Browsing by Subject "Directing"
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Item Between mountains and butterflies : searching for mythology in theatre making(2010-05) Brown, Marie Sevier; Douglas, Lucien; Dietz, Steven; Dorn, Franchelle; Kanoff, ScottAn in depth reflection of the development of my approach to directing theatre as seen through the production processes of co-creating and directing The Psyche Project, directing Our Town by Thornton Wilder, and the journey of becoming a wife and a mother.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 Directing Arthur Kopit's BecauseHeCan(2007-05) Reed, Andrew Kristopher; Gelber, William F.; Mann, LaurinAndrew Reed's directing process of Arthur Kopit's play BecauseHeCan.Item Directing attention in melodic dictation(Texas Tech University, 2007-05) Paney, Andrew S.; Brumfield, Susan; Hazlett, Allan; Killian, Janice; Marks, Jonathan; Santa, MatthewMusic students are generally required to take classes in aural skills. Many begin university theory classes with little or no aural skills training. Instructors are charged with the task of challenging well-prepared students while providing remediation for others. Researchers have isolated four phases involved in taking dictation: hearing, memory, understanding, and notation. Would directing students through those phases help them score better on a dictation assessment? Subjects were music students in their second, third, or fourth level of aural skills training at the time of the experiment. Two matched groups were formed based on subjects’ scores on a dictation of a recorded melody. Subjects in the control group took a second dictation individually. Subjects in the treatment group also took a second individual dictation, but they received instructions before and after each hearing. These instructions directed their attention to basic musical aspects of the recording and asked them to respond to questions regarding those aspects. Dictations were evaluated based on rhythm, pitch, and overall scores. The top and bottom 25% (based on their matching scores) were also compared. In every comparison the control group scored higher than the treatment group. Comparisons of the whole group in rhythm, pitch, and overall scores showed a significant difference in scores favoring the control group. Results suggest that receiving direction during a dictation was not helpful to music students. This may be a result of a disruption of students' established routines. It may also indicate a lack of mastery of the component basic musicianship skills requisite for successful mastery of dictation.Item Directing proof by David Auburn(Texas Tech University, 2005-12) Novak, Holly G.; Gelber, William F.; Donahue, Linda L.An account of the process of directing Proof in the Texas Tech Lab Theatre.Item Directing proof by David Auburn(2005-12) Novak, Holly G.; Gelber, William F.; Donahue, Linda L.An account of the process of directing Proof in the Texas Tech Lab Theatre.Item Directing The difficulty of crossing a field : a symbolic and corporeal approach(2010-05) Leonard, Luke Landric; Douglas, Lucien; Dietz, Steven; Kanoff, Scott; Sawyer, Margo; Smith, MichaelThis thesis examines an approach to directing Mac Wellman and David Lang’s opera, The Difficulty of Crossing a Field; in addition, the paper reflects on my artistic development as a Master of Fine Arts in Directing student in the Department of Theatre and Dance at the University of Texas at Austin. As a director I seek a balance between form and content. Similar to Installation Art, I consider the relationship between space/architecture (the stage/theatre) and sculpture, i.e., anything that can be used to create shape: performers, props, scenery, wardrobe, makeup, light, sound, music, language, etc. As a deviser, not a dictator, the success of my work depends greatly on interdisciplinary collaboration and strategies that promote understanding and appreciation among both artists and audiences. My aim is to create structures for formal elements that when arranged uniquely and sophisticatedly have the ability to provoke emotion, thought, and memory in vivid and compelling ways. This paper explores selected stages of directing The Difficulty of Crossing a Field, the strategies that I employed, and concludes with an artistic statement.Item I used to be an asshole. I got better.(2016-05) Novacek, Natalie Louise; Lynn, Kirk; Isackes, RichardBefore UT, I didn’t feel like a story-maker. I was a director. Or maybe a story-interpreter. I had a desire to have authorship that extended beyond the production or the process, but I had no idea how to make that happen. Through my work on new plays with generous playwrights and close collaborations with designers, I began to see my ideas take solid form on the pages of the script and on the stage. That level of physical input and meaningful change felt both rewarding and important. It is now something I strive for in all my projects and something I value in artists with whom I choose to work. In this thesis, I will reflect on my directorial history, how that history led me to a place of authorship, and where my work stands today in my evolution from story-interpreter to story-maker.Item In this place : the creation of a short film(2010-05) Bench, Amy Lynn; Howard, Donald Wayne; Stekler, Paul; Scheisari, Nancy; Ramirez-Berg, CharlesThis report summarizes the process of writing, developing, directing and completing the short film In This Place. This film 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 in Film Production degree.Item Keepingabreast: directing a new play(Texas Tech University, 2006-08) Shaver, Sarah S.This thesis explores the process of directing the first production of an original script. It includes an in-depth analysis of Jackie Rosenfeld's play "keepingabreast", reflections on working with a living playwright, designers, and actors, as well as newspaper articles, reviews, and production photos.Item Lofty : a culminating cinematic