Matching Items (14)
Description
This dissertation uses constructivist pedagogy to teach acting via Practical Aesthetics, a system of actor training created in the mid/&ndash1980s; by David Mamet and his college acting students. Primarily taught at the Atlantic Theatre Acting School in New York City, Practical Aesthetics has been the focus of little academic research. The same lack of research regarding constructivist pedagogy exists in academic theatre scholarship. The author takes a step toward rectifying this situation. Using an action research methodology, based on approximately thirteen years of teaching experience, the author suggests that Practical Aesthetics and his accompanying voice and movement exercises can be effective in training novice actors. The author melds theory and practice into the educational approach called Praxis to create specific detailed lesson plans which can be used to implement Practical Aesthetics. These lessons constitute primary research on this topic. Compatible voice and movement exercises are also included to provide a comprehensive semester length digest. The first chapter is an introduction, the second outlines Practical Aesthetics, the third focuses on constructivism, the fourth discusses teaching acting using Constructivist Learning Design, the fifth provides narrative lessons that can be used in the classroom, and the closure provides a review as well as suggestions for further research. An intriguing point made in the closure is a call for studies that might determine Practical Aesthetics' applicability and usability in other fields such as law, business, politics, public speaking, and even non-profit work. Although the primary audience for this dissertation is secondary school and college acting instructors, any scholar studying acting theory or constructivist pedagogy may find value in its contents.
ContributorsDobosiewicz, Troy L. (Author) / Saldana, Johnny (Thesis advisor) / Etheridge Woodson, Stephani (Committee member) / Eckard, Bonnie (Committee member) / Arizona State University (Publisher)
Created2014
Description
Institutions of higher learning can be centers of meaning-making and learning and are expected to play a pivotal role in a global shift toward sustainability. Despite recent innovations, much sustainability education today is still delivered using traditional pedagogies common across higher education. Therefore, students and facilitators should continue innovating along pedagogical themes consistent with the goals of sustainability: transformation and emancipation. Yet, more clarity is needed about pedagogical approaches that will transform and emancipate students, allowing them to become innovators that change existing structures and systems. My dissertation attempts to address this need using three approaches. First, I present a framework combining four interacting (i.e., complementary) pedagogies (transmissive, transformative, instrumental, and emancipatory) for sustainability education, helping to reify pedagogical concepts, rebel against outdated curricula, and orient facilitators/learners on their journey toward transformative and emancipatory learning. Second, I use a descriptive case study of a sustainability education course set outside of the traditional higher education context to highlight pedagogical techniques that led to transformative and emancipatory outcomes for learners partaking in the course. Third, I employ the method of autoethnography to explore my own phenomenological experience as a sustainability student and classroom facilitator, helping others to identify the disenchanting paradoxes of sustainability education and integrate the lessons they hold. All three approaches of the dissertation maintain a vision of sustainability education that incorporates contemplative practices as essential methods in a field in need of cultivating hope, resilience, and emergence.
ContributorsPapenfuss, Jason (Author) / Merritt, Eileen (Thesis advisor) / Manuel-Navarrete, David (Thesis advisor) / Eckard, Bonnie (Committee member) / Cloutier, Scott (Committee member) / Arizona State University (Publisher)
Created2019
Description
“Mierda.” was an original 50-minute solo dance and theater performance by Jordan Klitzke along with guest artist Gina Jurek that premiered from September 6-8, 2018 at Arizona State University. The creative tools of sensation, presence, and fantasy were applied in the development of an individualized movement vocabulary focused on the artist’s embodiment of contrasting ideas. That research was then further cultivated into an immersive theatrical collage that stimulated relational thinking and heightened consciousness. “Mierda.” was an example of a contemporary creative process that utilized the languages of dance and theater. The performance was a unique continuation of artistic research undertaken by pioneers in the dance and theater fields such as Danielle Agami, Lloyd Newson, Hofesh Schechter, and Anne Bogart. It was documented and created over a nine-month period including the three final performances. The form and content of “Mierda.” was not predetermined, but emerged throughout the creative process and performance of the work. The resulting narrative demonstrated the revelatory potential of this style of theatrical inquiry. Precise energy, tension and questioning formed an immersive, intimate experience for the viewers and performers and invited the audience to “fill in the blanks” as they connected with the emerging narrative. The final work was a collage of surprising juxtapositions on both the micro-level of individual movements and the macro-level of theatrical structure. Analysis of the work resulted in a critical understanding of the creative tools used along with future proposals for continued research. Not only did the research enlighten and contextualize the practices of an emerging choreographer, it also argued for a new understanding of the value of Dance as a personal practice of reflection and growth.
