Dissertations / Theses on the topic 'Ford Foundation. Theater Theater'

During this course, upper-level VCUArts students are invited to join forces to become a part of a cross-disciplinary, ensemble-based exploration. Powered by Tectonic Theatre Project’s Moment Work, students will create new works and gain insight into the philosophies, purposes, and processes of Moment Work and other devised theatre techniques. The class will culminate in short, devised pieces, created and performed by the students. The focus of the class is on the creation of a harmonious ensemble amongst a varied group of young artists. I believe that in order to create a generation of innovative and forward-thinking artists, the segregation of the arts disciplines within academia must halt. Cross-disciplinary collaboration will invite varying perspectives to exist in a single setting, and hopefully lead to new forms of art.

Hoy en día, nuestro país está atravesando por uno de los momentos más difíciles de las últimas décadas a consecuencia de la crisis sanitaria que afecta al mundo entero. Es así como nuestra sociedad, consciente de la situación y confinamiento en el que vive, se ha ido adecuando a las nuevas formas de convivencia impuestas por esta nueva realidad, donde predomina lo digital y la necesidad de las personas por conectarse con el mundo exterior. Tomando como premisa lo antes mencionado, Plataforma de teatro en vivo y por streaming nace bajo la idea de ofrecer un producto audiovisual para los amantes del teatro, los cuales no pueden asistir debido al confinamiento a raíz de la pandemia. De este modo, la presente idea de negocio ofrecerá una propuesta de valor que genere satisfacción tanto para su público objetivo como para los usuarios que buscan experimentar una nueva forma de distracción. Asimismo, este emprendimiento tendrá como cimientos y diferencial en su propuesta las mejores herramientas tecnológicas actuales, las mismas que permitirán una interrelación entre los administradores de la plataforma y/o clientes finales del producto. En cuanto al mercado objetivo, este se encuentra conformado por personas entre los 20 y 60 años de edad que valoran la calidad de contenidos culturales, principalmente que sean asiduos al teatro y que también disfruten de contenidos audiovisuales a través del streaming.
Today, our country is going through one of the most difficult moments in recent decades as the result of the health crisis that affects the entire world. This is how our society, aware of the situation and confinement in which it lives, has been adapting to the new forms of coexistence imposed by this new reality, where the digital predominates and the need for people to connect with the outside world. Taking the aforementioned as a premise, Live and streaming theater platform was born under the idea of offering an audiovisual product for theater lovers, who cannot attend due to confinement as a result of the pandemic. In this way, the present business idea will offer a value proposition that generates satisfaction both for its target audience and for users seeking to experience a new form of distraction. Likewise, this undertaking will have as foundations and differential in its proposal the best current technological tools, which will allow an interrelation between the administrators of the platform and / or end customers of the product. As for the target market, it is made up of people between 20 and 60 years of age who value the quality of cultural content, mainly those who are regulars at the theater and who also enjoy audiovisual content through streaming.
Trabajo de investigación

Gretchen Cryer and Nancy Ford, along with most other female creators of musicals, remain in the shadows, in spite of an increased focus by the media on women’s contributions to society. The messages of Cryer and Ford’s dramatic themes and songs have not been fully understood by many critics and audience members. Scholarly and popular writings on women in theater remain scarce, and literature on Cryer and Ford contains errors and promotes misunderstandings.

In this thesis, I argue that Gretchen Cryer and Nancy Ford, a writer and composer of musical theater respectively, tackled contemporary issues in their Broadway and off Broadway musicals, introduced new theatrical forms and musical genres to the stage, and have built a distinguished collaborative career and earned a meritorious position in musical theater heritage by incorporating these issues, in particular, those which pertain to women or those which affect women, into their works. I seek to correct and build upon extant writings and information from media resources. My thesis is the first monograph to detail the lives and works of Cryer and Ford, and to assess their contributions to the musical theater genre. My detailed case studies dissect several Cryer and Ford musicals, which speak directly to prominent images and ideas of the time, and reveal how their works emphasize the importance of interpersonal communication, and endorse humanism and, in particular, feminism. Cryer and Ford are trailblazers for other female musical writers, for whom they have advocated, and for whom I provide a comprehensive overview.

