Matching Items (22)
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- All Subjects: Theatre
- All Subjects: Cinematography
- Creators: School of Film, Dance and Theatre
DescriptionI founded the ASU Shakespeare Club and then directed a production of "A Midsummer Night's Dream" set in a contemporary mental institute. This thesis includes the revised script, a journal of the rehearsal process, an introductory essay, and production photos.
ContributorsGallagher, Nicole Marie (Author) / Fox, Cora (Thesis director) / Giner, Oscar (Committee member) / Barrett, The Honors College (Contributor) / Department of Chemistry and Biochemistry (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2014-05
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 project and research intended to address how to successfully run and teach a high school level Theatre I course. The research portion of the project focused on activities to use in the classroom, how to run a drama club and put on productions, and how to create a positive classroom environment where students feel comfortable creating art. The creation portion of the project focused on the things a teacher will need in the classroom: an introduction letter, vision statement, syllabus, and unit plans. The final product includes three unit plans: Introduction to Theatre I, Introduction to Acting, and Theatre and Social Change. The use of the materials in this thesis can help first-time Theatre teachers to become better prepared to run their classroom.
ContributorsKircher, Alyssa Elaine (Author) / Sterling, Pamela (Thesis director) / Whissen, Elaine (Committee member) / Saldana, Johnny (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor) / Division of Teacher Preparation (Contributor)
Created2014-05
Description
Cinematography is the art of making motion pictures. I took on the role of cinematographer for three student film productions. The styles and process for each one varied. I worked with the directors to figure out equipment, shot lists, and schedules as well as their vision. The final products reflect the hard work put into each production. I gained experience and am able to pull from each film for my cinematography reel.
ContributorsTello, Gloria (Author) / Pinholster, Jacob (Thesis director) / LaMont, Chris (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2014-05
Description
Film is not about the story one tells, but rather the manner in which that story is told. Most films only rely on the plot to progress and to move the story forward. This leaves all the other aspects of a film to remain unchanged. However, a truly cohesive film is one in which all the aspects of a film (plot, cinematography, editing, sound, music) progress together in the same direction. By having all the aspects compliment each other and change together, the impact of a film on an audience is, in turn, much greater. With my film, Common Tongue, I developed a progression for each aspect to follow throughout the course of the film. As a result, no aspect of the film remains static and the impact on the viewer is more everlasting.
ContributorsLien, Erik (Author) / Bradley, Christopher (Thesis director) / Cutrara, Daniel (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2014-12
Description
Directors make choices on how a movie is film, these choices effect everything in the film and there are multiple factors that go into that decision-making process. Directors usually make decisions based on the entire story and their vantage point of know everything. For example, a director might choose to make a piece of information known to the audience before the character’s know so that it raises tension. The creative project refers to this type of filmmaking as: “objective cinema”. The alternative is when a director makes decisions not based on the overall story but on the reality of a character(s). That is, filmmaking techniques are used in service of communicating a character’s emotional and situational reality.
The goal of such an exercise is to bring the audience closer to a character, typically the main character. A film is driven by the audience’s connection to the plot and the main character, who is typically the driving force behind the narrative. Having an audience closer to the main character is advantageous to give the audience something personal to latch onto. Getting invested in a single character’s story is a tactic that most films use and while some use traditional filmmaking styles to narrate the film, some put in these subjective moments.
Most movies include a mix of objective and subjective scene; however, the vast majority of screen time is usually objective. Subjective moments are just that, moments within a film where the filmmaking is visually distinct from before in order to communicate the transition into a character’ subjective experience of reality. The process of using cinematic techniques: sound, images and actors to create emotion is the focus of the thesis. What specific techniques do director and other filmmakers use to create these moments from the perspective of a specific character? The research on this creative project included reverse engineering scenes to firgue out the technical specifications that the filmmakers use. What kind of lighting, cameras and sound design where employed? Why were those techniques chosen to represent a character’s subjective reality? And most importantly, why do those techniques evoke those emotions?
The goal of such an exercise is to bring the audience closer to a character, typically the main character. A film is driven by the audience’s connection to the plot and the main character, who is typically the driving force behind the narrative. Having an audience closer to the main character is advantageous to give the audience something personal to latch onto. Getting invested in a single character’s story is a tactic that most films use and while some use traditional filmmaking styles to narrate the film, some put in these subjective moments.
