A police officer may be subject to anumber of complex situationsand stresses intheir everyday work in which different emotionsmay occur, and whereemotional labour is necessary.  Our intent of the study isto increase understanding of the emotional partof the police work. How the police areexperiencing an emotional preparation for work,experiencing the feelings that occur in work,and how emotions are processed. Wewill also see howthe police handlethe transmutation from their private feelings anddeal with the waythey express the emotional expressions that the colleagues and thepublic expect to see in different situations. We will see how theyhandle the transmutation from public feelings toprivate feelings again.The intention of the study is also to see if thereare organizational conditions that cansimplify the emotional labour of a police,and identify the conditions. We haveconducted seven qualitativeinterviews. By means of thecollected empirical and the theoretical basewe will analyze the emotional labour of a police, and analyze the factors that may affect the emotionallabour.The analysis describes the presence of individual factors, social support and organizational factorsthat can affectthe emotional workof a police. We illustratethe emotional workof a police with thehelp of a model that shows the relationship between different the factors. / Politietkan bli utsatt for en rekke komplekse og påkjennende situasjoner i sinarbeidshverdag hvor ulike følelser kan oppstå, og der et emosjonelt arbeid blirnødvendig. Vårt formål med studiet er å øke forståelsen for denemosjonelle delen i politiets arbeid. Hvordan politiet opplever forberedelsentil et emosjonelt arbeid, opplever følelsene som oppstår i arbeidet, samthvordan følelsene bearbeides. Vi vil også se hvordan politiet handtererovergangen fra sine private følelser, og handterer de slik at de viser defølelsesutrykk som kollegaer og allmennheten forventer seg å se i ulikesituasjoner. Vi vil også se hvordan overgangen handteres fra de offentligefølelsene til private igjen. Studiets formål er å se om det finnesorganisatoriske forutsetninger som kan forenkle det emosjonelle arbeidet til politiet,og hvordan disse ser ut. Vi har gjennomført syv kvalitative intervjuer. Med hjelp av den innsamledeempirien og studiets teoretiske utgangspunkt analyserer vi politietsemosjonelle arbeid, og faktorer som kan påvirke det emosjonelle arbeidet. Analysen beskriver at det finnesindividuelle faktorer, sosial støtte og organisatoriske faktorer som kanpåvirke det emosjonelle arbeidet til politiet. Vi illustrerer det emosjonellearbeidet til politiet med hjelp av en egen modell som viser sammenhengen mellomde ulike faktorene.

Thesis (MDram)--Stellenbosch University, 1997. / ENGLISH ABSTRACT: A thesis in which the author examines ways in which the director within an acting training institution may use the full-scale theatre production as a means of intense training for the students involved. The author contends that much of the theory and practical work taught within a classroom situation cannot be fully comprehended and/or brought to fruition if it is not tested and experienced within as realistic (pertaining to professional theatre) as possible a scenario, in the form of the student production. For the purposes of this thesis, the typical practical production process is used as a model and different areas in which the director may act as a teacher or catalyst to self-discovery are discussed largely in the order in which they might occur in practice. The author concludes that to provide intensive training through the production process would be a very time-consuming and costly endeavour, although very rewarding if it were at all possible. In addition to this, it would require a highly qualified director-trainer, with an holistic understanding of the 'theatrical art, who is prepared to invest a great amount of time and effort in such a production. Research for this thesis included reading material, practical directing and acting projects, and teaching practical acting in the capacity of a part-time lecturer at the University of Stellenbosch Drama Department. / AFRIKAANSE OPSOMMING: 'n Tesis waarin die outeur maniere ondersoek waardeur 'n regisseur binne 'n akteurs-opleidingsinstansie die volskaalse teaterproduksie kan gebruik as 'n metode vir intense opleiding vir die betrokke studente. Die outeur meen dat 'n groot gedeelte van die teorie en praktiese opleiding wat in die klaskamer weergegee word, nie ten voile verstaan of benut word, tensy die student dit beproef en beleef in so 'n realisties (wat professionele teater betref) moontlike scenario, in die vorm van 'n studenteproduksie. Vir die doeleindes van hierdie tesis word 'n tipiese produksieproses as model gebruik, en verskeie areas waarin die regisseur as onderwyser of katalisator tot selfontdekking kan optree, word grotendeels bespreek in die volgorde waarin dit in die praktyk mag voorkom. Die gevolgtrekking is dat intensiewe opleiding in die produksieproses 'n uiters tydsame en duur oefening sou wees, dog baie lonend indien prakties uitvoerbaar. Daarby sou dit 'n hoogs gekwalifiseerde regisseur-opleier verg, met 'n holistiese kennis van die teaterkuns, wat bereid is om baie tyd en moeite op s6 'n produksie te bestee. Navorsing vir hierdie tesis sluit in leeswerk, praktiese regie- en toneelspelprojekte sowel as klasgee in toneelspel as deeltydse lektor aan die Universiteit van Stellenbosch se Departement Drama.

