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Dissertations / Theses on the topic 'Method acting'
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1
Minut, Bogdan A. "Applying Constantin Stanislavski's acting system to choral rehearsals." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1536752.
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This research explores possible applications in choral rehearsals of techniques, methods, and theories of acting that were established by Russian actor, director, theoretician, and pedagogue Constantin Stanislavski (1863-1938). The parallel between the dramatic art and the art of choral music focuses on the discussion of the Stanislavski ‘system’ as described in detail in his ‘Acting Trilogy’ and other critical literature as well as on the use of psycho-technique by Romanian conductor Marin Constantin (b. 1925) and his Madrigal Choir of Bucharest. The introductory chapter presents the premises of this parallel and the complexity of Stanislavski’s artistic personality, his pivotal role in the history of theater and performing arts. The second chapter reviews existing literature that is pertinent to the topic, explaining all the elements of Stanislavski’s acting theory; this process divides the sources into three categories, namely the body of English translations of Stanislavski’s writings, the authoritative source materials that clarify and confirm the practicality of the ‘system,’ and the references on the use of psycho-technique in choral practice. The third chapter describes possible usage of key artistic elements, principles, and techniques of the acting ‘system’ in choral rehearsals, including concepts such as
creative mood, concentration of attention, imagination, given circumstances, ‘magic If,’ inner motive forces, action (as in singing and conducting gestures), units (bits) and objectives (tasks), relaxation of muscles, ensemble work, communion, emotion memory, tempo-rhythm, active analysis, through line of action, and super-objective. The fourth chapter explores concrete applications of psycho-technical elements made by this researcher in a practical study with two student ensembles. Limitations and special circumstances about this collaboration are indicated. The rehearsal process is described in detail and focuses on the work on three choral pieces, namely Kasar mie la gaji by Venezuelan composer Alberto Grau (b. 1937), If Music Be the Food of Love by David C. Dickau (b. 1953), and There Will Be Rest by Franck Ticheli (b. 1958) on a poem by Sara Teasdale (1884-1933). The findings of this research, summarized in the final chapter, reflect not only the possibility of using elements of the Stanislavski ‘system’ of acting in choral rehearsals, but also the necessity to employ psycho-technique in choral practice; the results also recommend further applications of the ‘system’ in areas of formation of individual choristers as true artists, of building ensemble unity of expression of emotions, and of developing an effective and meaningful vocabulary of conducting gestures.<br>School of Music
2
Miley, Knipple Janel. "The Feldenkrais Method in the Voice and Speech Classroom: Intertwining Linklater Voice and the Feldenkrais Method." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5351.
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Abstract
INTEGRATING THE FELDENKRAIS METHOD INTO THE VOICE AND SPEECH CLASSROOM: INTERTWINING LINKLATER VOICE AND THE FELDENKRAIS METHOD
By Janel R. Miley Knipple, MFA
A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University.
Virginia Commonwealth University, 2018.
Major Director: Karen Kopryanski, Head of Voice and Speech, Assistant Professor
Department of Theatre
Proprioception and kinesthetic awareness are important factors in actor training as performers strive to increase their physical and vocal prowess in order to respond to the demands of roles. The Feldenkrais Method, a somatic approach to learning that promotes greater awareness, has been utilized in actor training for decades; however, the historical details, measurable impact, and benefits of the Feldenkrais Method in this field have been largely undocumented. In this thesis, I will examine the history of the Feldenkrais Method, particularly considering interactions between theatre artists and Feldenkrais.
In addition, I will suggest new possibilities for creating a voice and speech curriculum that integrates the Feldenkrais Method, providing both historical precedents and current findings to support the efficacy of incorporating the Feldenkrais Method into actor voice and speech training. Referencing experiences of how the Feldenkrais Method and the Linklater Progression have worked together to improve my own acting and teaching, I will conclude with a strategy on incorporating the Feldenkrais Method into voice and speech training.
3
Rupsch, Stephen Joseph. "Sublime union : the pedagogy of ecstasy, an examination of the superconscious state in acting training /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190504.
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Thesis (Ph. D.)--University of Oregon, 2005.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 198-203). Also available for download via the World Wide Web; free to University of Oregon users.
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Schmidt, Larry C. "A study of discourse and acting pedagogy : how a culturally specific acting pedagogy from Russia transformed itself into the American method /." free to MU campus, to others for purchase, 2002. http://wwwlib.umi.com/cr/mo/fullcit?p3074440.
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Hunt, Claire. "Participatory reporting as method acting the journalism-theatre connection /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5092.
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Thesis (M.A.)--University of Missouri-Columbia, 2007.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on May 11, 2009) Includes bibliographical references.
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Rossi, Marion O. "Life skills and actor training : pedagogical attitudes and approaches /." view abstract or download file of text, 1999. http://wwwlib.umi.com/cr/uoregon/fullcit?p9957573.
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Thesis (Ph. D.)--University of Oregon, 1999.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 192-197). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9957573.
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Kilarski, Sharon K. "An emerging theory of actor learning : the actors' perspective /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9988676.
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Greer, Deborah A. "Actor training and charismatic group structure : a comparative study /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3072585.
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Thesis (Ph. D.)--University of Oregon, 2002.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 182-188). Also available for download via the World Wide Web; free to University of Oregon users.
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Van, Heerden Emerentia Eletitia. "Tracing the impact of Stanislavski's system on Strasberg's method." Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/723.
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Ghari, Shima. "Towards Merging Digital Technology with Traditional Acting Methods." Thesis, Malmö universitet, Fakulteten för teknik och samhälle (TS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20927.
