Department: Theatre Arts ![[clear]](close-x.png "Remove this limiter")
16 matches in the database.
These are records: 1 - 16.
1.
Duke, Wendy S.
Experiencing Ionesco’s Nightmare World: The Preparation and Production of Man with Bags.
Degree: MA, Theatre Arts, 2010, University of Akron
► Eugene Ionesco’s absurdist drama, Man with Bags, is given an environmental staging…
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▼ Eugene Ionesco’s absurdist drama, Man with Bags, is given an environmental staging in which the audience moves along with the lead character, named First Man, as he travels back to the land of his birth. This thesis presents background research linking biographical details of Ionesco’s life story with the events taking place in the play and then relates them to contemporary socio-political events. It discusses the process used to cast, rehearse and present the play at The University of Akron, utilizing several performance spaces in an environmental presentation. It includes production photographs and responses from the actors and the audience.
Advisors/Committee Members: Slowiak, James.
Subjects: Theater
Keywords: Eugen Ionesco; Man with Bags; Environmental Theatre; Absurdist Theatre
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2.
Evans-DelCiappo, Robin M.
Project PARTnertship: The Effects of the Arts on Students with Disabilities.
Degree: MA, Theatre Arts, 2008, University of Akron
► The arts play an essential role in the education of students with…
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▼ The arts play an essential role in the education of students with learning disabilities. The learning disabled students in a regular educational setting, sometimes deal with self-esteem issues. A program called Project Partnership, which teaches the arts in an environment unlike a regular educational setting, has shown an improvement in the self-esteem of students with learning disabilities. The arts instructors in the program are regular artists and not necessarily educators of their art. Project Partnership runs in a typical nine month school year and sessions taught include visual art, dance, theatre, and music. The program culminates at the end of the year with an arts fieldtrip i.e. to a museum or theater performance and then a visiting artist with a disability performs for all the students. Students, teachers, and artists involved with Project Partnership were surveyed and this evidence proves the program was successful in increasing the self-esteem of the learning disabled student.
Advisors/Committee Members: Migid, Adel.
Subjects: Art education; Education; Special education
Keywords: Arts; Disabilities
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3.
Fatzinger, Stefanie Abbott.
Weaving Together the Curriculum Through the Integration of Drama in the Classroom: Presenting Spoon River Anthology.
Degree: MA, Theatre Arts, 2010, University of Akron
► Objectives- The primary goals of this thesis was to illustrate, through the…
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▼ Objectives- The primary goals of this thesis was to illustrate, through the production of the theatrical production, Spoon River Anthology by Edgar Lee Masters, that a theatrical production may be used to provide integration opportunities for other areas of the high school curriculum and the staff and students of the high school. The theatrical production and the academic integration were completed at Jackson High School in Massillon, Ohio during the 2008-2009 academic year. In addition, the other goals of the project were to illustrate how the choice of a theatrical production may assist in improving the overall quality of the Theatre program in a school district, thus making it more accessible, appealing, and ultimately, educational to a larger population of students. Methods- Integration of Theatre was accomplished through study of all academic areas of the Ohio State Academic Standards and using Theatre to accomplish those standards in several different content areas. Theatre may also be used as a means of preparation or review for standardized tests, such as the OGT in English and Social Studies areas. Additionally, involving staff offered the opportunity for them to collaborate with the Theatre teacher and create multi-faceted learning opportunities. Development of the Theatre program involved collaboration with students, staff, and parents. This made the Theatrical Production connect to a larger audience. Results- Teachers want to collaborate but often do not due to time conflicts and budgetary constraints. Overall staff members enjoyed the integration and wanted to do for future theatrical productions. The teachers were willing to assist in making the production a success by offering their talents and the talents of their students. The number of students who participated in the theatrical production was exceeding larger than any previous school year. Conclusions- Theatre productions are designed to teach. They should be used to reach a larger number of students than those actually in the production. They can be used to teach through production opportunities and academic integration. Ultimately these activities may lead to the growth of the Theatre program and provide enrichment for other students who may never have chosen to take part in the Theatre program (or other arts programs) in the school.
Advisors/Committee Members: Slowiak, James.
Subjects: American literature; Art education; Curricula; Education; Fine Arts; Language arts; Teaching; Theater
Keywords: American Literature; Spoon River Anthology; Theatre Education; Curriculum; Arts Education; Theatre in Education; Language Arts; High School Theatre Production; Performing Arts
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4.
Henderson, Lisa A.
The Story of Love.