Through an accidental discovery of an interest in the film making process, I decided to explore the opportunities that would come through self-education in the field. Along the way, I found that the process of working behind the camera can, in fact, help the actor’s career in front of the camera and provide a chance to train in a nontraditional way. After directing two projects (one simple and one more complicated), I decided to propose a class in which students would be required to self- produce their own video projects online. The class was vastly popular, and the students’ responses to the class work lined up with my learning objectives perfectly. The actor must take control of his/her career by constantly working on the craft, and that can easily be done through going out and shooting one’s own work. Even if it doesn’t result in being ‘discovered,’ the pursuit allows the actor’s creativity and perspective to be ever widening.

This thesis documents my rehearsal and performance of the role of Tiger in Rajiv Joseph’s Bengal Tiger at the Baghdad Zoo, including research, character analysis, role development, rehearsal journal, and an evaluation of my performance. Bengal Tiger at the Baghdad Zoo was produced by the UNO Department of Film and Theatre, under the direction of David W. Hoover. The play was performed at the Robert E. Nims Theatre of the Performing Arts October 2 - 4, 9 - 11 at 7:30pm, and October 12, 2014 at 2:30pm. The play was performed at the Kennedy Center American College Theatre Festival Region 6 in San Angelo TX, February 23, 2015 at 8pm, February 24 at 11am and 8pm. It was awarded the Director’s Choice Trophy, receiving awards for Distinguished Director (David W. Hoover), Lighting Design (Diane Baas), Scenic Design (Kevin Griffith), and Actor in a Principal Role (John Neisler).

Noises Off is the epitome of farce. Doors everywhere, mistaken identities, and unrequited love. The characters push themselves to the limit, both mentally and physically. They stop at nothing to put on their production and their stage manager, Timothy Allgood, becomes the babysitter of the group, which at times becomes comparable to herding cats. This document describes the journey made from casting to final bows. It contains biographical research on the playwright, Michael Frayn, as well as a historical look at the genre of farce, techniques pioneered by Sanford Meisner and Konstantin Stanislavski, along with materials, including a scored script, character analysis, personal evaluation, and rehearsal reflections.

This thesis includes the journey of Michael Lee becoming a professional actor by performing several characters within two contrasting productions. The first, "The Trojan Women", by Euripides, Michael portrayed Poseidon, Talthybius, and The Guard in ETSU's very own Bud Frank Theatre. Michael's second production included the character of Charles in the modern drama "Race" by David Mamet, which was held in the newly renovated Studio 205. Michael documented his growth as an actor through daily journal entries and analyzing the final performances.

Acting Mindfully, is a form of embodiment pedagogy that investigates the ways in which actors can explore their craft through a lens that connects them closer to their mind, body, and voice. The document draws content from a wide variety of theatrical movement and vocal practitioners in combination with mindfulness techniques including yoga, meditation, and energy work. Embodiment pedagogy allows the acting student to approach and perform scenes and monologues with truth and authenticity; while allowing them the ability to tell their own stories. In order to explore this work, a course, Acting and Mindfulness, was introduced at Virginia Commonwealth University as an experimental way to begin to connect students to their artistic work in a mindful way. This document includes research, as well as a mindful acting curriculum, that make connections to embodiment pedagogy.