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Society is relying more and more on computer-generated information due to the online abilities provided by current information and telecommunication technologies in a variety of ways such as social networks, learning systems, shopping, quality-of-life improvements. Multimodal Learning Analytics (MMLA) is a method in learning analytics research that makes it possible to capture large amounts of data on human activity. This study aims to provide a deeper understanding of physical movement challenges for training performers in open-ended, practice based learning settings. Moreover, it discusses how multi-modal analytics systems can provide support for performers. This study identifies ten important requirements that a prototype should have in order to fulfill the performer’s needs. These requirements are implemented in a low fidelity prototype that provides modeling movement followed by Laban Movement Analysis theory, capture user data with MMLA tools, and provide personalized feedback. The results indicated there is a potential within the usage of a multi-modal system to support and improve the motor skill learning process through personalized help and feedback.
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Woods, Simon. "Suzuki and beyond : adapting the Suzuki actor training method /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19801.pdf.
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McDonald, Paul. "Public bodies, private moments : method acting and American cinema in the 1950s." Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/34659/.
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The thesis deals with two central issues: a) the construction of a framework for the study of film acting which places performance in a cultural context b) the cultural significance of Method acting during the 1950s with specific reference to American cinema of the period The first chapter considers the ways in which the voice and body in film acting are made meaningful in the context of beliefs about acting and personal identity. The chapter also proposes ways for situating the practical activity of film acting in a context of cultural production. The remaining chapters study the cultural significance of Method acting through separate analyses of the Method technique, style, representation of gender, and image of star performance. Readings of the Method technique and style are placed in the context of a `culture of personality', in which the significance of the Method was produced in the ways that acting signified beliefs about personal identity. The discussion of the Method style is then developed in the analysis of the ways in which the style was used in film melodramas to represent the gendered anxieties of the rebel hero. Finally, Marlon Brando's image and performances are studied for how the actor personified the meaning of the Method. Together, technique, style, gender representation, and stardom, are studied as various aspects of what is called the Method discourse.
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Inouye, Kevin. "Method in Motion: Grounding a Movement Pedagogy in the Lessons of Stanislavski." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2690.
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This thesis is an exploration of movement pedagogy as a continuation of basic acting lessons from Stanislavski. Using the example of an introductory semester of movement instruction, physical acting and movement concepts are explained in terms of their connection to and derivation from universally accepted acting terminology and ideas. This is put forth as a way to facilitate the synthesis of movement instruction with other acting curriculum, as well as providing a new way to view some familiar acting concepts. Several specific examples are explored in more depth as case studies in physical equivalents to the intellectual, visual, or emotional techniques familiar to all with a basic knowledge of Stanislavski based acting principles.
14
Booth, Jacki C. "The art of teaching a T.A.'s journey from the stage to the classroom and back again /." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/boothj/jackibooth.pdf.
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Ferreira, de Mendonça Guilherme Abel. "Acting theory as poetic of drama : a study of the emergence of the concept of 'motivated action' in playwriting theory." Thesis, Brunel University, 2012. http://bura.brunel.ac.uk/handle/2438/7331.
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Playwriting theory has, from its beginning, been concerned with the search for the essential nature of dramatic writing. Early playwriting treatises (poetics) defined the essential aspects of drama as being the plot (creation of sequences of fictional events), the moral character of its heroes, the idea of enactment, or the rhetorical and lyrical qualities of the text. These categories were kept through later treatises with different emphasis being put on each category. An understanding of drama as a sequence of fictional events (plot) has been central in acting theory. Modern theories and techniques centred on Stanislavsky’s ideas rely heavily on rehearsal methods that carefully establish the sequence of actions of the characters in a play as a result of psychological motivations. This method was described by Stanislavsky in An Actor’s Work on a Role, published in 1938, and is known as the Method of Physical Actions. This thesis reassesses the definition of playwriting as consisting essentially in the creation of a plot populated by suitable characters. Rather than discussing playwriting theory in isolation it attempts a bridge between acting theory and playwriting theory by using the Method of Physical Actions as an equivalent to plot. Acting theory is thus considered as a theoretical justification for the centrality of plot. The method used is hermeneutic — a systematic interpretation of poetics, unveiling in almost an archaeological manner the relevance of the essential definitions of drama, such as character, source, genre, and language to the concept of plot. The chronological path of development of dramatic theories is shown to be gradual: from the strict obedience to the narrative line imposed by the mythic sources, in classical treatises; through to an interest in the lyrical expression of the predicament of specific characters, in neoclassical theory; to an awareness of specific social types in the eighteenth century; and, finally, to the conception of the plot as a product of the mental life of individual characters in modern theory.
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Malone, Samuel C. III. "An Actor's Method to Building the Character of Hamlet in The Tragedy of Hamlet, Prince of Denmark." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2096.
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This thesis will set out to examine the process needed in order to deliver the character of Hamlet as a fully dimensional, complex human being who transcends time periods and class distinctions to connect with any audience of any background. This text will include biographical information about the author, William Shakespeare, as well as historical information about the circumstances and atmosphere surrounding the birth of this play. It will also include information about other performances, which will serve as references for comparison in terms of character development. Included in the scored actor’s script are the Sanford Meisner Techniques of moment-to-moment analysis and actioning as it relates to Konstantin Stanislavski’s system, as well as any additional actor’s notes that may have contributed to character development.
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Roberts, Jhanneu. "The True Cost of Our Entertainment: An Inside Look to Modern Method Acting and its Consequences." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1322.
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This goal of this thesis is to examine the physical and emotional cost associated with modern and personal interpretations of Strasberg-based method acting. Although many method actors have created excellent award-winning performances, many were left with emotional and physical harm to their body. In this thesis I will argue that there are actors that can deal with the after effects however, the risks associated with Strasberg-based method often pose both mental and physical health risks to the actor that outweigh the benefit they contribute to the production. To understand what Strasberg-based method acting is I will examine the practices of Stanislavski, the founder of the original “method,” and teacher and actors Stella Adler and Sanford Meisner, and their methods to creating a character. Strasberg, Adler, and Meisner, who are believed to have created their methods based off the Stanislavski Acting System, had many disagreements about Stanislavski’s method. What many now call method acting, incorporates certain techniques created by Stanislavski that actors then use to create their own method.