Degree: MA, Theatre Arts, 2006, University of Akron
► My impetus for doing this project was a passion for presenting ballroom…
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▼ My impetus for doing this project was a passion for presenting ballroom dance; the wish to grow as a director and choreographer and the desire to use my recombinant scripting skills. In the traditional approach to learning, one skill is emphasized in each discipline. Directing is learned in theatre classes, dance in the ballet studio and writing organization in an English class, while attending movies and developing a passion for them is done for relaxation. As a student, both formally and informally, of all these arts, this thesis gave me opportunity to combine all of these skills in one project. By scripting an original show that allowed me to combine drama scripts with movie clips and teach original choreography within the traditional ballroom format and aesthetics, I felt I would be able to grow as a writer, a choreographer and director.
Advisors/Committee Members: Pope, Durand.
Subjects: Theater
Keywords: rock step; dance; ballroom; Renee; cha-cha; Luke; Antwon
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5.
Hotze, Robert George.
The Directing of Buried Child.
Degree: MA, Theatre Arts, 2007, University of Akron
► This thesis documents the work of Robert George Hotze as producer and…
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▼ This thesis documents the work of Robert George Hotze as producer and director of Buried Child by Sam Shepard at The University of Akron. The performances were given July 14, 15, and 16, 2006 in Daum Theatre on the university campus. This thesis describes and analyzes the process and techniques used in the preparation and performances of this production. Within the analysis of this production, the director also offers some reflections on how this project has helped to train him as a director. The thesis concludes by offering some suggestions for those individuals who might be considering such a project.
Advisors/Committee Members: Slowiak, James.
Subjects: Theater
Keywords: Buried Child; Sam Shepard; Theatre Production; Directing A Play
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6.
Johnson, Anthony Lewis.
Training the Young Actor: A Physical Approach.
Degree: MA, Theatre Arts, 2009, University of Akron
► There are many acting techniques that teach a physical approach to adult…
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▼ There are many acting techniques that teach a physical approach to adult actors, but how can these principles be adapted for high school students? This thesis serves as a guide on how to teach acting to secondary school students using a physical approach. Beginning with a basic history of the system of physical actions, as conceived by Konstantin Stanislavski and further developed by Jerzy Grotowski and others, this guide defines the basic principles of physical acting, including physical actions, mental action, mind and body, interaction, tempo-rhythm, verbal action, physical characterization, and total action.
Advisors/Committee Members: Slowiak, James.
Subjects: Education; Secondary education; Teacher education; Theater
Keywords: Konstantin Stanislavski; Jerzy Grotowski; Actor Training; Physical Actions; Secondary Education
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7.
Jones, Gaybrielle Irene.
Using Drama Therapy Techniques in Secondary Education.
Degree: MA, Theatre Arts, 2012, University of Akron
► WHAT IS DRAMA THERAPY? Throughout history different forms of therapy have been…
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▼ WHAT IS DRAMA THERAPY? Throughout history different forms of therapy have been used as treatment for emotional, mental, and physical illnesses. Among therapists and psychiatrists there is a long tradition of treating these illnesses through drama. The British Association of Drama Therapists defines drama therapy as “the means of helping to understand and alleviate social and psychological problems, mental illness and handicap; and of facilitating symbolic expression, through which man may get in touch with himself both as individual and group, through creativity structures involving vocal and physical communication”(Landy 135). Drama therapy is often concerned with how the patient expresses pain and inner turmoil. Theatre activities in and of themselves are known to have a therapeutic aspect, providing a safe outlet for emotions, a tool for building self-confidence, and a structure for healthy social interaction and integration. The great Russian director and acting teacher Constantin Stanislavski even entitled the first volume of his book on acting, The Actor's Work on Himself. Secondary school teachers who are interested in applying theatre techniques in their classroom must first recognize the therapeutic value of theatre activities and come to an initial understanding and appreciation of the methods and possibilities of drama therapy.
Advisors/Committee Members: Slowiak, James.
Subjects: Therapy
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8.
Kelsey, Jonathan Melvin.
The Writing of JI: From These Walls.
Degree: MA, Theatre Arts, 2009, University of Akron
► In the process of choosing this project, I looked to connect as…
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▼ In the process of choosing this project, I looked to connect as many of my personal interests as possible. The project needed to investigate an aspect of theatre, but given the various directions that the project could go, my interest in history and historical dramas was one avenue that I particularly wanted to explore. With this in mind, I found inspiration in the stories from a production of Edgar Lee Masters’ Spoon River Anthology that I recently directed. My connection to Dr. David Bush, the foremost expert on the history and excavation of Johnson’s Island and the Johnson’s Island Civil War Prisoner Depot, solidified my intentions. I decided to write a play based on the history, prisoner diaries and correspondence related to the Johnson’s Island Civil War Prisoner Depot. My interest in theatre is more than that of theatre as entertainment. I believe theatre also has the power to persuade, enlighten and even educate. The process through which theatre goes gives it the opportunity to reach, individually, all persons involved in the process, from the writing of the script to the actors, directors and audience. Unlike the sterile pages of a history book, the collaborative process of theatre can breathe new life into an historical event. Not only are the facts of history presented, but also the perspectives of the playwright, the director, and the actors. Finally, the spectators interpret the presentation of the drama and take from it their own understanding of history. The inclusiveness of the art form makes it an excellent and proven vehicle for historical drama.
