Browsing by Subject "Acting"
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Item A descriptive study of the acting process used in developing the role of Jett in Faulkner's bicycle(Texas Tech University, 1987-05) Wright, Donna LNot availableItem A historical and theoretical investigation of self-dramatized performance and its influence on aspects of twentieth century American theatre(Texas Tech University, 1991-12) Aghssa, PiroozNot availableItem Acting a Shakespearean role(Texas Tech University, 2006-08) Parker, Kelly Wayne; Mann, Laurin; Durham, GenevieveThis thesis illustrates the process an actor faces when approaching a Shakespearean role. Specifically, the role of Banquo in Macbeth. The creative process is analyzed in three progressive stages: preparation, rehearsal, and performance.Item Acting for the camera made simple: A pedagogical methodology for acting for the camera based on a model of interpersonal communication(2012-08) Valentine, Anthony; Bush, James B.; Donahue, Linda L.; Gelber, Bill; Whitney, Allison; Fried, EricIn this professional problem dissertation, this writer tests a pedagogical methodology for acting for the camera based on a common model of interpersonal communication. The experiment was tested using students at Texas Tech University with experimental group subjects enrolled in Introduction to Acting for the Camera (THA 3311) against a control group of students from Texas Tech of similar ages and experience with similar acting methodologies. These methodologies included those based on Uta Hagen, Konstantin Stanislavski, or similar methods.Item Both hands(2013-05) Lendzian, Daniel Francis; Abraham, Lee E.This thesis is an in-depth analysis of the role of Voice in Suzan Zeder’s The Edge of Peace. A brief description of the author’s acting work before matriculating into The University of Texas’ MFA Acting program is described. The author then describes the skills learned in graduate school needed to perform the role both in Texas and Seattle. He briefly describes prior acting work at the University, and details some plans for the future of his acting career.Item Bringing lIfe to life : cultivating authenticity, freedom, and holistic integration in the art and practice of acting(2013-05) Kimball, Elizabeth Lee; Abraham, Lee E.This MFA thesis document explores the development of my acting craft and artistic development over a three-year period of intensive graduate training. The document includes an in-depth discussion of the preparation, rehearsal, and performance process of my culminating graduate production – Suzan Zeder’s The Edge of Peace – as it relates to my approaches to acting. The document also includes a discussion of various other areas of my acting process, including the importance of bringing my authentic self to every role, letting go of results, and the integration of body, voice, heart, and mind as well as the productions and experiences in my graduate work that proved essential to the development of these practices.Item Cagers(2013-12) Quiroz, Simon; Shea, Andrew Brendan; Lewis, Richard M., M.F.A.This report summarizes the script development, pre-production, production, and post- production stages of making the short film Cagers. The short was produced as my graduate thesis film in the Department of Radio-Television-Film at The University of Texas at Austin in partial fulfillment of my Master of Fine Arts degree in Film Production.Item Composing Clifton: musical direction as a primary means of character development in "The 1940's Radio Hour"(Texas Tech University, 2003-05) Skiles, Eric ChristopherThe following chapters of this thesis will explain how the job of vocal music director served as a primary means of building the character and relationships of Clifton A. Feddington. Chapter II will focus on the singers that I worked with. It will examine the relationships that were established during the rehearsal process, and how those personal relationships developed into the relationships between Clifton and his singers. The instrumentalists will be the subject of Chapter III. This chapter is the description of my own fear and excitement in conducting and working with professional instrumentalists, and how these feelings became a large part of Clifton's character. Chapter IV will look at the support staff of radio station WOV and how Clifton acted and reacted to them (based on my personal interaction with the other actors). The final chapter. Chapter V, will be dedicated to more traditional means of building a character that were employed in further developing Clifton A. Feddington. This chapter will include Laban work, personal props, and body centers.Item Creating Tartuffe: an actor's approach(Texas Tech University, 2006-05) Scott, Jeffrey S.; Gelber, William F.; Donahue, Linda L.Approaches to playing period plays are numerous. The techniques range from the purely physical, external approach to an internalized psychological method. This thesis focuses on the creative process from research and analysis as well as modern and period acting styles used in the development of the character of Tartuffe for the Texas Tech University Department of Theatre and Dance’s production of Tartuffe in 2004.Item The five stages : a short play for one woman and the creative process(2010-05) Barnes, Marlane Deanne; Hammond, Barney; Beckham, Andrea; Zeder, SuzanThis comedic short theatre piece follows the main character as she applies the five stages of mourning a death (denial, anger, bargaining, depression, and acceptance) to her recent break-up. The process section then details the writing, development, and performance of the piece for the first time, as well as plans for its future iterations.Item From Austin to Seattle, from Jason to Tree-Ear : my