ContributorsKlitzke, Jordan (Author) / Standley, Eileen (Thesis advisor) / Conder, Carley (Committee member) / Eckard, Bonnie (Committee member) / Arizona State University (Publisher)
Created2018
Description
The purpose of this study is to explore the way mindfulness informs how leaders make sense of and navigate paradoxical tensions that arise in their organizations. This study employs a qualitative research methodology, based on synchronous, semi- structured, in-depth interviews of leaders who hold a personal mindfulness practice. Qualitative interviews illuminate how leaders’ communication about paradoxical tensions (e.g., through metaphorical language) reflects the way they experience those tensions. Findings extend the constitutive approach to paradox by demonstrating the way mindfulness informs awareness, emotion, pausing, and self-care. Specifically, this study (1) empirically illustrates how higher-level, dialogic more-than responses to paradox may be used to accomplish both-and responses to paradox, (2) evidences the way discursive consciousness of emotion may generatively inform paradox management, (3) suggests the appropriateness and use of a new paradox management strategy that I term ‘mindful dis/engagement’, and (4) highlights self-care as an others-centered leadership capability.
ContributorsTown, Sophia (Author) / Tracy, Sarah (Thesis advisor) / Fairhurst, Gail (Committee member) / Adame, Elissa (Committee member) / Brummans, Boris (Committee member) / Lange, Don (Committee member) / Arizona State University (Publisher)
Created2019
Description
Over the course of my undergraduate experience, I have grown significantly as an artist - developing an assortment of strengths in a variety of cinematic disciplines ranging from screenwriting and producing to post-production and cinematography. All the while, I have been giving back to the Sun Devil community by serving in a number of leadership positions around campus which exposed me to a plethora of communities differ from my own. The combination of these experiences allows me to continuously explore new passions in synergy with my art. Two of these standing as the concept of live performance and the work of William Shakespeare. Through this exploration of artistic synergy, I have experimented with integrating the works of the Bard of Avon into the realm of cinema. From the beginning of 2105, I have been drafting a feature-length screenplay which serves as a quasi-prequel to Shakespeare's The Tempest. Under the title of A Kingdom or a Cure, it tells the story of the revolutionary war-hero Miguel Prosperiti as he struggles to save his daughter form a mysterious disease which has baffled the best medical minds while the country he has rebuilt comes crumbling down in post-apocalyptic Italy. Deposed and left to die at the hands of his brother, Miguel must defend his child from the evil witch Sycorax who attempts to kill the pair in order to feed off of their suffering and prolong her own life. Serving to fill the requirements for the Film and Media Production Capstone, A Kingdom or a Cure reimagines the world of Shakespeare's play and creates a new context for the words and actions of its leading characters. Such stands as the foundation of what I have created for what I have created as my applied project - a stylistic re-imagining of William Shakespeare's The Tempest which draws from multiple interpretations of the narrative to be performed as a piece within a larger theatrical presentation staged with only the classical techniques which stand contemporary to the Bard of Avon. The remainder of this document shall lie in six primary sections. The first two establish the project and detail its evolution over the course of the thesis process. Next stands as the production log which chronicles my journey over the Classical and Poetic Drama course as well as the rehearsal process for Mythfest and the Chaucer Festival. Fourth shall consist of a bibliography of all the texts which I have worked with over the course of this thesis experience. Fifth rests A Kingdom or a Cure - the screenplay which inspired me to embark on the grand journey which this thesis has taken me. Sixth shall assume the form of the PowerPoint Presentation which I presented at my thesis defense which contains a collection of images which have provided me with artistic inspiration throughout the thesis process. In conjunction with one another, these pieces serve as the written elements of my applied project.
ContributorsArcaro, Michael Anthony (Author) / Giner, Oscar (Thesis director) / Eckard, Bonnie (Committee member) / WPC Graduate Programs (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Original Sin is a new play and poetry collection that tells the stories of mythological women and femmes, including Eve, Niobe, Queen Isis, Hera, Athena, Demeter, Ganymede, and Persephone. The words are comprised of the monologues of living women interviewed specifically for the purposes of this project, fighting to "take their stories back" from the monolithic male voices which have held them fast. These words were converted into a free verse poetic series of monologues intended to be presented on the stage. At its core, Original Sin is about the relationship between hope and loss, and how empowerment is born from their collision. Original Sin was first written, directed and staged by Emily Adams at Binary Theatre Company in Tempe, Arizona. The first production opened at the Prism Space on February 23rd, 2018.
ContributorsAdams, Emily Rose (Author) / Sterling, Pamela (Thesis director) / Eckard, Bonnie (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
This paper proposes that mindfulness should be integrated into the culture and pedagogy of educational institutions like Barrett, the Honors College. Research suggests that members of the millennial generation experience higher levels of stress due to the conditions of their upbringing. The text explores the author's experience of mindfulness practice both outside of the classroom and as integrated into pedagogy through transformative learning courses. This paper shows that practicing mindfulness, improving self-talk, transformative learning, increasing social connection, and practicing Free Listening will help to cultivate a more mindful culture in Barrett and help to reduce stress-levels in students.