Advisors/Committee Members: Slowiak, James.
Subjects: Fine Arts; History; Theater
Keywords: Civil War; Prisons; Playwriting; Johnson's Island; Ohio History; Historical Drama; William Peel
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10.
Miller, Judith A.
Harlem Intersection - Dancing Around the Double-bind.
Degree: MA, Theatre Arts, 2011, University of Akron
► Among those nurtured by the Harlem Renaissance were remarkable black women who…
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▼ Among those nurtured by the Harlem Renaissance were remarkable black women who choose to venture into the uncertain world of theatre as dancers and choreographers despite being doubly bound by gender biases and the challenges of a powerful racist white world. In spite of these challenges, the performing careers of Josephine Baker, Katherine Dunham, and Pearl Primus epitomized the spirit and character of African American dance, and their careers laid an enduring foundation for the generations that followed. This study attempts to ascertain the extent to which the intent of their choreography depended upon their ability to bring a broader acceptance of staging black dancing bodies.
Advisors/Committee Members: Pritchard, Robin.
Subjects: Performing Arts
Keywords: black female dancers; Josephine Baker; Katherine Dunham; Pearl Primus
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11.
Neighorn, C. Allen.
Los Actos of El Teatro Campesino and Luiz Valdéz 1965-1967: A Study with Comparison to the Early English Morality Play.
Degree: MA, Theatre Arts, 2008, University of Akron
► Luis Valdéz is a significant playwright, producer, director and actor of the…
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▼ Luis Valdéz is a significant playwright, producer, director and actor of the second half of the twentieth century. He was twenty five years of age and one year out of university when in 1965 he began organizing El Teatro Campesino [The Theatre of the Farmworker]. El Teatro was a collaborative theatre company which was initially associated with the United Farmworkers Union. The researcher’ interest in this study grew out of a thirty-year personal and professional association with the Mexican-heritage / Latino / Chicano community in rural Northern California. The researcher uses a Cultural/Critical Rhetorical analysis approach. The study considers the significance of the Acto [act or play] and the contribution made by El Teatro Campesino and Luis Valdéz. The elements of the study include the historic setting, ethnic labels and cultural values, ethnic and cultural politics, social protest, Valdéz as the progenitor of El Teatro Campesino. The study focuses on the early Actos from 1965 to 1967. A categorical comparison is made between Los Actos and the Moralities or English morality plays. This is followed by a comparison between Everyman (c. 1495) and Las dos caras del patroncito [The two faces of our beloved patron/boss] (1965). Further consideration is given to insights provided by the Pedagogy of the Oppressed by Freire on El Teatro Campesino, a commentary on the study, and a conclusion, followed by further research suggestions. This study concludes that all of the essential elements of morality plays are present in the Acto.
Advisors/Committee Members: Slowiak, James.
Subjects: Hispanic Americans; Rhetoric; Theater
Keywords: Valdez; Chavez; Juerta; Huerta; Teatro Campesino; UFW; United Farmworkers; Morality; Acto; Mytho; Latino; Latina; Mexican; Mexicano; Chicano; Chicana; Strike; Huelga; 1965; 1967; 1500; Medieval; Cycle Plays; Corpus Christi; Theater
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12.
Obney, David M.
The Actor in the Space: The Influence of Space on the Construction and Creation of the Role of Macbeth.
Degree: MA, Theatre Arts, 2007, University of Akron
► Space is an essential tool for actors. An actor must perceive the…
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▼ Space is an essential tool for actors. An actor must perceive the space and use it – all of it, not only the stage area. An actor must learn to see the space for what it is—the literal space of the theatre so he or she is not swept away into a world built solely in his imagination. The actor should learn to use the different landmarks to guide his precise actions. An actor must work to own the space, so he or she feels at home in the theatre. The actor must sensitize himself to the space, training himself to be a highly sensitive organism capable of instant, precise reactions to the stimuli found within. The actor must learn to trust his intimate knowledge of the space, stay within the moment, and extend his energy beyond the stage. The actor must understand how his or her internal space must be cleared of clutter so that he or she might connect to the external space. The actor should know that the space of the text promises a wealth of information, but the text must be woven into the physical acting score. The actor should be vigilant to remain attentive to all areas of space, including the space between.
Advisors/Committee Members: Slowiak, James.
Keywords: acting process; space; internal space; external space; Macbeth; scansion; text; textual analysis; rehearsal behavior; sacred space; actor's tools; controlling the space; linear movement; curved movement; movements; engaging body and mind
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13.
Shepard, Brandi A.
Using Dramatic Literature to Teach Multicultural Character Education.
