Thesis (M.F.A.)--University of Wisconisn--Madison, 1981. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 65-66).

Thesis (M.F.A.)--University of Central Florida, 2008. / Adviser: Megan Alrutz. Includes bibliographical references (p. 79-81).

Thesis (Ph.D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 230-241). Also available on the Internet.

Why do so few contemporary dramatists write in metrical verse? One of the chief criticisms levelled at modern verse drama has been that playwrights’ use of verse fails to cohere with contemporary notions of dramatic action. As action-playing is largely a matter of text in performance, this thesis assumes that the best way to meet this challenge is to approach it as much from the perspective of the actor as from that of the playwright, and presents a psychophysical, action-based approach to the composition and analysis of metrical dramatic verse. Verse rhythm is explored through the application of Rudolf Laban’s concepts of Motion Factors and Working Actions, and with reference to contemporary theories of cognitive poetics. The rhythms of metrical verse are thereby understood and experienced as purposeful movements of the human body which are, in turn, understood and experienced as the psychophysical sensations of dramatic action. This approach, given the title of the Verse Psychology Game, draws together three original concepts: 1. Creating and interpreting dramatic texts according to Stanislavskian notions of action is a game, with the playwright as ‘gamewright’ and the actors as players. 2. The Motion in Poetry Metaphor: a conceptual metaphor that builds on the principles of the Laban-Malmgren System of ‘movement psychology’, allowing verse rhythms to be understood and experienced as embodied sensations of psychophysical dramatic action. 3. Hyperactivity: an ‘intensified’ form of action-playing that operates beyond the limits of ‘naturalistic’ performance. This enables a ‘specialist game’ in which verse serves a hyperactive dramatic function. Within this framework, metrical dramatic verse can be created and interpreted on the basis of its performative potential. This is demonstrated through the development of a new methodology for metrical analysis, ‘actorly’ interpretations of Shakespearean dramatic verse, a series of training exercises that ‘sensitise’ the playwright to the performative potential of verse rhythm, and the creation of original material for a new verse play. This approach also aids actors, directors and teachers when making interpretative choices. The theories and techniques of the Verse Psychology Game are pedagogical tools that can contribute to broader programmes on dramatic writing and inform the methodologies of conservatoire actor-training.

This thesis essay explores the journey that I have taken as an actor, highlighting the moments that have influenced my process. I will elaborate on specific experiences in the years leading to my matriculation at the University of Iowa, focusing on broader concepts and lessons that have impacted my beliefs. Through the use of storytelling, I will convey moments and lessons that have resonated with me throughout my time as an academic and professional actor. Furthermore, this essay will provide a broad scope of my beliefs as an artist and actor, while allowing room for the possibility of adaptation and expansion in the future. Finally, I will articulate my specific process as it stands now. Everything that I do from the day that I am cast to the end of performances will be outlined, and what I intend to work on as I move forward in my acting career.

This paper will point out the reasons for the great popular success of Katharine Cornell as an actress. This paper will examine the background of Miss Cornell to determine the influences that helped shape her career, and the theatre training that brought her to her first Broadway "hit." Special attention will be given to Miss Cornell's philosophy of acting as she expressed it in her autobiography and in interviews. Further, this paper will take each role played by Miss Cornell during her career and through the reviews of the dramatic critics determine the artistic merit of each role. Finally, the roles selected to be of artistic merit will again be subjected to the reviews of the drama critics to determine whether or not Miss Cornell achieved artistic excellence in her portrayal of them.

It is the purpose of this thesis to show that Max Reinhardt made a definite contribution to the theatre through ensemble acting.

Improvisational theater can tell us much about the driving social and cultural forces behind collaboration and collective constructions of reality, as well as the sorts of behaviors and practices that bolster their efficacy. The collaboration of the performers on generating a comedic piece of theater spontaneously from audience suggestions in a long improvisation creates a sense of what Victor Turner called communitas for the performers. That phenomenon can create a larger sense of socio-emotional unity between the audience and performers. Turning an anthropological lens on comedy theater, this presentation explores the performer-audience dynamic and its impact on the success of an improvised comedic performance. Research was conducted through an ethnography of improvisational acting troupes and their audiences in Rochester, New York, and presents a series of unique situated references that help delineate a social bond between the audience and performers, or a "micro" version of what Gary Allan Fine and Michaela DeSoucey term a "joking culture."

No description available.

Introduction It cannot be denied that employees bring their emotions to work, especially since emotions form a core part of individuals and cannot be separated from them and is thus part of organisational life. Emotions may influence an individual’s judgement, assessment and understanding of work events, and may therefore add to the complexity of work behaviour. The act of managing emotions and the emotional expressions at work for the purpose of compensation and consistency with the ‘display rules’ of an organisation is known as emotional labour. Emotional labour thus encompasses the management of feelings in an attempt to portray acceptable facial and bodily display to the public. Organisations have implicit and explicit emotional display rules that employees should abide, regardless of the employees’ felt emotions. Emotional labour is conducted by employees in an attempt to adapt, control or manage emotions viewed as inappropriate in the work environment. As such, emotional labour is associated with emotional regulation strategies, deep, surface or genuine acting. The concept of emotional labour has been developed and established within the services industry, for example, with flight attendants and teachers. This study aimed to explore how applicable the concept of emotional labour is within internal organisational services, namely, support staff in support departments across various South African industries. Research purpose The purpose of the study was to explore and describe the emotional labour strategies experienced and applied by support staff. The objectives are:  to explore the level of emotional labour performed by support staff  to describe to what extent difference in the levels of emotional labour occur across different support functions, and demographic groups  to describe the relationship that exists between emotional labour and intention to quit and job satisfaction. Research design, approach and method A cross-sectional survey design was used in this study. A non-probability sample was selected by means of availability and snowball sampling methods. The emotional labour scale, intention to quit and job satisfaction survey was administered to 269 individuals employed in support departments in paper-based and electronic format. The Statistical Package for the Social Sciences (SPSS) version 23 was used to conduct descriptive and correlational statistics on the data. Main findings The results of this study showed that support staff do perform emotional labour, with the use of all four emotional labour strategies, namely, hiding feeling, faking emotions, deep acting and genuine acting. Based on the sample used for this study, there was no statistical significant differences between gender, race and educational groups in terms of the emotional labour strategy used. There was, however, a weak, negative relationship between job satisfaction and surface acting, which was measured through hiding feelings and faking emotions. Even though the study was restricted by many methodological limitations, which are discussed in the last chapter of the dissertation, the study did provide some insight into the emotional labour levels and strategies performed by the support staff in the sample within a South African context. / Dissertation (MCom)--University of Pretoria, 2019. / Human Resource Management / MCom / Unrestricted