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Moses, Jennifer. "Trying to get it right striving to integrate formalized acting methods in the character development of Theresa Bedell in Rebecca Gilman's Boy gets girl /." Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://etd.wvu.edu/etd/controller.jsp?moduleName=documentdata&jsp%5FetdId=4025.
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Matthews, Venita J. "An Actor's Method to Building the Character of Mother Superior in AGNES OF GOD." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2369.
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ABSTRACT
Agnes of God is the story of a nun (Agnes) who gets pregnant while living in a convent. She almost dies after giving birth to a baby, who was later found dead in a garbage can. The cast consists of three members: Agnes; Mother Miriam Ruth (Mother Superior); and Dr. Martha Livingstone, the court appointed psychiatrist. Faith is tested as Dr. Livingstone draws closer to uncovering the truth surrounding the conception, birth, and death of Agnes’ baby.
I performed the role of Mother Superior in the UNO production of Agnes of God. This thesis documents my rehearsal and performance journey. It includes a rehearsal journal and an evaluation of my performance. The play was performed in the Lab Theatre of the Performing Arts Center on November 5 and 6; November 14 and 15; and on November 19 and 20.
Agnes of God is based on a true story.
Keywords: Mother Superior, Agnes, Pielmeier, Sacrifice, Nun, Maureen Murphy
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Hamner, Matthew. "THE LARAMIE PROJECT: THE SEARCH FOR A PERSONAL ACTING METHOD VIA THE PRINCIPLES OF CONSTANTIN STANISLAVKSI." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3796.
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Constantin Stanislavski developed a method for actors in bringing to life characters for the stage. Even though Stanislavski developed his theories in response to the stage climate of the late nineteenth and early twentieth centuries, many of his ideas remain relevant today. In this study, parts of his system were applied to the roles performed in Moisés Kaufman's The Laramie Project. Those roles were Moisés Kaufman, Jonas Slonaker, Doug Laws, Anonymous, Detective Rob Debree, Governor Jim Geringer, Reverend Fred Phelps and Dennis Shepard. The purpose of this exploration was to create unique, believable characters and develop solutions for personal acting problems. Through this study, it was concluded that this method empowered me as I sought ways to personalize with the reality of the characters.<br>M.F.A.<br>Arts and Sciences<br>Theatre
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Santiago, Marco. "THE CHORUS: A LINE TO CROSS." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3633.
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ABSTRACT This thesis project will provide an in depth examination into the musical theater role of Paul, the male Puerto Rican dancer in A Chorus Line, as performed by Marco Antonio Santiago. The performance will take place at Cohoes Musical Theater in Albany, New York. This examination will reveal how the application of Stanislavski's methods on acting and his views in preparing a character can be used on musical theatre roles to achieve well rounded, fully developed and completely believable characters. The thesis will contain a structural analysis of the script, scene and role analysis, a performance journal to log the growth/challenges of each role, and other vital information charting the application of Stanislavski's methods on acting. In addition to Stanislavski's methods other well known acting teachers and their methods such as Richard Boleslavski and Sanford Meisner, will be viewed and applied throughout the process. Furthermore, a performance critique/analysis will be provided by Lani Harris, Tan Huaixiang, and Nicholas Wuehrmann, who serve as the acting committee members for this thesis project. The role of Paul helps propel the action of the play forward allowing the audience to truly realize the themes provided by the playwright, lyricist, and composer. This thesis project will reveal that an actor's training can be applied in almost any venue of theatre in some form or fashion and successfully make a well-rounded character.<br>M.F.A.<br>Department of Theatre<br>Arts and Humanities<br>Theatre
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Radvan, Mark. "Towards Bodydialogue : developing a process for enhancing the actor's physicalisation skills in rehearsal and performance." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16025/1/Mark_Radvan_Thesis.pdf.
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Bodydialogue is a coherent and simple system of exercises, rehearsal techniques, principles and aesthetic values which in application enhance the actor's ability to physicalise dramatic action and behaviour. It can be applied directly within a rehearsal process to heighten the physical life of a play or performance event, or it can be taught separately as a system for providing student actors with concrete skills in movement, stagecraft and physical characterisation.
Unlike many other movement systems taught in drama schools, such as Mime, Dance, Acrobatics or Alexander, which are grounded in their own discipline base, Bodydialogue is grounded in Stanislavsky's Acting through the Method of Physical Action, and as such is centered in the discipline of text-based Acting. It is thus first and foremost an approach to Acting via Physical Action and Physical Behaviour, rather than a study of Movement, or a movement genre.
This thesis describes the development and application of Bodydialogue physicalisation techniques to a workshop production of miss julie downunder - an adaptation of Strindberg's Miss Julie - and situates the place of these techniques within contemporary Acting discourse.
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Radvan, Mark. "Towards Bodydialogue : developing a process for enhancing the actor's physicalisation skills in rehearsal and performance." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16025/.
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Bodydialogue is a coherent and simple system of exercises, rehearsal techniques, principles and aesthetic values which in application enhance the actor's ability to physicalise dramatic action and behaviour. It can be applied directly within a rehearsal process to heighten the physical life of a play or performance event, or it can be taught separately as a system for providing student actors with concrete skills in movement, stagecraft and physical characterisation.
Unlike many other movement systems taught in drama schools, such as Mime, Dance, Acrobatics or Alexander, which are grounded in their own discipline base, Bodydialogue is grounded in Stanislavsky's Acting through the Method of Physical Action, and as such is centered in the discipline of text-based Acting. It is thus first and foremost an approach to Acting via Physical Action and Physical Behaviour, rather than a study of Movement, or a movement genre.
This thesis describes the development and application of Bodydialogue physicalisation techniques to a workshop production of miss julie downunder - an adaptation of Strindberg's Miss Julie - and situates the place of these techniques within contemporary Acting discourse.
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Stewart, Stacey Anne. "Though this be madness, yet there is method in't : madness, melancholy, and mirth in the acting of Hamlet." Connect to resource, 1997. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1147792258.