This thesis attempts an analysis of some of the major themes and characteristics in Ford's work in the light of the interests and concerns of his dedicatees. The first part, after a discussion of the Ford canon and its chronology, considers four prominent aspects of his writing. The first chapter examines the dislike evinced by many of his characters for food, and the second the distrust of language so frequently registered in his work, and the way in which this leads ultimately to the writing of unsatisfactory plays. The next chapter then goes on to suggest that these two elements of Ford's plays may perhaps be linked by his perception of personality as fragmentarily located in disparate parts of the body, all exerting conflicting claims to represent the totality of the self. The last chapter of the first half of the thesis is concerned with the attempt in The Broken Heart to find an alternative, nonverbal means of communication, and also examines the possibility that the feeling conveyed in Ford's plays of the unsatisfactoriness of physical food may be connected with the sense of spiritual starvation in The Broken Heart. It is further suggested that this in turn might perhaps reflect a preference on Ford's part for the Catholic rather than the Anglican communion. The possibility of Ford having Catholic sympathies is further examined in the first chapter of the second half of the thesis, which explores the careers and family connections of Ford's dedicatees, including their close links with Catholicism. The second chapter attempts to show that Perkin Warbeck can be read as a panegyric on the ancestors of Ford's dedicatees, with the covert implication that the dedicatees, too, were worthy of greater political power and respect than they in fact enjoyed. The final chapter examines how this meaning might, like that of The Broken Heart, have been conveyed on the stage visually rather than verbally, and the conclusion then reviews the way in which Ford's attempt to forge a private language tested his theatre to its limits, and suggests that the unsatisfactory plays of his later years were an inevitable result of his perception of his dedicatees as, both deserving of success and unable to achieve it.

Art is too ethereal a thing to judge by tangible measure. There is no scale to weigh a performance on, no level to gauge a character's balance, no plumb line to measure its depth. No critic can appoint an allotment of stars to represent the worth of a production, and the audience, though a vital participant within the performance experience, cannot act as Jury and deliberate together to reach an absolute verdict of approval or disapproval. How then can an actor go about working towards giving a successful performance? The Merry Wives of Windsor was written at a time when wives were not permitted to tread upon the stage at all. During Shakespeare's era the roles of women were played only by cherub faced young men. The version of The Merry Wives of Windsor which was presented by the University of Central Florida in the fall of 2002 was not, however, set in those pre-femme days. The production was presented as if being performed by a traveling acting troupe of men and women with a repertoire of which The Merry Wives of Windsor was only a part. I was cast as Mistress Ford. Embarking on a Shakespeare play is no small feat. Earnest research on the lives of the Elizabethans will offer up clues into the mindset, customs, beliefs, and theories of the age in which the play was written. Modern day actors preparing themselves to take on a Shakespearian role may also look also to the theories and theatrical trends of his or her own time and those that have led up to it. This research is the foundation on which a performance must be built. The theatrical performer must act as his own instrument in the symphony of his performance. Stage acting is an art form which enfolds many forms of expressive artistic communication. The mind, the body, the voice, the emotions and in my opinion the soul must all come into play to reach the summit of an artistic theatrical performance and the actor's journey must be comprised of exercises to stretch and strengthen each area of the actor's instrument. A vigorous vocal regimen must be crafted and adhered to. An analytical investigation of the script is required. The actor's physicality must be tailored to portray the proper class, energy level and spirit of his character. The emotional life of the character should be thoroughly probed and the performer must find a way to fully embody the soul of the character and the age in which the character lived. In this particular case, I came to find that the usual modern day methods of performance preparation most commonly used by actors of our age were not in themselves enough to bring me to what I felt was a successful performance. I came instead to discover that a Brechtian approach to Shakespearian acting solved many of the challenges I faced when coming up short in my prior attempts to use a more Stanislavsky based method. Although the very nature of art makes it impossible to judge by tangible measure, there are very tangible ways to go about preparing for a role upon the stage. No single approach can work for every piece. One must exercise the mind, voice, body and soul to perform a role as weighty as a Shakespearian character. Proper research, analysis, and a regimen built upon exercises for the body and voice are the tools available for the serious actor. This thesis outlines a University actress' use of these tools and details how the discovery of Brechtian elements within the UCF production of Merry Wives opened doors to a new way of handling the portrayal Mistress Ford.
M.F.A.
Department of Theatre
Arts and Sciences
Theatre