This thesis paper presents the research and character development process that I undertook to play the role of Eva, in the Pomona College Fall 2012 production of Diane Samuels’ award winning play, Kindertransport. In the ten-months prior to the 1938 outbreak of World War II, nearly 10,000 predominately Jewish children from Germany, Austria, Czechoslovakia, and Poland were evacuated to Great Britain to escape the looming Holocaust. The program was given the name, Kindertransport (children’s transports) by German railway officials because only unaccompanied children under the age of 17 were allowed to leave. Once the Kinder arrived in England, host families took them in for what was believed to be a temporary stay. At the time, no one could have foreseen the challenges and consequences for the children that had been separated from their families and heritage. Samuels' play examines the themes of separation, survival and denial of one’s past through the character Eva, who at the age of nine is sent to England on one of the transports. The first part of this thesis concerns the historical events leading to the disenfranchisement of the European Jews, as well as the people and politics that were a part of the Kindertransport rescue network. The second aspect of this paper addresses the staging of Samuels’ play, my character study, and the role preparation that I carried out to play a Jewish German girl from the age of 9 through 17.

When first-line service providers are confronted with customers, they are usually demanded by the organization to display certain emotion to meet organization¡¦s service standard, such work condition is known as emotional labor. The purpose of present study was to explore the relationship between emotional management methods (i.e. surface acting and deep acting), the antecedents-personality (i.e. extraversion, agreeableness, conscientiousness, openness to experiences, and neuroticism) and the consequences-burnout (i.e. emotional exhaustion, depersonalization, and diminished accomplishment) of emotional labors. To be specific, the study examined the relationships between personalities with two ways of acting and burnout, and also tends to explore what sort of relationship exists between two ways of acting and burnout. To test these hypotheses, self-report data were collected from 186 cosmetics saleswomen through questionnaires. The results suggested that extraversion; agreeableness, conscientiousness, and openness to experiences had significant negative correlation with surface acting but had positive correlation with deep acting, and neuroticism had significant positive correlation with surface but negative correlation with deep acting; surface acting had significant positive correlation with three dimensions of burnout, while deep acting had significant negative correlation with three dimensions of burnout; the results also suggested that emotional management methods had moderating effect on the relationship of personalities and burnout. Implications for future research and service work were also discussed at the end.

This dissertation argues that Robert De Niro's performances in the 1970s mark him as pivotal a figure in the history of American film acting as Stella Adler, Elia Kazan, and Marlon Brando. De Niro's transformations into Vito Corleone, Travis Bickle, and Jake La Motta take the Method to the extreme, permanently changing our understanding of screen performance while revealing the relationships among authorship, agency, and acting. Utilizing rare artifacts from De Niro's recently donated materials to the Harry Ransom Center, I provide hitherto unseen evidence of his meticulous research, his conversations with directors, and his extreme bodily transformations that I argue constitute a truly unique iteration of the Method. Though certainly a student of Adler, De Niro's efforts to reshape productions around his characterizations and exercise his growing power to do whatever it takes - including rewriting dialogue to reflect vernacular speech, improvising scenes for spontaneity, and finding his own costumes – demonstrate a particular commitment to artistic truth, historical accuracy, and verisimilitude that mark him as inimitable within the diverse world of Method theorists, pedagogues, and practitioners. There is nothing, I argue, that appears in a De Niro film that has not been deliberated, discussed, or fought for by the actor, and I consider here how his filmography – including pivotal '70s films such as MEAN STREETS, TAXI DRIVER, THE DEER HUNTER, and RAGING BULL – speaks to a Method performance that extends beyond the screen and behind the scenes. Demystifying De Niro's "Method" therefore allows us to revisit key cinematic contributions to 1970s US film culture and significantly deepens our understanding of actor agency by troubling dominant historical narratives of production and confounding assumptions about on-set hierarchies. / text