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Reiser, Douglas William. "A Dramatic Interpretation of Jake's Women Thesis in An Educational Setting." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etd/1486.
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The area of investigation in the Jake's Women's thesis resides with the actor's preparation in the portrayal of a character who struggles with the pain of loss and betrayal. The acting technique explored centers around the psychology behind the emotional and physical aspects of acting. The results rely on the thoughts and feelings of sensitivity in the actor's body. Development of an actor's inner technique and outer instrument is explored and implemented. An actor's belief in the body to produce effective imaginary people or place within a scene rests in the actor's ability to allow his or her instrument to create real-life emotion. This process of belief is accomplished through the trained technique of relaxation exercises, thus, giving the actor the discipline to concentrate on the process of creating a believable character. The human condition becomes the central focus in the honest representation of a man suffering to forgive and forget his troubles.
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Brown, Gregory Hippolyte. "Blurred Lines Between Role and Reality: A Phenomenological Study of Acting." Antioch University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1575378494184268.
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Hardcastle, Terry. "CONSIDERING STRASBERG’S METHOD IN THE TWENTY-FIRST CENTURY: A NEW PEDAGOGY." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2992.
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Student of Richard Boleslavsky and Maria Ouspenskaya, co-founder of the Group Theatre, Artistic Director of the Actors Studio, founder of the Lee Strasberg Theatre and Film Institute, and developer of The Method, Lee Strasberg is one of the most famous acting teachers of the twentieth century. In the same way a concert pianist must practice her scales daily to maintain expertise, Strasberg believed an actor must regularly practice the use of sense memory to be emotionally authentic. Using Strasberg’s Method, this is achieved through a combination of relaxation and concentration, which leads to a sense of truth in performance. The Method, a praxis built on Stanislavski’s own approach to actor training, since the death of its founder has slacked off in popularity. This is noteworthy for the gold standard status the Method once held in the United States. More easily accessible, less process oriented, more demonstrably obvious and observable techniques such as the work of Michael Chekhov have taken stronger hold in some academic circles. Empirical evidence seems to suggest that a mixture of prejudice for the Method and possible personal dislike for Strasberg the man has made this so. Curious to discover if the Method still held value for the next generation, I committed to teaching a Method class to Virginia Commonwealth University undergraduates. Drawing on my experience at the Strasberg Institute studying under Anna Strasberg, Geoffrey Horne, my practical experiences on stage, and research available after Strasberg’s death, I created my own approach to The Method. Through analysis of my students’ Method acting work and my own teaching, I intended to learn the efficacy and practicality of Strasberg’s Method as we begin the twenty-first century: what we can keep, what we must let go, and what we can change for the better.
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Milne, Christina Lucy, University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Group devised performance: the study of a group devised performance piece as a rehearsal method in a high school environment." THESIS_FPFAD_XXX_Milne_C.xml, 1998. http://handle.uws.edu.au:8081/1959.7/264.
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Using the research methods from grounded theory and action research, the study examines a research method used for the development of a Group Devised Performance Piece. It details and analyses the process used in the transactional system of change and action/interaction resulting from the specific conditions that surrounded the Group Devised Performance, and examines the products of that process: the written script and the final performance. The study was conducted with a group of HSC 2 Unit Drama students at a non-government high school in March 1996. The performance formed part of an assessment program for these students and was student devised and student driven. The research methods included the collection of data in questionnaires, the maintaining of detailed daily records, video tapes, photographs and the compilation of the written script. Like any series of rehearsals, the process produced surprising and unplanned consequences (outcomes) and provided an environment that encouraged interaction and involvement, companionship and competition,<br>Master of Arts (Hons) (Performance)
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Dennis, Daniel C. "Sing Together! Choral Singing as a Supplementary Training Method for Actors." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1163.
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Voice and speech training for the actor has traditionally defined itself as distinct from the vocal training of the musical theatre or opera singer. The separation in philosophy and practice by trainers of actors and singers reflects the resultant capabilities and proclivities of our performers. Those performers generally sing or act, and if asked, will sometimes do both, but may damage their voices in the process. This study aims to explore and reveal how actors may develop a greater sense of courage and trust, have easy access to breath, find freedom in their bodies and voices, become better listeners and therefore more engaging actors, uncover untold depths of characterization, unearth resonance that communicates easily, and discover the music of rhythm and melody in their spoken voices, all through the use of ensemble singing in the actor's voice and speech classroom.
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Milne, Christina Lucy. "Group devised performance: the study of a group devised performance piece as a rehearsal method in a high school environment." Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/264.
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Using the research methods from grounded theory and action research, the study examines a research method used for the development of a Group Devised Performance Piece. It details and analyses the process used in the transactional system of change and action/interaction resulting from the specific conditions that surrounded the Group Devised Performance, and examines the products of that process: the written script and the final performance. The study was conducted with a group of HSC 2 Unit Drama students at a non-government high school in March 1996. The performance formed part of an assessment program for these students and was student devised and student driven. The research methods included the collection of data in questionnaires, the maintaining of detailed daily records, video tapes, photographs and the compilation of the written script. Like any series of rehearsals, the process produced surprising and unplanned consequences (outcomes) and provided an environment that encouraged interaction and involvement, companionship and competition,
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Loth, Joanne Marie. "Developing a theatre of the integrated actor : the application of the Suzuki actor training method within three theatrical contexts." Thesis, Queensland University of Technology, 2001. https://eprints.qut.edu.au/35837/1/35837_Digitised%20Thesis.pdf.
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This research project examines the application of the Suzuki Actor Training Method (the Suzuki
Method) within the work ofTadashi Suzuki's company in Japan, the Shizuoka Performing Arts Complex
(SPAC), within the work of Brisbane theatre company Frank:Austral Asian Performance Ensemble
(Frank:AAPE), and as related to the development of the theatre performance Surfacing. These three theatrical contexts have been studied from the viewpoint of a
"participant- observer". The researcher has trained in the Suzuki Method with
Frank:AAPE and SP AC, performed with Frank:AAPE, and was the solo
performer and collaborative developer in the performance Surfacing (directed
by Leah Mercer). Observations of these three groups are based on a
phenomenological definition of the "integrated actor", an actor who is able to
achieve a totality or unity between the body and the mind, and between the
body and the voice, through a powerful sense of intention. The term "integrated
actor" has been informed by the philosophy of Merleau-Ponty and his concept
of the "lived body".