experiment(2013-05) Smith, Patrick William, active 2013; Raval, P. J. (Paul James)The following report is an in depth, step-by-step analysis of the processes and experiments undertaken during the creation of the thesis film, "Lofty," written, directed, photographed, scored, and edited by Patrick William Smith. From inception to mastering the finished film, this report serves to highlight the filmmaker's rationale behind attempts at various experimental methods of pre-production, production, and post-production on the film.Item Make no assumptions : an invitation to the theatre(2014-05) Wilson, Steven M.; Rasmussen, SarahAn in-depth look at my how my desire to make no assumptions with regards to creating art led me to invitation as a guiding principle when directing for the theatre. This thesis will cite examples from three productions I’ve directed as a Master of Fine Arts candidate in the Department of Theatre and Dance at The University of Texas at Austin.Item Megan and Dan(2014-05) Efstation, Nathaniel Thomas; Shea, Andrew Brendan; Lewis, Richard; McCreery, Cindy; Ramirez Berg, CharelsThis report summarizes the script development, pre-production, production, and post-production stages of making the short film Megan and Dan.Item Rescue you : ghost chasing and filmmaking(2010-12) Hall, Kimberly Elaine; Stekler, Paul Jeffrey; Schiesari, Nancy; Garrison, Andy; Gopalan, LalithaThis report will summarize the process of writing, developing, directing and finishing the high-definition short film, Rescue You, This film 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 in Film Production degree.Item Returning to Ananda(2013-12) Bernhardt, Deja; McCreery, CindyFrom the sprouting of the idea for the series to the final stages of post-production for Returning to Ananda, a one-hour, made for cable-television pilot, directed by Déjà Cresencia Bernhardt; this report details the pre-production to post-production phases of its development. Included in this report are the final screenplay and various other production notes.Item Towards a culturally responsive directing practice(2016-05) Carroll, Tamara Lee; Alrutz, Megan; Schroeder-Arce, RoxanneCulturally Responsive Pedagogy (CRP) is an approach to classroom teaching that draws on students’ unique strengths, and seeks to improve the effectiveness of instruction for minority students by teaching through students’ individual culture. CRP also concerns itself with curriculum that offers accurate, comprehensive, and diverse representations of people of all ethnic backgrounds. This thesis explores the process of applying the principles of CRP to the context of rehearsing and producing professional theatre. The professional theatre suffers from a lack of diversity, and many theatre artists are without a standardized approach to directing and producing theatre with thoughtful racial and ethnic representation in mind. Building on the scholarship and research surrounding CRP, as well as current discourses concerning diversity and representation in the field of theatre, this document explores the application of CRP principles, specifically caring-in-action and valuing diverse curriculum, to the process of directing the Latino play Tomás and the Library Lady by José Cruz González. This study invites theatre artists to consider the importance of diverse, authentic representation both onstage and off, and offers some possible frameworks for culturally responsive directing.Item Transfer : unlearning the director's role in playmaking(2012-05) Manning, Courtney Sale; Dietz, Steven; Lynn, Kirk; Zeder, SuzanIn this thesis I will examine my own directing praxis and transfer, the instant where ideas become action. I will define transfer as an initial trajectory toward a lasting event and examine how that practice has influenced four productions while at UT: The Fictional Life of Historical Oddities, september play, 360 (round dance) and Emergency Prom.Item Understanding an animated spaghetti western: a symbiosis of character and context(2005-05) Key, Brian R.; Hill, Glenn E.; Christoffel, Frederick B.; Shacklette, Ben K.The symbiotic relationship between characters and context can be understood as a construct, which defines genre and ushers the storyteller’s vision to the audience in visualization, animation, and film. The relationship between character and context is symbiotic in the Spaghetti Western genre of film, and this thesis studies and presents that relationship through an analysis method that derives a construct. This construct can be used to further understand genre, film, and the symbiotic nature of characters and context.Item Understanding an animated spaghetti western: a symbiosis of character and context(Texas Tech University, 2005-05) Key, Brian R.; Hill, Glenn E.; Christoffel, Frederick B.; Shacklette, Ben K.The symbiotic relationship between characters and context can be understood as a construct, which defines genre and ushers the storyteller’s vision to the audience in visualization, animation, and film. The relationship between character and context is symbiotic in the Spaghetti Western genre of film, and this thesis studies and presents that relationship through an analysis method that derives a construct. This construct can be used to further understand genre, film, and the symbiotic nature of characters and context.Item The Walk : holding space in the face of crisis, failure, and fear(2015-05) Hutchinson, Jessica Rae; Rasmussen, Sarah; Carlson, Andrew; Dietz, Steven; Engelman, ElizabethThis thesis is about fear, failure, and faith. The tools I have developed during my graduate study have enabled me first to tolerate and then to welcome the energy of these forces into my artistic process. By examining and establishing Structure, creating and empowering Ensembles, and insisting upon an Inquiry-driven process, I can encounter fear and failure as I seek out the unpredictable, unrepeatable transcendence of the living play. By cultivating and inviting uncertainty, I hold space for the emergence of grace.