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Item Open Access MAD GIRL'S LOVE SONG: Visibility Through Theatre Creation(2019-07-02) Fisher, Mallory Susan; Armstrong, EricThe following thesis chronicles the process of creating, developing, rehearsing, and performing a solo theatre piece entitled MAD GIRLS LOVE SONG. The aim of this research is to create a solo performance of non-linear vignettes using poetic and gestural language that addresses my fear of being seen as a creator. By doing so, I hope to challenge theatre practices that impede bisexual visibility. MAD GIRLS LOVE SONG, a one-woman theatrical event, has arisen in response and relationship to the research, borrowing structures from other art forms, such as modernist poetry. By prioritizing the organization of theatrical time over linear story chronology, the theatrical event uses a queering of linear form to underscore the autobiographical queer content. As theatrical narrative has primarily been occupied by heterosexual voices, MAD GIRLS LOVE SONG is an exploration of how an alternative theatrical timeline may support bisexual content, and therefore visibility, on stage.Item Open Access Through Breath To Depth: Nurturing Dramaturgical Coherence in What is The Water?(2019-07-02) Oral, Gulce; Armstrong, EricThis multi-modal thesis seeks to integrate an impulsive, psychophysical studio practice with vision, dramaturgical coherence and comprehension during the creation of the devised solo performance: What is the Water? The research identifies the character of the artistic challenge by observing my own habitual thought and behavior patterns; it introduces solutions that would engage the left-brain in the artistic practice. Through an investigation of the writings and methodologies of theatre creators such as Anne Bogart, Pina Bausch, Eugenio Barba and Rudolf Laban, my aim is to negotiate the gap between impulsive creation and conscious shaping, conjugating them into an intuitive flow. The second part of this research focuses on the autobiographical content explored in What is the Water? The play is a physical exploration of loss and belonging: facing the powerful presence of her homeland in memories, a self-exiled woman from Istanbul dedicates herself to finding a new feeling of home.Item Open Access Freedom in Discipline: Grounding Wild Impulse with Self-Mastery in Sarah Ruhl's Orlando(2019-07-02) Trowbridge, Taylor Blue; Dobie, GwenThe following document is an exploration in practicing the power of discipline in Theatre@Yorks production of Orlando. This support document crafts a personal redefinition of discipline, examines the artistic fertility in practicing routine, and champions diving into the risk that growth demands. Supported by methodology from theatre practitioners such as Steven Wangh (a disciple of Jerzy Grotowski), Erika Batdorf, and Michael Chekov; investigations in dance and drag; and insights into the field of discipline from experts such as Steven Pressfield, Charles Duhigg, Carol S. Dweck, Katty Kay, and Claire Shipman, this text develops a creative process which includes breaking self-perceived limitations in physicality, consciously overhauling daily habits, and amending artistic blind spots. The ultimate objective of this written work is to create an approachable performance methodology that utilizes discipline as a gateway to greater artistic freedom.Item Open Access The Paradox of Beheading Risk: Specifically Clear and Sublimely Chaotic(2019-07-02) Paterson, Carmen Louise; Dobie, GwenIn this paper, I will investigate repetition and accuracy in the simplicity and complexity of the following thesis roles: Tour Guide, Aunt, Female Doctor, and Attendant #2 performed in Middletown by Will Eno. I will develop my own actor process which will facilitate a greater sense of clarity, embodiment, and authenticity. With an end goal of identifying an effective approach for both artistic and pedagogical application. The following specific methods that I have performed and studied will be applied: Authentic Movement, Syntonics, Laban/Bartenieff Movement, and Coordination Patterns. I will examine body, mind, and spirit through concepts of authenticity, clarity and embodiment (ACE).Item Open Access Lost Fool: Re-Inventing a Professional Theatre Process(2019-07-02) Hildebrand, Jason Ross; Wilson, Mark E.This supporting thesis document chronicles the exploratory journey of developing and implementing a nascent creative studio practice, resulting in the crafting, rehearsal and performance of a solo, multi-media theatrical work entitled Lost Fool. I will research and document my experience of developing content for this production through the process of prayer and meditation, as well as the exploration of collected source images through a variety of movement modalities. The content being examined finds roots in three streams, including: my experience of being lost and/or disconnected, the 7th century Russian Orthodox saints labeled Holy Fools, and my Mennonite heritage. Lost Fool is the