Wise the Wizard is a feature-length documentary by Daisy Sara Blakelock, made as part of the requirements for earning a Master of Fine Arts in Entrepreneurial Digital Cinema from the University of Central Florida. The film focuses on the late Harry Wise, a magician from Sanford, Florida, as remembered by the people who knew him best. Interview subjects include the following: author and TV Producer Charlie Carlson, who wrote a biography about Harry Wise entitled A Wizard's Tux and Tales (Luthers Press, New Smyrna Beach: 2004); Brendan and Anna McWilliams, who accompanied Harry on countless adventures throughout Sanford and the surrounding areas; Art Litka, who dedicated a portion of his Halloween Village to Harry Wise; filmmaker and magician Gary Lester, who studied magic under Harry Wise and acquired and restored many of Harry's former props; and Lynn Ashe, Harry Wise's best friend.

La presente investigación plantea la complementariedad de la Técnica Meisner con el Sistema Stanislavski que es utilizado, de manera estructural, en la formación de los alumnos de la Especialidad de Teatro de la Facultad de Artes Escénicas de la Pontificia Universidad Católica del Perú. Una obra teatral exige verosimilitud en distintos elementos escénicos, pero, principalmente, en el actor. La verosimilitud es visible en el actor a través de su espontaneidad, la cual puede ser dividida en acción física e improvisación. Creemos que el sistema Stanislavski desarrolla de manera sucinta el elemento de la acción física y la técnica Meisner, la improvisación. Esta complementariedad radica en la suma de la estructura actoral basada en una acción clara y precisa (Stanislavski) con, la flexibilidad de esta estructura desde la mirada al otro (Meisner), logrando una conexión real, lo que te lleva al aquí y ahora. Con esta conjunción, se logrará mayor espontaneidad y verosimilitud en el trabajo actoral de los alumnos, brindándoles mayor confianza en su desenvolvimiento actoral. Para indagar acerca de este fenómeno, buscamos propiciar un espacio donde podamos analizar el comportamiento de la espontaneidad en el actor. Con esta meta, elaboramos un laboratorio teatral donde sea observable la interacción del Sistema Stanislavski con la aproximación a la Técnica Meisner. Por lo expuesto anteriormente, buscamos responder la siguiente pregunta: ¿De qué manera se complementan las bases del sistema Stanislavski, en la formación de actores en la facultad de Artes Escénicas de la PUCP, con la aproximación a la técnica Meisner? Los resultados de la presente investigación son un aporte importante para tres áreas específicas de acción de nuestro quehacer: la interpretación actoral, la pedagogía teatral y finalmente, la teoría teatral; y de esta manera, seguir construyendo conocimiento para mejorar la calidad de los profesionales teatrales de nuestro país.

Inner healing prayer (IHP) warrants greater practical theological attention. The practice of IHP, most significantly developed by Agnes Sanford, has been described by many of those individuals and ministries that have seen God transform lives through it. This study focuses especially on the models developed by John and Paula Sandford, Leanne Payne, and Ed Smith as representative of IHP. Social constructionism, particularly as it has drawn attention to the significance of narrative, provides a fresh perspective with which to interpret what is taking place in IHP. A theology centred on Jesus' proclamation and demonstration of the in-breaking reign of God combines with social constructionism to suggest that a personal Creator God, who has a privileged perspective on reality, actively joins in the social processes by which we construct our understandings of reality. Interpreting IHP from this social constructionist perspective, this study proposes that IHP can be described as a practice in which God is invited and expected to experientially enter into the social processes by which people construct their reality. Traumatic or hurtful events have often created apparent realities that persons are unable to integrate into the central stories that identify their lives. IHP facilitates an encounter in which God•s loving, forgiving presence is experienced in the midst of such hurtful events allowing a new, more integrated and hopeful, construction of reality. The faith, hope and love of those leading in IHP and the symbolic, metaphorical language contribute to the ability of IHP to affect change at an emotional level, but the central role of the imagination, especially in visualising Jesus' presence, is the most unique and characteristic aspect. This interpretation provides a viewpoint to critique the practice of IHP and suggests some ways that an understanding of God's kingdom might further enhance its practice. A small~scale qualitative interview project offers the opportunity to assess whether this social constructionist interpretation corresponds to the way in which participants in IHP make sense of their experience. It is hoped that the constructionist perspective offered here provides a language that can broaden an understanding of IHP, enhancing dialogue and further research. / Practical Theology / D.Th. (Practical Theology)