Three main hypotheses are presented in this study: that the Suzuki Method
focuses on actors learning through their body; that the Suzuki Method presents
an holistic approach to the body and the voice; and that the Suzuki Method
develops actors with a strong sense of intention. These three aspects of the
Suzuki Method are explored in relation to the stylistic features of the work of
SPAC, Frank:AAPE and the performance Surfacing.
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Silva, Emerson Almeida Silva e. "A consciência corporal que antecede a cena: aspectos anatômicos e cinesiológicos das ações físicas na preparação do ator." Escola de Teatro, 2015. http://repositorio.ufba.br/ri/handle/ri/27069.
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Dissertação Emerson Almeida PPGAC 2015.pdf: 10306725 bytes, checksum: 2f3f53af78606022beae5445c26d2ae7 (MD5)<br>Esta dissertação tem por objetivo analisar e apresentar possibilidades que facilitem a
consciência corporal do ator para o desempenho da cena, apoiando-se nos conceitos da anatomia e da cinesiologia. Parte-se do pressuposto de que o ator, ao conhecer a sua estrutura orgânica, estimula a sua percepção corporal e a consciência dos movimentos necessários à criação do papel. No campo das Artes Cênicas a pesquisa se apóia na ideia de proporcionar o treinamento do ator por meio de técnicas corporais que o levem a ampliar o conhecimento de si próprio para atingir prontidão necessária à encenação e tem como eixo o trabalho das ações físicas e como referências o Método das Ações Físicas de Stanislávski, o Teatro Laboratório de Grotowski e a Antropologia Teatral de Barba. Além das referências e cruzamentos teóricos
a pesquisa é caracterizada como estudo de caso com enfoque descritivo, de abordagem
qualitativa, uma vez que discute e questiona, por meio de relatos de atores e experiências
práticas realizadas em salas de ensaio, se a inserção de conteúdo relativo ao construto
orgânico do ser humano no contexto da preparação corporal, sob o ponto de vista da anatomia e da cinesiologia, com o suporte do Pilates e da Reeducação Postural Global (RPG), pode propiciar o ator a acessar a consciência corporal no intuito de facilitar o processo de composição das ações físicas na construção de um papel.<br>This thesis aims to analyze and present possibilities to facilitate body awareness actor for the performance of the scene, leaning on the concepts of anatomy and kinesiology. It starts from the assumption that the actor, to know its structure, stimulates your body perception and awareness of movements needed to create the role. In the Performing Arts field the research is
based on the idea of providing the actor's training through body techniques that lead to
increase the knowledge of himself to achieve readiness needed for staging and its axis is the work of physical actions referenced by Method of Physical Actions of Stanislavsky,
Grotowski Laboratory Theatre and the Theatrical Anthropology Barba. Beyond references and theorists cross the search, characterized as a case study with a descriptive and qualitative approach, discusses and questions, through reports of actors and practical experiments carried
out in rehearsal rooms, if the inclusion of content related to organic construct the human body in the context of preparation, from the point of view of anatomy and kinesiology, with the support of Pilates and Global Postural Reeducation (RPG), may provide the actor to access the body awareness in order to facilitate the composition process of physical actions over the development of a scenario.
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Milne, Christina Lucy. "Group devised performance : the study of a group devised performance piece as a rehearsal method in a high school environment /." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030902.114718/index.html.
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Roustant, Jean-Philippe. "Psychopathologie du regard et de l'acte dans la clinique du sujet incarcéré." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30013/document.
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L’approche de la problématique des agirs via les tests projectifs en se penchant sur l’expression des défaillances narcissiques du sujet, propose, le plus souvent, une vision unitaire basée sur le mécanisme du recours à l’acte tel que définit par Balier. Nous proposerons de traiter cette question à partir d’une dimension plurielle différenciant deux types d’agirs : le recours à l’acte (Balier) et l’acting-out (Lacan). Nous présenterons une étude mixte, quantitative et qualitative, à partir de la comparaison de Rorschach et TAT administrés à 24 sujets. Notre analyse de ces deux formes d’agir portera principalement sur la capacité du sujet à pouvoir ou non se différencier de l’environnement. Le groupe recours à l’acte se caractérise par une continuité intérieur / extérieur et un transitivisme morbide expression d’une absence de constitution d’un soi différencié. Le groupe acting-out présente une problématique narcissique spécifique dans la validation du spéculaire par le symbolique. Les prises en charges thérapeutiques peuvent ainsi s’aider de ces résultats pour proposer des approches différentielles au sein desquelles les tests projectifs pourraient avoir une fonction pré-thérapeutique<br>In the modern societies, the answer to the criminal act is a prison sentence. Due to the nature of certain acts, with this prison sentence, some court-ordered treatments (COT) (obligations and injunctions of treatments) have been added. Ethically, this law request and its social asking don’t exempt to think about the prisoner ‘asking, which is the trigger of psychotherapies. There is any retroactivity of the law and of pronounced sentence. For this research, the prisoners were selected on their own asking of care (the court-ordered treatments couldn’t applicate). The asking of the prisoners is therefore a criterion common to them (these prisoners). In this context, the acts have distinguished according to the mechanisms which have governed the nature of the act: recourse of act or acting out. Many experts agree on the existence of premature narcissistic failures. However, discussions persist on the nature of the act and on its aspect, either single dimension or multiple and complex dimensions (objective behavior, social consequences and underlying mechanisms ...). Yet all these theoretical models on narcissistic failures lean on the “recourse to act” as if there was only a simple nature to act
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Mayrthaler, Laura [Verfasser], and Josef [Akademischer Betreuer] Eberle. "Next Generation Sequencing as screening method for resistance associated variants in Hepatitis C Virus before treatment with direct acting antivirals / Laura Mayrthaler ; Betreuer: Josef Eberle." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2019. http://d-nb.info/1196528918/34.
