There is substantial evidence that self-defeating behaviors appear regularly among populations considered psychologically stable. While there has been abundant research on self-esteem, self-efficacy, personality traits, and fear of success as independent constructs, little is known regarding the combined effect of these constructs on the self-defeating behaviors of performing artists. Examining self-defeating behaviors among performing artists is significant because this population is susceptible to self-sabotaging behaviors, underscoring the need to understand their behaviors. The purpose of this quantitative correlational study was to examine whether self-esteem, self-efficacy, personality, and fear of success predicted self-defeating behaviors among performing artists. Bandura's self-efficacy theory and the Baumeister self-esteem theory were used as the theoretical foundations for the study. A cross-sectional self-administered survey was used to collect data about how self-esteem, self-efficacy, personality, and fear of success affected the self-defeating behavior of performing artists from a convenience sample of 100 performing artists in New York City. The following assessment tools were used: Rosenberg Self-Esteem Scale, General Perceived Self-Efficacy Scale, Big Five Inventory, Fear of Success Scale, and the Lay Procrastination Scale. Results indicated a significant relationship between the self-efficacy, self-esteem, personality, and fear of success on self-defeating behavior in performance artists. The implications for positive social change include the potential to help current and future performing artists recognize and manage their self-defeating behaviors, thus preventing disengagement at work, depression, and frustration.

The purpose of this essay is to compile a list of symptoms to aid voice teachers in the early detection of vocal problems resulting from bulimic behavior. Bulimia nervosa (BN) is an eating disorder characterized by bingeing and purging and has a high rate of occurrence among the college population. Entertainers form a high risk group for development of BN yet the effects of BN on the voice are largely ignored in vocal literature. The study begins with a literature review which links several factors that can influence the development of BN with "the singer’s personality." The two main character traits that appear most frequently are perfectionism and anxiety. The study continues with a narrative presentation of interviews by the author with three voice specialists in different fields of voice research and treatment. The research questions on which the interview portion of the study were based are: 1) Are otolaryngologists seeing an increase in vocal problems associated with eating disorders?; 2) Is there a belief among voice specialists that singer-actors are a high risk group for the development of eating disorders?; 3) What vocal symptoms should voice teachers watch and listen for if they suspect a student is bulimic?; 4) How should the voice teacher approach the recommendation of treatment, care, and use of the bulimic voice? This portion of the paper includes a clear and concise list of symptoms associated with BN that are easily identifiable by sight or sound. The paper concludes with a summary of the study results, suggestions for voice teachers training singers with the disorder, and ideas for further research.

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In this thesis paper, I will detail the making of Camp Shakespeare For Young Performing Artists, my final graduate short film at the University of New Orleans, from its inception as a script to its final form as a finished short film. In Part One I will examine the personal and cultural influences that led me to develop the script. Part Two will review the pre-production process – how my collaborators and I prepared for the shoot. In Part Three I will scrutinize the day-to-day process of filming. Part Four will chart the post-production process in which the film took its final shape. Finally, I will conclude with an analysis of whether the film met the goals I set for it along with my own successes and failures as a filmmaker and leader of a creative team.

L’analyse sociologique de la précarité oscille entre risque de désaffiliation et alternative à la norme d’emploi dominante. Pour contribuer au débat, cette thèse saisit cette ambivalence en développant une problématique originale : celle de la « soutenabilité » de l’emploi discontinu, au double-sens de ce qui est supportable et de ce qui est défendable. Les cas contrastés des saisonniers agricoles et des artistes du spectacle sont comparés au moyen d’une enquête biographique et longitudinale retraçant leurs trajectoires sociales. La première partie reconstitue l’espace des possibles structurant les trajectoires objectives des enquêtés. D’un côté, un salariat agricole flexible et relativement invisible maintient les saisonniers agricoles, majoritairement issus des classes populaires, dans une condition de précarité-pauvreté. De l’autre,les artistes, originaires principalement des classes moyennes et supérieures, se mobilisent politiquement pour la défense d’une intermittence du spectacle recouvrant un potentiel d’autonomie salariale. Ce contraste se redouble ensuite au niveau des trajectoires subjectives. La deuxième partie montre comment l’emploi agricole devient soutenable par adaptation à la nécessité. La discontinuité permet de mettre à distance le travail et de recentrer les attentes sur l’espace domestique et le territoire local. À l’inverse, l’insoutenabilité l’emporte lorsque le CDI réduit les possibilités de s’extraire d’un travail portant atteinte à la santé (insoutenabilité de condition) ou lorsque l’emploi agricole est consécutif à un déclassement (insoutenabilité de position). Enfin, la troisième partie illustre comment les artistes du spectacle se caractérisent au contraire par un refus de la finitude sociale. La vie d’artiste et d’intermittent demeure soutenable tant que la recherche d’autonomie dans un travail synonyme de singularité et de vocation n’est pas compromise par un engagement prenant le sens du surinvestissement (insoutenabilité de condition) ou par un défaut de capital spécifique(insoutenabilité de position). Les trajectoires contrastées des saisonniers agricoles et des artistes du spectacle interrogent finalement la thèse d’un « précariat » à la condition ou au projet politique communs. / The sociological analysis of the precariousness fluctuates between disaffiliation risk and alternative to the dominant employment norm. In order to contribute to the debate, this thesis captures this ambivalence by developing an original issue: the “sustainability” of discontinuous employment, in both meaning of what is bearable and what is defensible. The contrasting cases of agricultural seasonal workers and performing artists are compared by means of a biographical and longitudinal survey tracking down their social trajectories. The first part rebuilds the space of possibilities structuring the objective paths of the respondents. On one side, a flexible and relatively invisible agricultural wage-earners keeps theseasonal workers, mainly from the working class, in a precariousness-poverty condition. On the other side, the artists,mainly from the middle and superior classes, politically gather for the defense of the intermittence of the performing arts, implying the possibility of autonomous wages. Then, this disparity is increased when considering the subjective paths. The second part shows how the agricultural employment becomes sustainable as adaptation to the necessity. The discontinuity allows to distance work and to refocus expectations on domestic space and local territory. Conversely, the unsustainability wins when permanent contract reduces the possibility to get away of a job jeopardizing health (condition unsustainability) or when agricultural employment is a consequence of a downgrade (position unsustainability). Finally, the third part illustrate, on the contrary, how performing artists are characterized by a rejection of the social finitude. The artist and intermittent life remains sustainable as long as the pursuit of autonomy in a job, synonym for singularity andvocation, is not jeopardized by a commitment as a surinvestment (condition unsustainability) or a default of specific capital (position unsustainability). The contrasted paths of agricultural seasonal workers and performing artists finallyquestion the thesis of a “precariat” with common conditions and political vision.

The diploma thesis deals with international taxation of theater artist’s incomes. The main aim is to create methodical instruction for income taxation of tax non-residents of The Czech Republic. After that the methodical instruction is used for calculation of the tax liability of model tax payers - theater artists. The diploma thesis also evaluates case-law which deals with international taxation and defines possible risks which eventuate from incorrect interpretation.