The Meisner Technique emerged as a part of the realist, modern theatre of the early-Twentieth Century and extended its influence through the rest of that century, including the 1960s and 1970s when there was an explosion of various forms of postmodern performance. This work will demonstrate that while Meisner’s Technique is a part of the paradigm of modern, realist theatre, it simultaneously challenges this ideology with disruptive processes of the sort that postmodern performance instigates. It is the thesis of this work that the Meisner Technique operates according to a set of phenomenologically-aligned imperatives that create strong resonances with certain forms of postmodern performance. This establishes the dynamic wherein the Meisner Technique is able to enter into discourse with instances of the postmodern paradigm of performance. In the first three chapters I will conduct in-depth analyses of Meisner actors’ relationships with their environment, their fellow performers, and their actions from a range of phenomenological perspectives. In the fourth chapter I will apply the conclusions of these analyses to the operation of the Meisner Technique within the paradigm of modern, realist theatre. In the fifth chapter I will set a backdrop to the postmodern field and suggest the issues from this tradition with which the Meisner Technique might resonate. Chapters Six, Seven, and Eight each take one example of an artist from the postmodern field, Richard Foreman, Michael Kirby, and Robert Wilson respectively, establishes their own particular context, and suggests those processes relating to acting/performing technique that might provoke the most productive exchanges. This juxtaposition suggests the places between the practices where discourse might take root and suggests the beginnings of such dialogues.

Inner healing prayer (IHP) warrants greater practical theological attention. The practice of IHP, most significantly developed by Agnes Sanford, has been described by many of those individuals and ministries that have seen God transform lives through it. This study focuses especially on the models developed by John and Paula Sandford, Leanne Payne, and Ed Smith as representative of IHP. Social constructionism, particularly as it has drawn attention to the significance of narrative, provides a fresh perspective with which to interpret what is taking place in IHP. A theology centred on Jesus' proclamation and demonstration of the in-breaking reign of God combines with social constructionism to suggest that a personal Creator God, who has a privileged perspective on reality, actively joins in the social processes by which we construct our understandings of reality. Interpreting IHP from this social constructionist perspective, this study proposes that IHP can be described as a practice in which God is invited and expected to experientially enter into the social processes by which people construct their reality. Traumatic or hurtful events have often created apparent realities that persons are unable to integrate into the central stories that identify their lives. IHP facilitates an encounter in which God•s loving, forgiving presence is experienced in the midst of such hurtful events allowing a new, more integrated and hopeful, construction of reality. The faith, hope and love of those leading in IHP and the symbolic, metaphorical language contribute to the ability of IHP to affect change at an emotional level, but the central role of the imagination, especially in visualising Jesus' presence, is the most unique and characteristic aspect. This interpretation provides a viewpoint to critique the practice of IHP and suggests some ways that an understanding of God's kingdom might further enhance its practice. A small~scale qualitative interview project offers the opportunity to assess whether this social constructionist interpretation corresponds to the way in which participants in IHP make sense of their experience. It is hoped that the constructionist perspective offered here provides a language that can broaden an understanding of IHP, enhancing dialogue and further research. / Philosophy, Practical and Systematic Theology / D.Th. (Practical Theology)

This thesis argues that King Leopold II, in his exploitation of the Congo, dealt the Congo a future of political, ethnic, and economic destabilization. At one time consisting of unified and advanced kingdoms, the Congo turned to one completely beleaguered by poverty and political oppression. Leopold acquired the Congo through unethical means and thus took the people's chances away at self-rule. He provided for no education or vocational training, which would stunt future Congolese leaders from making sound economic and political policies. Leopold also exploited the Congo with the help of concession companies, both of which used forced labor to extract valuable resources. Millions of Congolese died and the Congo itself became indebted through Belgian loans that were given with no assurance they could ever truly be paid back due to the crippled economy of the Congo. With the Congo now in crippling debt, the current president, Joseph Kabila, has little incentive to invest in reforms or public infrastructure, which stunts economic growth.1 For over a century the Congo has been ruled by exploitative and authoritarian regimes due to Leopold's initial acquisition. The colonization from Leopold lasted from 1885-1908, and then he sold it to his home country of Belgium who ruled the Congo from 1908 to 1960. Belgium helped prop up a dictator named Joseph Mobutu or Mobutu Sese Seko who ruled from 1965 to 1997. Afterwards he was overthrown by the Kabila family who has continued the exploitative rule and has made no significant efforts at democratization or reforms. Thus the ethnic conflicts, political oppression and economic woes that the Congo is facing today are inevitably linked to its Leopoldian past.