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Description
Only in the world of acting can an individual be denied a job simply on the basis of their appearance, and in my thesis, I sought to explore alternatives to this through the concept of nontraditional casting and casting against "type", which included the presentation of a full-length production of the musical "Once on this Island" which I attempted to cast based on vocal quality and skill alone rather than taking physical characteristics into account. I researched the history and implementation of nontraditional casting, both in regards to race and other factors such as gender, socio-economic status, and disability. I also considered the legal and intellectual property challenges that nontraditional casting can pose. I concluded from this research that while nontraditional casting is only one solution to the problem, it still has a great deal of potential to create diversity in theater. For my own show, I held the initial auditions via audio recording, though the callback auditions were held in person so that I and my crew could appraise dance and acting ability. Though there were many challenges with our cast after this initial round of auditions, we were able to solidify our cast and continue through the rehearsal process. All things said, the show was very successful. It is my hope that those who were a part of the show, either as part of the production or the audience, are inspired to challenge the concept of typecasting in contemporary theater.
ContributorsBriggs, Timothy James (Author) / Yatso, Toby (Thesis director) / Dreyfoos, Dale (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-12
Description
The process of playwriting is much more than merely writing the script itself; it is a process of outlining, writing, rewriting, and rewriting some more. This project explores that process from the very beginning to the late stages of final rewrites on a full-length, two-act stage play, Forget Me Not. Thematically, the play addresses issues such as legacy, ambition, the limitations of memory, and the complex relationships between women. It also speaks to the possibility of hope and revolves around twenty-something characters who are not nihilistic or pretentious as in the frequently-dominant portrayal of that demographic, but rather witty, intelligent, and layered. The play applies techniques of playwriting with a focus on character development as the element that drives the story, while also playing with conceptions of memory and time through the framing device, structure, and narration. A craft essay follows the script of the play, detailing the process of conceptualizing, writing, and revising the play.
ContributorsPrahl, Amanda Catherine (Author) / Sterling, Pamela (Thesis director) / Campbell, Corey (Committee member) / Jennings-Roggensack, Colleen (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor) / School of Film, Dance and Theatre (Contributor) / Department of English (Contributor)
Created2015-05
Description
This thesis explores the dialogue between William Shakespeare, Central and Eastern Europe during the Soviet experiment, and the power of performance as protest. Politically inflected plays that are transnational appropriations of Shakespeare were aimed to subvert state-sanctioned censorship in order to enforce public socio-political interrogations of the Communist Party. My research first established a foundation for the site-specific historical and political context from which the interpretations stem, before examining the texts themselves as pieces of cultural resistance. I focused on four appropriations of Shakespeare’s plays, one being a rewrite of Richard III and three being rewrites of Hamlet: Nedyalko Yordanov’s The Murder of Gonzago from Bulgaria, Matei Visniec’s Richard III Will Not Take Place or Scenes from the Life of Vsevolod Meyerhold from Romania, Géza Bereményi’s Halmi, or the Prodigal Son from Hungary, and finally Boris Akunin’s Hamlet, A Version, a contemporary example of the lasting strength of Shakespearean appropriations. My research essentially followed the question of how countries from the Soviet bloc viewed its own contexts through the Shakespearean prism, as well as the phenomenon of political indictments being historically communicated through theater. I also examined how cultural representatives, for the purpose of this project being playwrights and dramatic performers, employ historically separate material to address the present issues. Ultimately, by researching pre- and post-communist dramas written within the architecture of Shakespeare, an understanding of the role and power of the artist in the political landscape can be attained.
ContributorsEllison, Amber Nicole (Author) / Orlich, Ileana (Thesis director) / Goggin, Maureen (Committee member) / Department of English (Contributor) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Though people are beginning to analyze the internet as an active social force, a seemingly insurmountable problem permeates all criticisms of the world wide web: how do we begin to frame the Internet as a subject of inquiry when its role in our lives is constantly shifting, continually slipping from definition, yet undeniably reconstructing a new human condition? I believe an answer may lie in placing the Internet within the context of the Faust Myth \u2014 a legend that has repeatedly been used to explore humanity's obsession with power. For my undergraduate honors thesis, I wrote and performed an adaptation of Christopher Marlowe's Doctor Faustus in which I frame the Internet as a modern Faustian contract, and advocate a new approach to the use of technology.