Most movies include a mix of objective and subjective scene; however, the vast majority of screen time is usually objective. Subjective moments are just that, moments within a film where the filmmaking is visually distinct from before in order to communicate the transition into a character’ subjective experience of reality. The process of using cinematic techniques: sound, images and actors to create emotion is the focus of the thesis. What specific techniques do director and other filmmakers use to create these moments from the perspective of a specific character? The research on this creative project included reverse engineering scenes to firgue out the technical specifications that the filmmakers use. What kind of lighting, cameras and sound design where employed? Why were those techniques chosen to represent a character’s subjective reality? And most importantly, why do those techniques evoke those emotions?
ContributorsKaufman, Jacob Aryeh (Author) / Collis, Adam (Thesis director) / Klucsarits, Philip (Committee member) / Lawrence, Sher (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
For my Barrett Creative Project I set out to make an Elizabethan inspired women’s costume and write about my process. Images of the completed costume and process photos are included in the appendix. I researched the differences between my modern day costume construction techniques and those of dressmakers from the original period of the 16th century. An important distinction that I must make is that I set out to create a costume rather than a historical reproduction of a garment. This allows me to have both creative freedom and an ability to take advantage of the technology to which I have access. I will begin by reviewing the steps I took to construct the costume itself. The task began long before I ever sat down to stitch pieces together. Pollatsek writes, “Popular culture tends to show two versions of making clothing: mass - production drudged in sweatshops, or virtually instantaneous bursts of creative magic . . . (making costumes for the stage), most people do not see the planning and time that the transformation of fabric into wearable art entails. Creating costumes actually requires a combination of art, craft, and engineering” (1). I found her statement to ring true, as the completion of this project incorporated not just sewing but historical research, pattern-making, costume design, and project management. The final product of this project is a costume that very closely resembles the initial rendering. Due to the onset of Covid-19, in order to adhere to social distancing practices, I was unable to photograph the finished project on my model. The alterations marked in our final fitting were completed and the costume is made to her latest measurements.
ContributorsMurphy, Niamh Leavy (Author) / Furr, Constance (Thesis director) / Moench, Sarah (Thesis director) / Hunt, Kristin (Committee member) / School of Film, Dance and Theatre (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This paper discusses the parameters of my creative project, which utilizes a staged reading of scenes from John Cariani’s Almost, Maine as a means of investigating the representation of queer individuals and relationships in theatre, film, and television. The first section provides background information on Almost, Maine itself, while the second section explains the details of the project and what to expect on the day of my defense. The next section explains my purpose in developing a project centralized around queer representation, and the last two sections are personal reflections of the both my growth throughout the creative process, and the final product: the performance and talkback.
ContributorsThompson, Savannah Blake (Author) / Maday, Gregory (Thesis director) / Rohd, Michael (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Every color that you see in film is purposely chosen by the filmmakers. The majority of film viewers do not consciously realize the role that color plays in their movie experience. Subconsciously, viewers are deeply affected by the color choices in the film as it changes moods, tones, characters, and more. By examining color in film, filmmakers are able to create better stories, therefore having a greater effect on the audience. By becoming aware of the role of color in film, audience members become better, more involved viewers.
The following project is cut into three major parts: Color Theory in Film, An Analysis of Symbolic Color, and the Technical Applications of Color in Film. Part One gives the necessary background on color theory, light theory, color mixing, color associations, and color palettes needed to understand the rest of the project. Part Two examines color symbolism and color psychology in three films, detailing their importance to the storylines in-depth. Part Three looks at the ways filmmakers employ color during post-production, principal photography, and post-production. By looking at production design, the history of color grading, and the power of lighting and cinematography, one is able to discern the different effects color creates and how that effect is created.
The following project is cut into three major parts: Color Theory in Film, An Analysis of Symbolic Color, and the Technical Applications of Color in Film. Part One gives the necessary background on color theory, light theory, color mixing, color associations, and color palettes needed to understand the rest of the project. Part Two examines color symbolism and color psychology in three films, detailing their importance to the storylines in-depth. Part Three looks at the ways filmmakers employ color during post-production, principal photography, and post-production. By looking at production design, the history of color grading, and the power of lighting and cinematography, one is able to discern the different effects color creates and how that effect is created.
ContributorsMcholland, Megan (Author) / Nascimento, Eliciana (Thesis director) / Klucsarits, Philip (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / School of Art (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
On The Mathematical Analysis of An Ancient Greek Tragedy (A CURE AT TROY) Using Mathematical Set Theory To Analyze Patterns In Character And Story Structure; The Production And Direction Of That Greek Tragedy Using Vectors To Direct Action And Objectives In 2-Space; And The Research, Writing, And Production Of A Reading Of A New Play (A TREE DISAPPEARS) On The Analogies Of Forestry Management Practices To Family Relationships.
ContributorsFox, Ethan (Author) / Partlan, William (Thesis director) / Lynch, John (Committee member) / Pinholster, Jacob (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05