journey of A single shard(2013-05) Ko, Jason Tze Hsin; Dorn, FranThis is a written report of my experience on rehearsing and performing the production A Single Shard in Seattle Children’s Theatre from January to March of 2012. The essay documented my working process and the challenges I’ve faced throughout rehearsals and performances. This is also a reflection of my education from the graduate acting program in Department of Theatre and Dance.Item Hitting the marks(2013-05) Smiley, John Francis; Gerald, StephenThis thesis consists of three major sections. The first reflects on the new methodologies that I have developed and incorporated into my classes and performances here in the MFA Acting program at The University of Texas at Austin. The second section examines my approach to character and the application of technique to the rehearsal of a role. Finally, I reflect on, and examine, the rehearsal process for Intimate Apparel from the first rehearsal through the final performance.Item In the waiting room(2010-05) Debuys, Catherine Dew; Douglas, Lucien; Christian, PamelaThis thesis consists of two major sections. The first is the text of the play In The Waiting Room that I wrote and performed on April 16, 2010 in the Lab Theater on the campus of The University of Texas at Austin. The second section is a paper on the process of writing and performing the piece, including script development and the rehearsal process, as well as final reflections on my work and the time I spent here in the MFA in Acting program.Item Learning to act : the politics, pedagogy, and possibilities of contemporary actor training in the U.S.(2010-05) Canavan, Claire Marie; Jones, Omi Osun Joni L., 1955-; Wolf, Stacy Ellen; Christian, Pamela; Dolan, Jill; Moore, LisaThis dissertation is a critical and comparative examination of late twentieth century and early twenty-first century actor training practices in the United States. It looks specifically at: Viewpoints training as developed by Anne Bogart; Meisner technique; and the physical theatre training at the Dell’Arte International School of Physical Theatre. I examine the ways in which theories about the actor, including ideas about the actor’s mind and body, the actor’s creativity, and the actor’s agency and authority, are embodied in classroom practices. Through the combined study of primary sources such as acting manuals, theories about embodiment and creativity, ethnographic participant-observation accounts from classrooms, interviews with teachers, and a phenomenological approach to describing my experience, I attempt to analyze what it means to be an actor in three different realms of training. The first chapter introduces my critical approaches, including my approach to ideas of embodiment, creativity, ethnography, phenomenology, and pedagogy. In chapter two, I focus on how ideas about reality and relationships are embedded in Meisner training and conduct a case study by observing a class called Acting Realism at Texas State University. In chapter three, I argue that Viewpoints, through an emphasis on deconstructing theatrical hierarchies, offers possibilities for actors to shift the balance of agency. I also conduct a case study based on my participation in a two-week workshop with artists from Bogart’s SITI Company held at Links Hall in Chicago in the summer of 2008. In chapter four, I examine the generative pedagogical strategies at the Dell’Arte International School of Physical Theatre, incorporating my experience as a student in the school’s 2009 summer intensive. Throughout, I suggest that conceptual ideas about the actor’s body-mind, creativity, and idealized role have an embodied effect on the degree of agency the actor experiences in the classroom. I conclude by suggesting ways to approach actor training in the future that can create more context and agency for actors.Item Letting go : acting process into performance(2013-05) Barnes, Geoffrey Warren; Christian, PamelaTheatre and DanceItem The life that late I led(2013-05) Robinson, Antoinette Janice; Dorn, FranA paper on process and examination of growth through performance and experimentation in the Master of Fine Arts in Acting program at the University of Texas at Austin.Item Madness methods, practical instincts(2013-05) Scott, Alexis Leah; Christian, PamelaThis paper serves as a reflection on my journey to pursue graduate studies in Acting, the specific tools acquired through training at UT Austin, the development of my particular methods of approach in response to such training, and the intention/s with which I now continue my career as a performer and theatre practitioner.Item Magic, trick-work, and illusion in the vampire plays(Texas Tech University, 1987-08) Colwin, Thomas LeonardNot availableItem Modern to postmodern acting and direction: an historical perspective(Texas Tech University, 1986-05) Peters, Steven JamesNot availableItem My journey to an artist : I’m not a writer-- but I got a story to tell(2010-05) Stephens, La Tasha René; Dorn, Fran; Beckham, Andrea p.; Jones, Joni l.This thesis tracks my journey as an artist as I developed personally and as my performance piece moved from conception to implementation. The story begins with what I understood to be a lack of material written for and about a specifically targeted audience. The thesis goes on to discuss how that need could be met, how I could be the catalyst for change and how that process could change my life forever. I have also included my experience as a solo performer whose previous training had prepared me only for collaboration with other actors. This thesis also discusses my process of creating and developing I’m not a writer… but I got a story to tell and concludes with reflections on my final performance.