Proyecto de tesis que desarrolla en un solo conjunto volumétrico dos tipologías arquitectónicas las cuales se complementan significativamente. La parte cultural a través del Teatro dado para la ciudad y la otra que corresponde a la escuela como fuente de enseñanza y formación. La Escuela brindará a la comunidad un nuevo hito cultural, además le otorgará un carácter integrador por medio de la plaza de ingreso como escenario libre para las manifestaciones de interacción y como punto de encuentro, permitiendo de esta manera reforzar el concepto de edificio de cara a la ciudad; además, una apropiación y/o identificación con el espacio.
Thesis project that develops a single volumetric set two architectural typologies which are complemented significantly. The cultural part through the Theater given to the city and the other that corresponds to the school as a teaching source.
Tesis

La presente investigación se realizó con la finalidad de conocer los factores considerados exitosos por la productora Tondero, tales como el argumento narrativo, dentro de este la auto representación y las características principales del actor con reconocida trayectoria, como es la de la popularidad, en sus producciones nacionales de género comedia. Por otra parte, se realizará un análisis comparativo de las películas "Asu Mare 1" y "Soltera Codiciada", en las cuales se presentan dichos factores que confirman la acogida de las películas de Tondero y les permiten ser exitosas.  Por último, se utilizó la técnica cualitativa con un paradigma interpretativo para poder llevar a cabo esta investigación, la cual es de suma importancia, ya que permite realizar una comparación con las perspectivas del público brindadas a través de las entrevistas semiestructuradas y el análisis de contenido de contenido propuesto por el investigador en las películas anteriormente mencionadas.
The present investigation was carried out with the purpose of knowing the factors considered successful by the producer Tondero as the narrative argument, within this the self-representation and the main characteristics of the actor with a recognized trajectory, such as popularity, in his national productions. of comedy genre. On the other hand, a comparative analysis will be made of the films "Asu Mare 1" and "Soltera Codiciada", in which these factors are presented that confirm the acceptance of the Tondero films and allow them to be successful. Finally, the qualitative technique with an interpretive paradigm was used to carry out this research, which is of utmost importance, since it allows a comparison to be made with the perspectives of the public provided through semi-structured interviews and content analysis. of content proposed by the researcher in the films mentioned above.
Trabajo de investigación

La presente investigación desarrolla un estudio a cerca del proceso constructivo y creativo de un personaje; como la labor del director y actor influyen en la creación. Para ello, se tomará cómo referencia el trabajo del director fránces Leos Carax junto a su actor fetiche Denis Lavant y como se refleja todo el desarrollo en el filme francés “Holy Motors” (2012). Asimismo, enfatizar el trabajo que debe desarrollar el actor para profundizar su papel. Por otro lado, desde el punto de vista del director, se abordará algunas técnicas e investigaciones que aportará a sus actividades como el responsable guía del intérprete. Este análisis aborda estudios a cerca del cine y teatro, con la finalidad, de realizar una serie de comparaciones y relaciones para enriquecer la información; además, de material de archivo de los filmes de Carax para indagar en la estética que trabaja y la forma en cómo rompe toda estructura con la explotación de la sublimación corporal. El objetivo es evidenciar la complejidad que existe en construir las personalidades, actos, pensamientos, etc. De un personaje. A partir, de esta información, finalmente, se establecerán mis objetivos específicos y generales para explicar con más detalles las categorías seleccionadas para este trabajo. Asimismo, complementarlos con algunos criterios que profundicen el análisis de la relación y formación entre ambos sea más fluida y adecuada.
The bellow investigation develops a study about the constructive and creative process of a character; how the work of the director and actor influence creation. For this, the work of the French director Leos Carax will be taken as a reference along with his fetish actor Denis Lavant and how all the development in the French film "Holy Motors" (2012) is reflected. Also, emphasize the work that the actor must develop to deepen his role. On the other hand, from the director's point of view, some techniques and investigations that contribute to his activities as the responsible interpreter guide will be addressed. This analysis addresses studies about cinema and theater, with the intention of making a series of comparisons and relationships to enrich the information; In addition, archive material from the Carax films to investigate the aesthetics that he works and the way in which he breaks the entire structure with the exploitation of body sublimation. The objective is to show the complexity that exists in building personalities, acts, thoughts, etc. Of a character. From this information, finally, my specific and general objectives will be established to explain in more detail the categories selected for this work. Also, complementary with some criteria that deepen the analysis of the relationship and formation between the two more fluid and adequate sea.
Trabajo de investigación

