Theatre and Performance Studies Commons^™

Scene Breakdown, 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.

Light Plot, 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.

Process Metamorphosis, My Choreographic Journey, Brianna J. Larson

Theses and Dissertations

Process Metamorphosis, My Choreographic Journey describes the journey from my initial interest in choreography to where I find myself as a choreographic artist today. Throughout the paper I look at different productions I have worked on, both professionally and within an educational setting, and different people I have collaborated with. Included will be thoughts from peers and mentors as well as my own observations from rehearsals and meetings. I will also be pulling information from my notes and journals while working on shows over the last twelve years.

A Case For Theatre-Based Programming In Early-Childhood And Elementary Education, Tina M. La Plant

Graduate Student Theses, Dissertations, & Professional Papers

This paper seeks to answer the question, How can I use my professional experience developing a theatre-based curriculum for early-childhood and elementary students as a platform to advocate for the importance of theatre-based curricula in early and elementary education? The subject of this research project is a Pre-Kindergarten through Fifth Grade theatre-based education program founded by the author. The program was developed over the past 20 years at the Bertschi School, an independent PK-Fifth elementary school located in Seattle, Washington. For the purposes of this paper, the program itself will serve as a proving ground to explore and define primary …

Devising From A Distance: A Study Of The Difference In Process, Composition, And Audience Response Between In-Person And Digitally-Mediated Choreographic Collaborations, Kathryn Butler

Honors Theses

This paper argues that dance devising shares a value system with that of the digital age, justifying the use of a virtual choreographic site to facilitate geographically distributed collaborations. The presence of technology in our social lives, working environments, and creative practices is steadily increasing. Before we passively let technology digitize and make virtual the choreographic process, or before we expedite this seemingly inevitable trajectory, we need to know what the consequences and opportunities might be. Through use of a controlled empirical investigation, this study analyzed the process experience, composition, and post-performance audience response between in-person and remote choreographic collaborations. …

Laban For The Actor: The Mind/Body Connection, Margaret C. Buckner

Theses and Dissertations

When it comes to actor training in higher education, an extremely strong emphasis is placed on understanding the voice and interpreting the text. While some institutions do incorporate movement courses into the curriculum of the students, many do not serve the learning actor in the most effective way. The work of Rudolf Laban is a way to strengthen the curriculum taught to actors, specifically in regards connecting actors to their bodies. This thesis discusses and analyses the use of Laban’s movement theory in the movement classroom, and focuses on the most effective way of presenting the material to the student. …

Cabaret Story-Telling: Building Your Act, Timothy A. Fitz-Gerald

Theses and Dissertations

This thesis adduces the benefits in teaching undergraduate theatre majors the competency to create a cabaret. It expostulates that doing so during college gives students an advantage in marketing themselves professionally. It substantiates the general lack of cohesive undergraduate training in this area. The results of a survey of casting directors, assessing the worth of implementing the study of cabaret into theatre curricula, are incorporated.

Those that responded agreed that performing cabarets can play a role in a performer’s career, even if the opinions varied as to what that specific role is. There was general agreement that the study of …

Georgia Southern College Student Theatre Collection, Zach S. Henderson Library Special Collections

Finding Aids

This collection consists of programs, photographs, and promotional material from Georgia Southern College’s social events as well as campus and local theatre productions from 1936 to 1988. Documented are productions performed on Georgia Southern’s campus, mostly by outside theatre companies.

Find this collection in the University Libraries' catalog.

Post 9/11 American Dramas: A Postmodern Postcolonial Study Of Wajahat Ali’S The Domestic Crusaders And John Shanley’S Dirty Story, Shaimaa M. Saeed

English Language and Literature

The focal point of this study is the date 9/11 which history immortalized as it witnessed the sudden attacks on one of the world’s super powers, the United States of America. The repercussions of this date boomed in the world’s four corners leaving behind feelings of insecurity and fears from the unknown. Whereas 9/11 had many influences on the international and domestic economic, political and social arenas, such influences were reflected in the literary arena as well. Many American playwrights were influenced by the attacks to the extent that such attacks have become the raw material formulating the dramatic substance …

Dramatic Form: In Theory And In Practice, Alexander Borrello

Undergraduate Honors Thesis Collection

One of the most essential aspects of any dramatic work is dramatic form - the categorization of whether a given play is a tragedy, comedy, melodrama, or something else. Most dramatists argue that dramatic form is inherent to the play and cannot be changed. Typically, dramatic form is determined by the playwright's choice in writing the play, and many dramatic theorists believe this determination to be unquestionable. One such theorist, Giovanni Battista Guarini, wrote,