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Facio, Robert J. "How to Tame a Shrew (11 Things I Hate About Her) An Actor's Method to Characterizing Petruchio in The Taming of the Shrew." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1794.
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The Taming of the Shrew is an early comedy that exposes the oddities we take for granted: curious conventions, wild assumptions, gender roles, relationships, social status, fashion, and everything else we know so defectively. The given circumstances of the script and Petruchio are specific in choice, yet broad in interpretation. Petruchio, the catalyst behind Katherine’s character arc, needed to not only be believable in his ways, but likeable by the audience.
This thesis examines the process required to successfully develop and bring to life the character of Petruchio to our modern audience. It includes historical background information on William Shakespeare and the origins of the play itself, Sanford Meisner’s Techniques (moment-to-moment analysis & actioning) and Konstantin Stanislavski’s system are included with the scored actor’s script, journals recorded by the actor to verify his victories and defeats during the six-week production process and critiques to support the success of the production.
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McLaughlin, James Anthony. "Meisner across paradigms : the phenomenal dynamic of Sanford Meisner's technique of acting and its resonances with postmodern performance." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8066.
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The Meisner Technique emerged as a part of the realist, modern theatre of the early-Twentieth Century and extended its influence through the rest of that century, including the 1960s and 1970s when there was an explosion of various forms of postmodern performance. This work will demonstrate that while Meisner’s Technique is a part of the paradigm of modern, realist theatre, it simultaneously challenges this ideology with disruptive processes of the sort that postmodern performance instigates. It is the thesis of this work that the Meisner Technique operates according to a set of phenomenologically-aligned imperatives that create strong resonances with certain forms of postmodern performance. This establishes the dynamic wherein the Meisner Technique is able to enter into discourse with instances of the postmodern paradigm of performance. In the first three chapters I will conduct in-depth analyses of Meisner actors’ relationships with their environment, their fellow performers, and their actions from a range of phenomenological perspectives. In the fourth chapter I will apply the conclusions of these analyses to the operation of the Meisner Technique within the paradigm of modern, realist theatre. In the fifth chapter I will set a backdrop to the postmodern field and suggest the issues from this tradition with which the Meisner Technique might resonate. Chapters Six, Seven, and Eight each take one example of an artist from the postmodern field, Richard Foreman, Michael Kirby, and Robert Wilson respectively, establishes their own particular context, and suggests those processes relating to acting/performing technique that might provoke the most productive exchanges. This juxtaposition suggests the places between the practices where discourse might take root and suggests the beginnings of such dialogues.
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Guilbon, Gérard. "Impact des régulations émotionnelles au travail sur l'épuisement professionnel des soignants en gériatrie : étude des effets de la méthode Gineste et Marescotti." Thesis, Bordeaux 2, 2013. http://www.theses.fr/2013BOR22086/document.
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L’objectif de cette thèse est d’étudier les impacts de la régulation émotionnelle sur l’épuisement professionnel des soignants en gériatrie et plus particulièrement en mesurant les effets de la méthode Gineste et Marescotti. Lors d’une première étude, nous avons observé les états émotionnels psychologiques et physiologiques induits par deux séquences de film chez 25 sujets. Au cours de deux autres études, nous avons étudié les liens entre les régulations émotionnelles au travail, les variables de personnalité, les variables dispositionnelles et les variables contextuelles puis le rôle des régulations émotionnelles au travail dans la prédiction de la détresse psychologique chez 885 étudiants en IFSI et IFAS et dans la prédiction du burnout chez 157 professionnels en gériatrie. Enfin une quatrième étude nous a permis d’étudier les impacts de la méthode Gineste et Marescotti sur un échantillon de soignants en gériatrie. Les résultats montrent que la dissonance émotionnelle génère un stress signalé par une augmentation de la fréquence cardiaque. Le jeu en surface et le jeu en profondeur dépendent à la fois des caractéristiques de personnalité, des stratégies de régulations émotionnelles dispositionnelles et des prescriptions internes et externes, mais pas des stratégies de coping. De plus, le travail émotionnel contribue réellement à prédire le burnout mais pas la détresse psychologique. Enfin, la méthode agit sur les professionnels formés et satisfaits et plus spécifiquement sur le coping émotionnel, le jeu en surface, la demande psychologique, le burnout et le conflit de valeurs. La satisfaction associée à la capacité à mettre en œuvre la formation influence le burnout<br>The objective of this thesis is to study the impact of emotion regulation on burnout in geriatric nursing, especially in measuring the effects of Gineste and Marescotti method. In a first study we observed the psychological and physiological emotional states induced by two movie clips in 25 subjects. In two other studies we investigated the relationship between emotional regulation at work, personality variables , dispositional variables and contextual variables and the role of emotional regulation at work in the prediction of psychological distress among 885 students IFSI and IFAS and the prediction of burnout among 157 professionals in geriatrics. Finally, a fourth study, we study the impacts of Gineste and Marescotti method on a sample of geriatric caregivers. The results show that emotional dissonance creates a stress indicated by an increase in heart rate. The surface acting and deep acting depend on both the characteristics of personality, emotional regulation strategies dispositional and internal and external requirements but not coping strategies. In addition, the emotional labour actually helps predict burnout but not psychological distress. Finally, the method is trained and satisfied on the level of emotional coping professionals, surface acting, psychological demand, burnout and conflict of values. Satisfaction associated with the ability to implement training influences burnout
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Provost, Rebecca. ""Don't Tread On Me": Reading The Dialectical Nature of Laura Linney's On Screen Performance Process." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_theses/180.
