iii, Scene Iii, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Conceptual Hookup, Brandon Washington Jan 2017

Conceptual Hookup, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Storyboard: Act Iii, Scene Ii, Brandon Washington Jan 2017

Storyboard: Act Iii, Scene Ii, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Storyboard: Act Ii, Scene Ii, Brandon Washington Jan 2017

Storyboard: Act Ii, Scene Ii, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Storyboard: Act Ii, Scene I, Brandon Washington Jan 2017

Storyboard: Act Ii, Scene I, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Storyboard: Act I, Scene I, Brandon Washington Jan 2017

Storyboard: Act I, Scene I, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Lighting Section: Red Dawn Barber, Brandon Washington Jan 2017

Lighting Section: Red Dawn Barber, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Lighting Section: Red Dawn, Brandon Washington Jan 2017

Lighting Section: Red Dawn, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Lighting Section: Osborne Path, Brandon Washington Jan 2017

Lighting Section: Osborne Path, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Lighting Section: Circle Moment Front Light, Brandon Washington Jan 2017

Lighting Section: Circle Moment Front Light, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Lighting Section: Candle Support Front Diagonal Light, Brandon Washington Jan 2017

Lighting Section: Candle Support Front Diagonal Light, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Acting Areas, Brandon Washington Jan 2017

Acting Areas, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Textual Matrix, Brandon Washington Jan 2017

Textual Matrix, Brandon Washington

The Flick (2017) - Lighting

The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.

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Wish List, Brandon Washington Jan 2017

Wish List, Brandon Washington

The Flick (2017) - Lighting

The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.

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Instrument Schedule, Brandon Washington Jan 2017

Instrument Schedule, Brandon Washington

The Flick (2017) - Lighting

The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.

Go to article

Lighting Section: Screen Bounce, Brandon Washington Jan 2017

Lighting Section: Screen Bounce, Brandon Washington

The Flick (2017) - Lighting

The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.

Go to article

Rhythm Analysis, Brandon Washington Jan 2017

Rhythm Analysis, Brandon Washington

The Flick (2017) - Lighting

The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.

Go to article

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