ContributorsMunger, Adrielle Karen (Author) / Sturges, Robert (Thesis director) / Sterling, Pamela (Committee member) / Finn, Ed (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2013-05
Description
Whispers from Above is a creative project that aims to normalize the conversation and validate the emotional experience of grief, through the use of art therapies. Art therapy can be expressive in which someone creates their own work, such as visual art, poetry, performance, music, movement, etc. Art therapy can also be receptive in which someone analyzes and understands someone else's artwork. This project was released on SoundCloud in order to make grief resources more accessible to all and to build an online community.<br/><br/>Whispers from Above worked with twelve poets, fifteen artists, six different interviewees, and multiple musicians to create a month of grief support. The finale piece of Whispers from Above was devised from the twenty-nine poems used within this month-long healing journey. All the individual poems were woven into a single devised poem to be presented as the final piece symbolizing that no one is alone in grief.<br/><br/>Whispers from Above is creative community exploration of grief, loss, and death in which we hope contributors, and listeners find solace and support. This series will exist on SoundCloud after March 27th, 2021 with a monthly release of a poem or interview accompanied by art, and music.
ContributorsWendlandt, Morgan Marie (Author) / Bowditch, Rachel (Thesis director) / Lynch, John M. (Committee member) / Sandoval, Mathew (Committee member) / School of Art (Contributor) / Department of Management and Entrepreneurship (Contributor) / School of Music, Dance and Theatre (Contributor) / Dean, W.P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
Breakin Media is a social media consulting agency that targets small business owners (comedians) specifically in the Baby Boomer, Generation X, and Older Millennial category. Comedians, specifically, who are auditioning for shows or going to comedy clubs, may not be seeing the same level of success as another comedian who has a large social media following. This is true for most industries. Small businesses who do not have social media have lower rates of customer satisfaction and revenue. This business is about educating, analyzing, and building business owners so they too can feel part of the social media revolution.
This business uses research and data from different social media comedians in order to create a guide for comedians who own comedy clubs or are trying to break into show business. This thesis includes the logistics of starting a business. It will outline the financing and pricing of a service like this for individuals and businesses. This also outlines the generational stigma of social media, and the difficulties an older generation is currently facing when wanting to expand their business into social media.
The Breakin Media business model assesses each client on a set of five pillars, which have been found by research to affect follower count. The five pillars are relatability, targeted marketing, consistency, high-quality content, and algorithm alignment. Each pillar is dissected and used to increase the exposure of every comedian. There is a 3 tier system for pricing that outlines the costs of each service, and an infographic to guide each client. This thesis is about bridging a gap in generations, and increasing success for small businesses, specifically in theatre and comedy.
This business uses research and data from different social media comedians in order to create a guide for comedians who own comedy clubs or are trying to break into show business. This thesis includes the logistics of starting a business. It will outline the financing and pricing of a service like this for individuals and businesses. This also outlines the generational stigma of social media, and the difficulties an older generation is currently facing when wanting to expand their business into social media.
The Breakin Media business model assesses each client on a set of five pillars, which have been found by research to affect follower count. The five pillars are relatability, targeted marketing, consistency, high-quality content, and algorithm alignment. Each pillar is dissected and used to increase the exposure of every comedian. There is a 3 tier system for pricing that outlines the costs of each service, and an infographic to guide each client. This thesis is about bridging a gap in generations, and increasing success for small businesses, specifically in theatre and comedy.
ContributorsVazquez, Margot (Author) / Bruhn, Karen (Thesis director) / Heinzmann, Sandra (Committee member) / Department of Marketing (Contributor) / Dean, W.P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2019-12
Description
The objective of the study is to examine the factors of a successful diversity program within four companies that attempt to break down the barriers contributing to the lack of diversity within the design and technical field of theatre. Companies in different regions of the United States (West, Midwest, South, and Northeast) were selected and analyzed for their fellowship, apprenticeship, internship, and educational program in order to see why it is successful and how it contributes to diversifying the design and technical field of theatre. The findings of the study provide a guide to the best practices used in establishing a design and production program that can contribute to diversifying the theatre industry.
ContributorsFox, Neaco (Author) / Winnemann, Christopher (Thesis director) / Ingram-Waters, Mary (Committee member) / School of Film, Dance and Theatre (Contributor) / Dean, W.P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05