Desde la implementación del sondo en las películas durante la segunda década del siglo XX, la banda sonora ha ido ganando un lugar importante en el proceso de creación de una historia cinematográfica. De esta manera, se cambió la visión del cine como se conocía.  Con el nacimiento de géneros cinematográficos y creadores audiovisuales, el cine paso por una etapa de redescubrimiento donde la implementación de nuevas técnicas fue un factor importante de dicho cambio. Ante esta adaptación, la industria ha desarrollado el uso de la banda sonora para otorgarle una función más avanzada que el sólo hecho de evitar el silencio injustificado en una película. Esta investigación busca demostrar la capacidad narrativa de la banda sonora para la historia de una película. Para ello se tomará la película de 1972: El Padrino Parte I. La elección de el objeto de estudio se sustenta en la elaborada banda sonora que acompaña la película.
Since the implementation of sound in movies during the second decade of the 20th century, the soundtrack has gained an important place in the process of creating a film story. In this way, the vision of cinema as it was known was changed. With the birth of film genres and audiovisual creators, cinema went through a stage of rediscovery where the implementation of new techniques was an important factor in this change. Faced with this adaptation, the industry has developed the use of the soundtrack to give it a more advanced function than just avoiding unjustified silence in a movie. This research seeks to demonstrate the narrative capacity of the soundtrack for the story of a film. For this, the 1972 film: The Godfather Part I will be taken. The choice of the object of study is based on the elaborate soundtrack that accompanies the film.
Trabajo de investigación

El objetivo principal del presente trabajo de investigación es la lectura y análisis de Jo March, el personaje principal de la película “Mujercitas” (2019) dirigido por Gretta Gerwing, desde los elementos de la narrativa fílmica como la construcción de personajes y la dirección de arte. Este análisis vendrá motivado con la finalidad de comprobar como es que este personaje representa a la mujer posmoderna, según el concepto del autor Gilles Lipovetsky, aunque desarrollado en un contexto social perteneciente al siglo XIX.
The main objective of this research work is the reading and analysis of Jo March, the main character of the film “Little Women” (2019), directed by Gretta Gerwing, from the elements of the filmic narrative such as the construction of characters and the direction of art. This analysis will be motivated in order to verify how this character represents the postmodern woman, according to the concept of the author Gilles Lipovetsky, although developed in a social context belonging to the 19th century.
Trabajo de investigación

This thesis seeks to place drama of the Caroline commercial theatre in its contemporary political and legal context; particularly, it addresses the ways in which the struggle for supremacy between the royal prerogative, common law and local custom is constructed and negotiated in plays of the period. It argues that as the reign of Charles I progresses, the divine right and absolute power of the monarchy on stage begins to lose its authority, as playwrights, particularly Massinger and Brome, present a decline from divinity into the presentation of an arbitrary man who seeks to impose and increase his authority by enforcing obedience to selfish and wilful actions and demands. This decline from divinity, I argue, allows for the rise of a competing legitimate legal authority in the form of common law. Engaging with the contemporary discourse of custom, reason and law which pervades legal tracts of the period such as Coke’s Institutes and Reports and Davies’ ‘Preface Dedicatory’ to Le Primer Report des Cases & Matters en Ley resolues & adiudges en les Courts del Roy en Ireland, drama by Brome, Jonson, Massinger and Shirley presents arbitrary absolutism as madness, and adherence to customary common law as reason which restores order. In this climate, the drama suggests, royal manipulation of the law for personal ends, of which Charles I was often accused, destabilises law and legal authority. This destabilisation of legal authority is examined in a broader context in plays set in areas outwith London, geographically distant from central authority. The thesis places these plays in the context of Charles I’s attempts to centralise local law enforcement through such publications as the Book of Orders. When maintaining order in the provinces came into conflict with central legislation, the local officials exercised what Keith Wrightson describes as ‘two concepts of order’, turning a blind eye to certain activities when strict enforcement of law would create rather than dissolve local tensions. In both attempting to insist on unity between the centre and the provinces through tighter control of local officials, and dividing the centre from the provinces in the dissolution of Parliament, Charles’s government was, the plays suggest, in danger not only of destabilising and decentralising legal authority but of fragmenting it. This thesis argues that drama provides a medium whereby the politico-legal debates of the period may be presented to, and debated by, a wider audience than the more technical contemporary legal arguments, and, during Charles I’s personal rule, the theatre became a public forum for debate when Parliament was unavailable.