story of a father speaking to his son on the verge of the childs life-threatening operation. My intention through this multi-modal research model is to grow a new life-affirming creative process for devising impactful and authentic performance.Item Open Access Playful Transformations: Directing Sarah Ruhls adaptation of Orlando by Virginia Woolf(2019-07-02) Bell, Lindsay Dale Ann; Lampert, PaulThis thesis documents my artistic process as a director for a production of Sarah Ruhls adaptation of Orlando by Virginial Woolf. The research and preparation for this process begins with Ruhls aesthetic and approach to adaptation, and the influence of Joyce Pivens work in Story Theatre. A sample of contemporary versionings of Orlando in film, visual art, theatre, and music reveal not only a resurgence in popularity of Woolfs novel, but also its role in the current cultural dialogue of gender and sexual politics. These research findings informed and shaped my conceptual approach to the play and the premise: Keeping reality at bay reveals poignant truths. With this in mind, the rehearsal process explored gender, essential selves, and the unity of selves which were brought to light through languages of intimacy, physicality and characterization. Focusing on transformation, playfulness, metaphor and emptiness for our design premise led to the interactive nature of costumes, set and props, as well as lights and sound that transformed technologically. The creative process is outlined in the journal section which details the application of the research and preparation, ideas and concepts, as well as the development of the fluidity and movement of the ensemble work. The final section reflects upon the outcomes of my artistic process from the initial concept, to the rehearsal process, and the production.Item Open Access The Object/The Body/The Ritual: An Affectual Dissection of Plastic Bags Through Performance Design(2019-07-02) Olscamp, Alan John Lucas; Przybylski, TeresaRoland Barthes has famously noted plastics as miraculous substances of infinite transformations and transmutations, yet we are in the midst of a paradigm shift in which the material plays an increasingly destructive role in our society and environment. The thesis addresses the question of how meaning is made and transformed by theoretically and practically dissecting plastic through three distinct research areas: object, body, and ritual. Most prominently, my thesis demonstrates how situating the plastic bag in a funeral can forge human to non-human reverence and reformulate affectual associations. Through creative investigation and extensive multidisciplinary research in visual arts, film, and queer theory, I aim to provide a deeper understanding of how plastics can obscure and entangle the boundaries between theatre and performance art.Item Open Access Fear and Boundaries: Acting in the Shadow of Trauma(2019-07-02) McKenna, Kelly Marie; Armstrong, EricReturning to an academic setting to study acting after 12 years of working professionally has led me to a singular discovery: Trauma has impacted my life and my way of working so deeply that I could not see the forest for the trees. The role of the Mechanic in Will Enos Middletown presents the opportunity to challenge my habitual self-censorship. My entrenched fears of inadequacy and my lack of boundary setting have prevented me from finding depth and honesty in my work. I intend to use somatic practices including The Batdorf Technique and Fitzmaurice Voicework to attain a level of tolerance for the physical sensations that are associated with my trauma. Ive chosen the role of the Mechanic as it presents challenges that include physical violence and the depiction of addiction. I hope to transcend my past and move steadily forward as an artist and a wholly thriving human being.Item Open Access Eat Me: Destabilizing Theatrical Forms of Representation in Order to Resist Reproduction of Prevailing Ideologies(2019-07-02) De Champlain-Leverenz, Desirée Marie; Lampert, PaulEat Me is a praxis exploration in how to destabilize theatrical form in order for an artist to speak their truth as fully as possible. Inspired by the Italian Futurists, this journey takes into account different forms of post-dramatic theatre, and how they can be manipulated and received by an audience. This paper examines a queer feminist read of Marinettis Italian Futurist manifesto and attempts to mirror this queer feminist lens in the rehearsal process as well as the final performance. The performance tells it's story through bodies and cakes. The femme bodies continuously consume, even when it becomes harmful.Item Open Access Mindful Acting: Freeing the Comfortable Self on Stage(2019-07-02) Komleksiz, Can; Dobie, GwenThis thesis will explore how I can reduce the impact of anxiety on my stage performance and how I can be more comfortable, while finding ways to be unique as an actor. For this effect, a range of methodologies will be applied so that my self-awareness, self-respect and self-confidence