Degree: MA, Theatre Arts, 2011, University of Akron
► In the fast-paced, ever changing society in which Americans live, where children…
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▼ In the fast-paced, ever changing society in which Americans live, where children bring guns to school, hate crimes are committed daily, and the suicide rate is rising, character education is essential. Multicultural character education will not only help create stronger individuals, but stronger societies. Throughout history educators have used drama to teach multicultural character education effectively. This thesis examines the need for multicultural character education, with special attention and lesson plans devoted to sexual orientaion and disability awareness.
Advisors/Committee Members: Slowiak, James.
Subjects: Educational Psychology; Educational Sociology; Education Philosophy; Fine Arts; Glbt Studies; Language Arts; Literature; Minority and Ethnic Groups; Multicultural Education; Performing Arts; Psychology; Religious Education; School Counseling; Social Research; Teaching;
Keywords: character education; dramatic literature; homophobia; discrimination; lesson plan, LGBT, The Laramie Project; And They Dance Real Slow in Jackson; multiculturalism; disability
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14.
TerraNova-Webb, Ria G.
Folktales in Forty Minutes: A Creative Dramatics Approach to Integrated Learning and Character Education.
Degree: MA, Theatre Arts, 2005, University of Akron
► In this thesis I have organized process-drama theories into a workable model…
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▼ In this thesis I have organized process-drama theories into a workable model for a drama specialist in an elementary school setting that also meets standards in literacy in addition to standards in the art form. My goal is to engage urban elementary students in a dramtaic process that will enhance learning in literacy, develop social and dramatic skills, and lead students to develop a deeper awareness of themselves in relationship with others and the world around them.
Advisors/Committee Members: Slowiak, James.
Keywords: process-drama, folktales, integrated learning
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15.
Weber, Candice J.
The Process of Writing and Performing in a Live Wildlife Show.
Degree: MA, Theatre Arts, 2006, University of Akron
► The thesis documents the author's process of developing an educational live wildlife…
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▼ The thesis documents the author's process of developing an educational live wildlife show. Three main aspects of the process are examined in three of the five chapters: writing the show script; the actor's performance process; and the tasks of training and handling live animals in a show. The first chapter introduces the thesis by describing how many wildlife shows and spectacles in twentieth century America have evolved from mere human entertainment to tools used to educate the public about ecological natural history. Finally, Chapter Five summarizes the previous four chapters and makes a case for the important role that educational wildlife shows play in the field of environmental conservation.
Advisors/Committee Members: Slowiak, James.
Keywords: Theatre Occupations; Environmental Occupations; Performance Technique; Script Writing; Animal Training; Animal Handling; Animals in Entertainment; Environmental Education; Wildlife Education; Wildlife Entertainment; Wildlife Conservation
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16.
Wion, Brenda.
Transforming Actor Training: Michael Chekhov's Psycho-Physical Technique.
Degree: MA, Theatre Arts, 2008, University of Akron
► This thesis documents the work of Bren Wion, Director of Theatre for…
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▼ This thesis documents the work of Bren Wion, Director of Theatre for Copley High School in Ohio, in transforming actor training at her school. It begins with details of how the state certified theatre teachers in the past and the dissatisfaction with this type of method. The advantage of college training is discussed as well as the benefit of studying the works of great acting masters. Part of this research examines a Russian theatre timeline and explores the influence of Russian artists on transforming actor training and directing. A special focus on Michael Chekhov examines this actor/acting coach's role in establishing a new way of training actors on stage and in film. It also describes how Chekhov's work can be transformational for actors, directors, and individuals who study his unique method. The main purpose of this work is to document the changes a director grows through when yearning to be skilled in the theatre craft and examining Chekhov's technique as a logical stepping stone to create a production with a "spark." Reviews of past plays performed and the differences Chekhov-based directing provided are given. Talented teens, a dedicate theatre staff, and new exercises/concepts brought a production to life at a higher level than most Copley community members had ever seen before. This production of Steel Magnolias promotes the benefits of Chekhov's ideas today and suggests the great potential of his work and others for tomorrow. This paper is organized in a chronological sequence. The first chapter discusses the state certification process and the desire and need for change in theatre teaching/directing preparation. Chapter II examines the Russian timeline and influence in theatre. Chapter III then examines Michael Chekhov's vocabulary and exercises giving definitions and suggested activities. The next chapter discusses two plays that were screened by the International Thespian Society and the subsequent state invitation for Steel Magnolias. The final chapter provides a summary of the research and explores how Chekhov's technique will be advantageous beyond stage performances in our country's near future. It is concluded that Chekhov's work is beneficial and life-changing on stage and in life.
Advisors/Committee Members: Slowiak, James.
Subjects: Theater
Keywords: actor training; Michael Chekhov; psycho-physical; Steiner; metaphysical; Russian actor training; Russian theatre
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