" ... And there is no doubt that anyone who imagines that he can make one of these genres slip in its entirety intothe confines of …

An Exploration Of Dance Therapy, Its Origins, And Its Applications In Parkinson’S Disease, Emilia Floody

Undergraduate Honors Thesis Collection

Throughout history, dance has been used as a means of promoting health and wellbeing and for healing the sick. These practices date back to some of the earliest Neolithic societies with the advent of the circle dance in shamanistic cultures and continue into today’s society. Notable examples of healing dances include dances devoted to Apollo in ancient Greek culture, the dancing manias of medieval Europe, and the tarantism of southern Italy that dates back to the fourteenth century. Today, the primary role of dance in healing is the use of dance/movement therapy which, according to the website of the American …

Raising The Stakes: The Impact Of Emotional Investment On Learning Stage Combat, Sarah Tam

Undergraduate Honors Thesis Collection

One of the most integral parts of stage combat is safety. A fight director’s constant challenge is keeping their actors safe. One aspect of a fight scene that then merits close inspection is the effect that the intense emotions involved in the scene have on an actor’s ability to perform the fight safely. Does the level of stakes in the scene affect the integrity of the actor’s fighting technique? There exists a paradox when an actor must be emotionally present in a fight as their character while performing technical fight moves accurately. Knowing how to navigate this paradox will enhance …

The Back Pocket Play: Revealing White Privilege And Its Contribution To Institutionalized Racism, Sonia Michelle Goldberg

Undergraduate Honors Thesis Collection

Black lives matter. This phrase incites intense and polarizing emotions in our community: with it brings images of police brutality. It forces the topic of racism to the forefront of the listener’s mind. And when that listener hardly ever considers issues of race in their daily life, “Black lives matter” easily becomes a hostile phrase, one to shrink away from. Why? This ability to dissociate – to write off uncomfortable situations – is a privilege. In predominately White communities like Butler University, individuals are often hesitant to have a conversation about race, because they believe firmly it is not their …

Creating The Role Of Georgie Bukatinsky In "The Full Monty", Erin Horst

All Graduate Theses, Dissertations, and Other Capstone Projects

This document is a thesis submitted in partial fulfillment of the Master of Fine Arts degree in theatre. It is a detailed account of author Erin Horst's artistic process in creating the role of Georgie Bukatinsky in Minnesota State University, Mankato's production of "The Full Monty" in the fall of 2016. The thesis chronicles the actor's artistic process from pre-production through performance in five chapters: an early production analysis, a historical and critical perspective, a rehearsal and performance journal, a post-production analysis and a process development analysis. Appendices and works cited are included.

Appearances, Samantha M.F. Loesch

Legacy Theses & Dissertations (2009 - 2024)

Appearances is a one-act memory play with a focus on temporality, language deficiencies, and allegorical depictions of the ambiguous relationships between men and women. Using dramatic techniques this autobiographically based play is a complex blend of doubled actors, stage directions, and surrealistic depictions of time reflecting the characteristics of absurdist plays. Using such devices creates a pastiche of female degradation, effacement, and feelings of worthlessness inspired by realistic depictions of male harassment. Elements such as the inadequacy of language, the role of autobiography, and the Cubist depiction of temporality performed with non-verbal motifs and recursive tendencies reveal a woman’s existential …

Research Analysis: Act Iii 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.

Head In The Game: A One-Act Play, Carolyn Gage

Dignity: A Journal of Analysis of Exploitation and Violence

Head in the Game is a fifteen-minute, five-character, easy-to-stage-anywhere play that brings audiences into the world of male "pay-to-play" abuse of women, through a fantasy scenario of "boxing girls," women whom men pay to batter. The world of the boxing girls is an apt analogy for prostitution. The play uncompromisingly brings home the point that paying to use someone for sexual gratification is no more "sex" than paying to punch someone is boxing.

Acting Areas, 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.

Storyboard: 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.

Cue 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.

Electrical Equipment 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.

Lighting Section: Chilling Toner 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.

Light Plot, 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.

Lighting Section: Lobby, 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.

Conceptual Hookup, 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.

Research Analysis, 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.

Storyboard: Act Iii, 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.

Channel 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.

Cue 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.

Lighting Section: Sun, 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.