Theatre and Performance Studies
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Browsing Theatre and Performance Studies by Subject "Actor"
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Item Open Access Align and Crumble: Internally Falling Towards Authentic Behaviour in Acting and an Investigation of Anton Chekhov's Three Sisters(2017-07-27) Rossoff, Matthew Robert; Lampert, PaulThe purpose of this thesis is to investigate how to internally fall towards authentic behaviour and apply this means to the preparation and performance of the role of Doctor Chebutykin in Anton Chekhovs Three Sisters. The primary area of exploration will be to channel full body awareness by releasing the pelvic bowl and stimulating the enteric nervous system. Areas of investigation include Philip Shepherds New Self New World: Recovering Our Senses in the Twenty-first Century; Moksha Yoga practice and application; Erika Batdorfs approach to interoceptive awareness and emotional connection; Paul Lamperts twenty-six questions to character development; Kristin Linklaters progression of vocal exploration and warm up; Allyson McMackons teachings of Grotowskis river work; and Sage Willows coaching of American Sign Language. The thesis will contain supporting research including research and analysis of Russian history at the turn of the twentieth century, the Moscow Art Theatre, Chekhov and his play Three Sisters, the character of Doctor Chebutykin, as well as some performance history. It will conclude with a selection of journal entries from the rehearsal and performance of the production.Item Open Access The Actor / Audience Relationship: Vibrating With Purpose in Venus(2015-08-28) Wicks, Robert George; Batdorf, ErikaThe subsequent document examines the vibratory connection that can be shared between an actor and an audience and uses the role of Uncle, in Suzan-Lori Parks’ Venus, as a practical case in which to examine and reflect on this area of research. This document investigates what is meant by a “vibratory connection,” and how increased vibration enhances the sensate experience both for the sender and receiver. The paper will analyze methods of reducing vibration-dampening tensions, increasing resonating chambers of the oral and nasal cavities, and enhancing the con- nection between an actor and a live audience. The ultimate goal is to develop a practice indepen- dent of a rehearsal process that increases the vibrational capacity of an actor.