ContributorsHanneman, Lauren Marie (Author) / Eckard, Bonnie (Thesis director) / Tracy, Sarah (Committee member) / Hugh Downs School of Human Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
The desire for normalcy is constant, regardless of how unattainable one knows it is. As it seems, the harder one tries for a normal life, the harder it becomes to find it. The more life I experience, the more I realize that normalcy is a construct, completely based in generalizable concepts. Normal will vary from person to person, and even within that, life always provides plenty of deviations from the norm. Within those deviations lies trauma. Trauma is difficult to handle, period. It is even more difficult to handle alone. You Can't Cry While Drinking (Coffee) follows a collegiate arts student as she strives for normalcy while dealing with her mother's terminal diagnosis. This piece focus on alienation, mental health, relationships between women, and the damage that ignoring trauma can cause. It views her actions through the lens of comedy, as laughter can convey a vast and accessible range of emotions. Throughout my college career, I have gone through a significant amount of life stressors, beyond the traditional college work load. Instead of becoming overcome with grief from the traumas I have dealt with, I decided to analyze my life from an outside perspective, taking pieces to share with others. In my observations and experience, sharing stories of hardships with others is mutually beneficial. It allows the individual to come to terms with what they have experience while allowing others to not feel alone if they are struggling with their own lives. There is a considerable amount of comfort in the realization that one does not have to go through traumatic experiences alone. This creative project was performed March 2nd through the 5th. The public exposure was a substantial portion of the process, as sharing trauma was integral to the study of this thesis.
ContributorsGalbiati, Tess Angeline (Author) / Scott, Jason (Thesis director) / Eckard, Bonnie (Committee member) / Department of Psychology (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
Engineering ethics is preoccupied with technical failure. To ameliorate the risk that engineering works might either blow up or fall down, the engineering code of ethics provides guidance of how engineers should conduct themselves. For example, the Fundamental Canons in the National Society of Professional Engineers code of ethics states that engineers should hold paramount the health, safety and welfare of the public. As a result, engineering designs meet basic human needs such as food, water and shelter -- at risks that are generally considered acceptable. However, even safe designs fail to meet our needs ranked higher in Maslow's hierarchy -- such as belonging, esteem and self-actualization. While these have historically not been ethical priorities, increasing expectations in developed countries now include more complex ethical concepts such as sustainability and social justice. We can expect these trends toward higher and more complex human needs to continue -- although the profession seems ill-prepared. We argue that an empathic approach to engineering design is necessary to meet these higher needs of developed and developing societies. To guide engineers towards this approach, we propose a pluralistic interpretation of empathy grounded in an understanding of the three parts of the mind: cognitive, affective, and conative. In fact, product designers already use empathy in their design processes. However, an exemplar of an empathic design is harder to find in civil engineering disciplines. This paper discusses an example of the Hoover Dam Bypass, which resulted in an award-winning design and construction that improved traffic flow, reduced vulnerability to terrorist attack, and accounted for historical factors and environmental impacts. However, this technical success is an empathic failure. Although project leaders commissioned ethnographic studies to understand the impact the bridge would have on the local Native American populations and their cultural sites, the eventual design showed little consideration of the concerns that were revealed. For engineering designs such as bridges, other infrastructure and systems to meet the needs of the various populations in which they serve, engineers need to incorporate empathy into their designs.
ContributorsVortherms, Kaitlin (Author) / Seager, Thomas (Thesis advisor) / Tracy, Sarah (Committee member) / Spierre/Clark, Susan (Committee member) / Arizona State University (Publisher)
Created2016
Description
This study aims to deepen the understanding of how Third Culture Kids (TCKs) receive and maintain long-term perceptions of positive identity. The literature review surveys bodies of research related to Third Culture Kids, intercultural communication conceptions of identity, and communication strategies of identity management. The research framework is a response to Martin and Nakayama’s (2010) call for a dialectical approach to the study of intercultural communication, and reflects an interpretive/critical/activist dialectic paradigm.
This qualitative multi-method research project gathered survey, interview, and visual data through online platforms. Participants were TCKs over age 40 who self-selected as having a positive identity. A modified grounded analysis revealed several key findings connected to agency development, choice making, communication filters, and framing of positivity. Factors contributing to characteristics of a positive identity included sending organization, total number and frequency of moves, and degrees of difference among their cultural contexts.
This qualitative multi-method research project gathered survey, interview, and visual data through online platforms. Participants were TCKs over age 40 who self-selected as having a positive identity. A modified grounded analysis revealed several key findings connected to agency development, choice making, communication filters, and framing of positivity. Factors contributing to characteristics of a positive identity included sending organization, total number and frequency of moves, and degrees of difference among their cultural contexts.
ContributorsJung, Amy Christine (Author) / Broome, Benjamin (Thesis advisor) / Martin, Judith (Committee member) / Tracy, Sarah (Committee member) / Cottrell, Anna (Committee member) / Arizona State University (Publisher)
Created2016