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Laura Linney has an extensive education and experience in performance, which has influenced her to create a well-defined methodology when she approaches new roles. She uses a dialectical approach to performance. This approach has two parts as she outlined in a personal interview: phase one is her research, education, understanding of the script, and previous experiences working together to create a character, while phase two is her release of control over the character and the opportunity for the text (film or otherwise) and role to take on their own distinct personalities. This means that Linney eventually gives up agency over her characters in order for them to be effective and successful in the whole of a film. In effect, her characters are created by numerous influences within and outside her range of control. My intentions in this article are to prove that this dialectical methodology is prominent within all aspects of Laura Linney?s performances. In fact, I suggest that her utilization of this technique is what makes her a dynamic, effective, and unique actress. The dialectical nature of her performance techniques can be observed most effectively in specific breakthrough moments within her films. These moments exist most prominently in Linney?s films that are rooted in close character analysis like You Can Count On Me, The Savages, and the HBO mini-series John Adams. Close textual analyses of these scenes show a dramatic hiatus from the standard performance that she has used to help build a character. They show distinct differences between characters, which reinforces my point that each role is not only mandated by Linney?s creative power over her acting, but also a complete release of this control. They highlight how Linney allows herself to be directed and molded to develop deep, complex characters that work organically within the greater text of the film.
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Keith, Caleigh M. "The Spirit of the Spitfire: Creating the Role of Nancy Shedman in Romulus Linney's "Holy Ghosts"." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1593.
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This thesis explains the acting method used by Caleigh Keith while portraying the role of Nancy Shedman in Romulus Linney’s Holy Ghosts. Included are chapters of historical research, character analysis, and a production report, which includes a scored script, rehearsal and performance journal, and a self-evaluation of the actor’s work. Holy Ghosts was produced by Theater UNO at the University of New Orleans in the Robert E. Nims Thrust Theater of the Performing Arts Center. It opened Tuesday, February seventh, and ran through Sunday, February twelfth, two thousand and twelve. Evening performances were at seven-thirty and Sunday’s matinee was at two o’clock in the afternoon.
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Lestang, Thibault. "Numerical simulation and rare events algorithms for the study of extreme fluctuations of the drag force acting on an obstacle immersed in a turbulent flow." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSEN049/document.
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Cette thèse porte sur l'étude numérique des fluctuations extrêmes de la force de traînée exercée par un écoulement turbulent sur un corps immergé.Ce type d'évènement, très rare, est difficile à caractériser par le biais d'un échantillonnage direct, puisqu'il est alors nécessaire de simuler l'écoulement sur des durées extrêmement longues. Cette thèse propose une approche différente, basée sur l'application d'algorithmes d'échantillonnage d'événements rares. L'objectif de ces algorithmes, issus de la physique statistique, est de modifier la statistique d'échantillonnage des trajectoires d'un système dynamique, de manière à favoriser l'occurrence d'événements rares. Si ces techniques ont été appliquées avec succès dans le cas de dynamiques relativement simples, l'intérêt de ces algorithmes n'est à ce jour pas clair pour des dynamiques déterministes extrêmement complexes, comme c'est le cas pour les écoulement turbulents.Cette thèse présente tout d'abord une étude de la dynamique et de la statistique associée aux fluctuations extrêmes de la force de traînée sur un obstacle carré fixe immergé dans un écoulement turbulent à deux dimensions. Ce cadre simplifié permet de simuler la dynamique sur des durées très longues, permettant d'échantillonner un grand nombre de fluctuations dont l'amplitude est assez élevée pour être qualifiée d'extrême.Dans un second temps, l'application de deux algorithmes d’échantillonnage est présentée et discutée.Dans un premier cas, il est illustré qu'une réduction significative du temps de calcul d'extrêmes peut être obtenue. En outre, des difficultés liées à la dynamique de l'écoulement sont mises en lumière, ouvrant la voie au développement de nouveaux algorithmes spécifiques aux écoulements turbulents<br>This thesis discusses the numerical simulation of extreme fluctuations of the drag force acting on an object immersed in a turbulent medium.Because such fluctuations are rare events, they are particularly difficult to investigate by means of direct sampling. Indeed, such approach requires to simulate the dynamics over extremely long durations.In this work an alternative route is introduced, based on rare events algorithms.The underlying idea of such algorithms is to modify the sampling statistics so as to favour rare trajectories of the dynamical system of interest.These techniques recently led to impressive results for relatively simple dynamics. However, it is not clear yet if such algorithms are useful for complex deterministic dynamics, such as turbulent flows.This thesis focuses on the study of both the dynamics and statistics of extreme fluctuations of the drag experienced by a square cylinder mounted in a two-dimensional channel flow.This simple framework allows for very long simulations of the dynamics, thus leading to the sampling of a large number of events with an amplitude large enough so as they can be considered extreme.Subsequently, the application of two different rare events algorithms is presented and discussed.In the first case, a drastic reduction of the computational cost required to sample configurations resulting in extreme fluctuations is achieved.Furthermore, several difficulties related to the flow dynamics are highlighted, paving the way to novel approaches specifically designed to turbulent flows
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Crothers, Chelsea. "Performer training evolutions: NSP the firstborn son of SMAT." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2414.
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This study examined the Nobbs Suzuki Praxis (NSP), a performer training that evolved as an Australian variant of the Japanese Suzuki Method of Actor Training (SMAT). There has been little research on NSP up until now and this study seeks to establish its importance as a training approach that has the potential to be transformative for the performers who practice it. The study utilised a multi-modal approach that included traditional and practice as research methodologies. The origins of NSP in SMAT were traced to identify similarities and differences, and reveal NSP’s inspirations and the reasons for its subsequent divergent evolution. NSP diverged as the result of an attempt by John Nobbs to clarify misconceptions about SMAT: that it is ‘movement-training’ as opposed to actor-training, that it is an exclusively Japanese theatre form as opposed to a method that could travel and transcend cultural boundaries, and that it is a directorial aesthetic or style of performance rather than a wholistic performer-training. NSP divergences were identified as alterations or additions, depending on their degree of separation from SMAT. This exegesis argues that NSP is more accessible to a broader participant group than SMAT. ‘Broader’ here means the training is more accessible to different ages, levels of experience and physical capacity. The study highlighted the particular intention in NSP of awakening a performer’s personal mythology, a uniquely individual performative state. Workshops and interviews were conducted with beginners to the training to explore the effects of NSP, revealing that it creates more formats for performers to awaken and unleash the potential of their personal mythology. While an experienced and perceptive facilitator is invaluable to a performer’s development, the performer’s access to revelatory experience was evidenced to be independent of what might be characterised as a ‘hierarchical master-student’ relationship. NSP is just one possible permutation of SMAT but this study demonstrates how NSP empowers advanced practitioners to, in turn, develop their own variations on SMAT and NSP as they respond to the individual and specific needs of their context.