as a performer can be increased and I can remain in the moment systematically.Item Open Access Exploring the Optimal State in Will Eno's "Middletown"(2019-07-02) Carravetta, Lucas Daniel; Armstrong, EricThis document is an investigation of my artistic challenge while performing in Will Enos Middletown. Through textual research and physical exploration in the studio, I have become aware of my habitual patterns which restrict access to my optimal state of performance. This state, or flow, feels effortless and encourages my commitment to the work with minimal awareness of self-conscious reactions. Thus my artistic challenge will be explored through research, studio rehearsal and performances of six characters in Middletown, which include: Prologue, Male Tourist, Ground Control, Man, Male Doctor and Janitor.Item Open Access The Green Line: An Investigation of the Arabization of the Playwriting Process through an Exploration of Intergenerational Memory(2019-07-02) Ayache, Makram Riad; Lampert, PaulThe author examines the limitations and potential in the "Arabization" of the playwriting process through an exploration of the Lebanese Civil War and the inheritance (or erasure) of intergenerational memory. Through a series of studio and written explorations, the author investigates conventional play-writing techniques and questions the capacity to de-center the locus of knowledge from a European lens. The two year exploration culminated in the play "The Green Line," which in and of itself is a discussion of transmigration and racial/ethnic building identity politics. The author interrogates the effectiveness of the "Arabization" endeavor and discusses findings that point to the potential ways the exploration failed and succeeded.Item Open Access The Enjoyment of Practice: An Autoethnographic Study of Motivation Through the Characters of Librarian and Freelancer in Will Eno's Middletown(2019-07-02) Maitland, Rae-Anna Celia; Armstrong, EricThis thesis explores the concept of external validation in my personal artistic practice as I develop and perform the roles of the Librarian and the Freelancer in Will Enos Middletown directed by Jackie Maxwell in the Winter of 2019. This work is built upon personal observations of myself as I move through this particular artistic challenge. My goal will be to cultivate a deeper understanding of my internal landscape and need for validation through therapeutic research and a consistent acting process. That process will consist of daily journaling and a regular warm-up and cool-down ritual. My secondary research will extend into the career and writing style of playwright Will Eno, the main reoccurring themes Middletown, and the characters of the Librarian and Freelancer in the world of this play. With an acute attention to, and notation of, this process of creation and rehearsal, I aim to build a fruitful practice to carry into my professional career.Item Open Access Rethinking Performance: A Cognitive Journey toward Excellent Play(2019-07-02) Stieb, Corey Tazmania; Dobie, GwenPerfectionistic traits, which have both cognitive and behavioral facets, can have negative effects on a performing artists psychology and/or their ability to perform at their best. A review of literature was undertaken, focused on psychological research studies that identified best practices in both sports and the performing arts. This review identified two types of practices - the cultivation of resilience skills, and Cognitive Behavioral Therapy strategies - as the most promising means of addressing perfectionism while under pressure to excel as an actor in a theatrical performance. These practices were implemented in training, rehearsals and performances of a thesis role in a university masters program. Both types of practices were effective in, first, identifying environmental and individual stressors, and then creating behavioral replacements for perfectionism that were actionable, growth oriented, and engendered ownership of artistic process. These strategies have potential long term benefits in actor training programs, and deserve further attention.Item Open Access Sensitising the Instrument: Exploring Artistic Vulnerability and Physical Range in Middletown by Will Eno(2019-07-02) Burnett, Amanda Kaye; Armstrong, EricA compelling, authentic and dynamic actor must strip away all of their armour and allow them self to see and be seen. They must be open, curious, all consumed by the present moment, spontaneous, and free. Free from judgement, self-criticism and shame. They must be vulnerable. This thesis is a multi-modal investigation which seeks to explore my artistic vulnerability in rehearsals and creation and develop my physical practices and range when creating characters. The work of social scientists Bren Brown and Kristin Neff was used to strengthen my self-compassion so that I was able to take the necessary risks to allow myself to fail, and to see those valuable failures as moments of growth and learning rather than shame and ridicule. Through