Typescript. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1985. / Bibliography: leaves [478]-479. / Microfiche. / viii, 479 leaves, bound ill. 29 cm

Thesis (Ph. D.)--University of Oregon, 1999. / 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.

Thesis (Ph. D.)--University of Oregon, 2005. / 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.

Thesis (M.A.)--State University of New York at Binghamton, Theatre Department, 2005. / Includes bibliographical references.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 380-388). Also available on the Internet.

The lack of standardised and structured training, underscored by an academic discourse on film acting, necessitates the designing of a training programme that critically engages with this notion. This study aims to contribute to film acting as a field of study by designing, teaching and assessing the efficacy of a film acting training program. The film acting programme in question addresses the shifts between acting for theatre and acting for film, based on and contributing to scholarly discourse, whilst taking various learning preferences into account. This study makes use of mixed methods to answer the main research question – How does one teach the shifts from theatre acting to film acting? The answer to this question includes defining the shifts from theatre acting to film acting and the means through which these shifts can be taught to individual actors. Four sub-aims are consequently investigated. The first sub-aim examines the performance shifts from theatre acting to film acting. The commonalities in acting in both media are defined, so that the differences may become clear. The findings of sub-aim one serves as impetus for the second sub-aim, which explores several embodied acting approaches to determine how these approaches can be applied to the teaching of the differences between acting for theatre and acting for film. Pedagogical strategies pertaining to teaching and learning are consequently studied, and the elements of these strategies are incorporated in the designing and teaching of the film acting training programme in question (sub-aim three). The final aim focuses on the efficacy of the designed programme. Feedback from the facilitator, the participating actors and a panel of experts is discussed. It is concluded that this study offers a structured film acting training programme that facilitates the shifts from theatre acting to film acting while adhering to students’ thinking and learning preferences. / Thesis (PhD)--University of Pretoria, 2019. / Drama / PhD / Unrestricted

Bibliography: leaves 186-191. / This study documents Mavis Taylor's teaching of Improvisation at the University of Cape Town and provides a critical analysis of the improvisational methods she uses in the training of actors. It places her teaching within the wider field of improvisation understanding the importance of knowledge of 'self for the craft of acting. There is discussion around the role of the imagination and spontaneity in actor-training, and debate is raised regarding the concepts and practice of sensory and emotional memory training. The significance of teaching structure and form as a method for students to manipulate the medium of improvisation is argued, proposing that the creation of alternative meanings and 'realities' is the essence of acting.

This dissertation is a critical and comparative examination of late twentieth century and early twenty-first century actor training practices in the United States. It looks specifically at: Viewpoints training as developed by Anne Bogart; Meisner technique; and the physical theatre training at the Dell’Arte International School of Physical Theatre. I examine the ways in which theories about the actor, including ideas about the actor’s mind and body, the actor’s creativity, and the actor’s agency and authority, are embodied in classroom practices. Through the combined study of primary sources such as acting manuals, theories about embodiment and creativity, ethnographic participant-observation accounts from classrooms, interviews with teachers, and a phenomenological approach to describing my experience, I attempt to analyze what it means to be an actor in three different realms of training. The first chapter introduces my critical approaches, including my approach to ideas of embodiment, creativity, ethnography, phenomenology, and pedagogy. In chapter two, I focus on how ideas about reality and relationships are embedded in Meisner training and conduct a case study by observing a class called Acting Realism at Texas State University. In chapter three, I argue that Viewpoints, through an emphasis on deconstructing theatrical hierarchies, offers possibilities for actors to shift the balance of agency. I also conduct a case study based on my participation in a two-week workshop with artists from Bogart’s SITI Company held at Links Hall in Chicago in the summer of 2008. In chapter four, I examine the generative pedagogical strategies at the Dell’Arte International School of Physical Theatre, incorporating my experience as a student in the school’s 2009 summer intensive. Throughout, I suggest that conceptual ideas about the actor’s body-mind, creativity, and idealized role have an embodied effect on the degree of agency the actor experiences in the classroom. I conclude by suggesting ways to approach actor training in the future that can create more context and agency for actors. / text

This thesis consists of two major sections. The first is the text of the play In The Waiting Room that I wrote and performed on April 16, 2010 in the Lab Theater on the campus of The University of Texas at Austin. The second section is a paper on the process of writing and performing the piece, including script development and the rehearsal process, as well as final reflections on my work and the time I spent here in the MFA in Acting program. / text

This thesis tracks my journey as an artist as I developed personally and as my performance piece moved from conception to implementation. The story begins with what I understood to be a lack of material written for and about a specifically targeted audience. The thesis goes on to discuss how that need could be met, how I could be the catalyst for change and how that process could change my life forever. I have also included my experience as a solo performer whose previous training had prepared me only for collaboration with other actors. This thesis also discusses my process of creating and developing I’m not a writer… but I got a story to tell and concludes with reflections on my final performance. / text