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Rönkkö, Kari. "Making Methods Work in Software Engineering : Method Deployment - as a Social Achievement." Doctoral thesis, Ronneby : Blekinge Institute of Technology, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-00264.
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The software engineering community is concerned with improvements in existing methods and development of new and better methods. The research approaches applied to take on this challenge have hitherto focused heavily on the formal and specifying aspect of the method. This has been done for good reasons, because formalizations are the means in software projects to predict, plan, and regulate the development efforts. As formalizations have been successfully developed new challenges have been recognized. The human and social role in software development has been identified as the next area that needs to be addressed. Organizational problems need to be solved if continued progress is to be made in the field. The social element is today a little explored area in software engineering. Following with the increased interest in the social element it has been identified a need of new research approaches suitable for the study of human behaviour. The one sided focus on formalizations has had the consequence that concepts and explanation models available in the community are one sided related in method discourses. Definition of method is little explored in the software engineering community. In relation to identified definitions of method the social appears to blurring. Today the software engineering community lacks powerful concepts and explanation models explaining the social element. This thesis approaches the understanding of the social element in software engineering by applying ethnomethodologically informed ethnography and ethnography. It is demonstrated how the ethnographic inquiry contributes to software engineering. Ethnography is also combined with an industrial cooperative method development approach. The results presented demonstrate how industrial external and internal socio political contingencies both hindered a method implementation, as well as solved what the method was targeted to do. It is also presented how project members’ method deployment - as a social achievement is played out in practice. In relation to this latter contribution it is provided a conceptual apparatus and explanation model borrowed from social science, The Documentary method of interpretation. This model addresses core features in the social element from a natural language point of view that is of importance in method engineering. This model provides a coherent complement to an existing method definition emphasizing formalizations. This explanation model has also constituted the underpinning in research methodology that made possible the concrete study results.
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Daniels, Thomas. "Studies in Methods of Performance Pedagogy." Marietta College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1335346433.
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Beivydaitė-Jarašiūnienė, Giedrė. "Aktyvių grupinių mokymo metodų taikymo privalumai, pažįstant XX a. dailę XI - XII klasėse." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090629_140354-97265.
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Aktyvūs grupiniai mokymo metodai skatina mokinių kritinį mąstymą, padeda ugdyti kūrybiškumą ir daro darbą aktyvesnį, įdomesnį, tokiu būdu padeda formuotis brandžiai, mąstančiai, atsakingai asmenybei, gebančiai savo gebėjimus pritaikyti gyvenime.<br>Active group work teaching methods promote studets' logical thinking, help to foster creativivy and makes the work stronger, more interesting and in this way contributes to the formation of mature, thinking, responsible personality capable of adapting his abilities in life.
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Galor, Abraham. "Fuzzy logic control: The active cell method." Case Western Reserve University School of Graduate Studies / OhioLINK, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=case1057689901.
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Sarathy, Sudarshan. "Enhanced condensation with active methods." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/107064.
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Thesis: S.M., Massachusetts Institute of Technology, Department of Mechanical Engineering, 2016.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 59-64).<br>Condensation of low surface tension fluids is important in liquefied natural gas processing and refrigeration systems. Current state of the art low surface energy low hysteresis coatings are not able to achieve dropwise condensation below 10 mN/m. Surface acoustic waves are proposed as an active method to shed thin condensate films to reduce their thermal resistance and improve heat transfer coefficients. Interdigitated electrode patterns were fabricated on piezoelectric LiNbO3 wafers and SAW waves were generated with RF voltages in the 12.5 - 100 MHz regime. These were tested in the in-house condensation rig with Ethanol, Pentane, Hexane and Perfluorohexane. Heat transfer coefficients showed more than 2X improvement over standard filmwise condensation. Further, the effect of refrigerant side heat transfer enhancement in a condenser operating in a vapor compression refrigeration cycle is studied as a potential application.<br>by Sudarshan Sarathy.<br>S.M.
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Corpeno, Rebeca. "Development of method for myosin- and actin-measurements in musclefibers." Thesis, Uppsala University, Department of Medical Biochemistry and Microbiology, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-9172.
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<p>The purpose of this study was to gain more knowledge about the deleterious effects of decreased muscle protein concentration on skeletal muscle function, by measuring the concentrations of myosin and actin in single pig muscle fibres. The pigs were earlier used in an experimental animal model to study the early stages of acute quadriplegic myopathy (AQM), a disease that is found in mechanically ventilated intensive care unit patients. Percutaneous biopsies were taken from these pigs and where now used in this study.</p><p>Even though the method used was accurately tested and theoretically working, certain problems arose. These problems were unexpected and caused problems to the study. The method used to measure the concentration of myosin and actin, an ELISA, gave no logical results. The reason could not be found and because of the time limit of this project no results from the AQM-pigs were gained. The efforts to make the method work is described and discussed.</p>
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Cormier, Jason Briggs. "Learning to listen the collaboration and art of the SITI Company /." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1133357032.
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Huang, Jian Giles C. Lee. "A multiclass boosting classification method with active learning." [University Park, Pa.] : Pennsylvania State University, 2009. http://etda.libraries.psu.edu/theses/approved/WorldWideIndex/ETD-4765/index.html.
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