continued research into authentic movements practices, embodied practice and Jacques Lecoq movement pedagogy, I fused this artistic vulnerability with dynamic physical range to create five vastly contrasting and compelling characters in the play Middletown by Will Eno.Item Open Access Travels with my Family(2019-11-22) Kelly, Aaron Robert; Kerwin, ShawnThis paper examines the processes, research, and theories drawn upon to create an interactive physical world using set, lighting, and media design. This world -- a full scale set -- built in the Joe Green Theatre was used to stage and photograph narrative rich large-scale images. The exhibit itself questioned creative agency in theatre story telling by placing the design of the environment before the creation of the story. The audience experience of the exhibit enabled the questioning of the relationship between audience and creator by breaking down the barriers between the two. This project and paper examine the process of creation and questions who is the performer, who is the audience, and who is the creator.Item Open Access Much Ado About Nothing: The Challenge of Directing Shakespeare's Romantic Comedy for a Contemporary Audience(2020-05-11) Balkan, Liza Phyllis; Wilson, Mark E.This paper offers the written component of Liza Balkans investigation into her thesis project: editing and directing the 2019 production of Shakespeares Much Ado About Nothing, produced as part of the 37th season for the Canadian Stage Companys Shakespeare in High Park. The inquiry within these pages involves the challenges of directing this merry war of a classical, romantic comedy (written in 1598/99) for the High Park audience of 2019. How do hearts and minds living in an era of #MeToo take on its themes of love, war, patriarchy, wit, shaming, deception, failure, comedy, and gender politics written from the male perspective of the 16th century? The goal of creating a vibrant, relevant production that embraces and includes the modern audience in its storytelling and dramaturgy inspired the rigorous line of inquiry and propelled the vision for this production.Item Open Access Measure for Measure: Measuring Morality for a Contemporary Context(2020-05-11) Thompson, Severn; Wilson, Mark E.This paper presents written support material for Severn Thompsons ninety-minute adaptation of Shakespeares Measure for Measure for Shakespeare in High Parks thirty-seventh season. The concept and script edit for the production were based on a number of factors outlined in the following chapters, from historical context, source material, past productions, and contemporary relevancies. Also investigated are the challenges inherent in the script, which have led Measure for Measure to be commonly categorized as one of Shakespeares problem plays. Identifying and embracing the plays ambiguities and contradictions become part of the conceptual approach, while setting the production in an alternative now highlights the issues with which our society continues to wrestle, such as extreme morality, political corruption, gender politics, justice, and mercy. Finally, the paper reflects on the accomplishments as well as the areas for improvement in the production of this complex dark comedy, presented in a unique outdoor venue.Item Open Access Vessels: Designing for Autonomous Sound(2020-05-13) Reshef, Sharon; Kerwin, ShawnThis thesis explores the process of designing for natures autonomous soundscape through an experimental meditation on the phenomenology of acoustic resonance: the sonic vibrations of objects. Manifested in a series of sculptural resonant cavities, formed from found objects, these vessels became instruments, listening devices and reliquaries of a resonant relic through creation, performance and preservation. The intent of this thesis was to design for natures soundscape to expose sound as a powerful medium capable of eliciting intimate, self-reflective moments with nature.Item Open Access The Grand Balcony; The reflection of a corrupt world. Directing The Balcony by Jean Genet(2021-07-06) Legere, Margaret Muriel; Lampert, PaulIn directing Jean Genets The Balcony, I consider Genets voice, especially how it manifests in his novels The Thiefs Journal and Our Lady of The Flowers. I look at the ways his desire to connect to the audience by breaking traditional barriers between artist and patron manifests in The Balcony. In my consideration of directing the play, I examine the importance of good, thoughtful leadership, referring most significantly to Simon Sineks Leaders Eat Last, and eventually to The Harvard Business Reviews Dealing with Difficult People. I consider how the current President of the United States of America and his campaign manager share qualities with the characters in Genets play; they care more about possessing a title than considering the actions and responsibilities that come along with that same power position. Most significantly, I examine my own process as a director and leader, and the important learning that comes with struggle.