碩士
國立臺灣藝術大學
藝術與人文教學研究所
101
Spiritual Learning for College students - A Case Study of ” “In-Forest Learning” Children’s Theatre Camp by Humanistic Education Foundation ABSTRACT The study investigated spiritual learning for college students from a “In-Forest Learning” Children’s Theatre Camp. This study aims to (A) understand the important experience and feelings of college students; (B) understand the way of developing spiritual qualities; and (C) collect and analyze the spiritual effectiveness of learning for college students who participated in “In-Forest Learning” Children’s Theatre Camp. This study adopted methods of qualitative interview. The participants aged from18 to 22 under their consent. The study outlined semi-structured interviews conducted via qualitative interviews, supplemented by participant observations and meeting minutes to summarize and drew conclusions. The results were divided into the followings: 1. The important experience and feelings: (a) expand their life experience and hope to link themselves with the world (b) experience negative feelings and find the meaning of life (c) cross over difficulties and stimulate their intrinsic ability (d) experience negative feelings and lead their self-awareness (e) not to be afraid of authority and wake up their courage and justice (f) develop love and intimacy and strengthen links with others (g) express themselves and help establish self-confidence. (h) cooperate well with others 2. The ways to develop spiritual qualities are as follows: (a) lead to self-exploration (b) share a collective thinking and listen to the experiences of others (c) run-in with the people and respect individual differences (d) holistic care and meet basic needs (e) respect and encourage others and move towards an independent personality (f) guess, refute, and think the meaning of life (g) psychological knowledge and understand the behavior of the reasons (h) theater experience and develop potential of creativity. 3. The spiritual effectiveness of learning: (A) explore and take care of themselves (b) establish self-confidence and develop courage (c) love and give, and pay more to care to others (d) beyond ego and get involved in caring for the community (e) activities in the construction of the meaning of life (f) the future of mankind and positive peace. Keywords: College students, Spiritual learning, Humanistic Education, Drama Education

Renaissance drama, viewed against the new, fame-obsessed restlessness of Petrarch, Cardan, and Montaigne, engenders an imperial selfhood that fashions itself with narcissistic aggression and simultaneously undermines itself by becoming an agent in its own destruction. Selfhood issues in a restless self-overcoming in which the individual struggles to outdo himself in dizzying jousts of self-rivalry. "Victims" often follow a self-destructive career; self-fashioning and self-cancellation are not really that far apart. Doctor Faustus examines the Reformation impulse toward self-fashioning in relation to an "other." It signals not the fullness but the dissolution of identity through pride, despair, and death. Faustus internalizes Mephastophilis, the great "other" of Marlowe's age; this results in satanic parody. His quest for self-knowledge mimics the Protestant's journey toward God. But in parody, selfhood and self-cancellation become interchangeable. In King Lear, Lear's actions are almost death-driven. His libido moriendi is connected to his quest for self-knowledge; finally, it is death alone that teaches self-knowledge. Aided by thumos, Plato's "high rage," Lear acknowledges his mortality, and knows himself through rage and madness. Awakening to find Cordelia, he repossesses everything that makes life worthwhile. In The Revenger's Tragedy, Vindice takes Renaissance self-fashioning to a sinister extreme, enacting several roles in a revenge drama written, directed, and performed by himself. He transforms his dead mistress into his grisly doppelganger whose charms rival those of Petrarchan beauties. He usurps the divine function and metes perfect poetic justice, initiating his own death, and laying claim to a perverse fame. In 'Tis Pity She's A Whore, Giovanni perverts the laws of kinship and social exchange through incest. Unable to give the "gift" of his sister to another, he loses his place in the kinship structure. Her repentance indicates that her heart has been "stolen" by a higher deity, and she becomes a defiled object in his eyes. To purify her and to recover his lost heart, Giovanni offers a violent sacrifice where he is both an enraged god and a sacrificer seeking to placate that god with the "gift" of Annabella's heart.

This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.