As an actor, it is absolutely imperative to resist the urge to pass judgment on the characters we portray. True, that as people, we sometimes judge ourselves, and deem our conduct as right or wrong, but usually after finding the justification in the action first. We understand why we do the things we do. Therefore, it is as important to find our character s point-of-view as well. When I was cast as Oliver de Boys in the Orlando Shakespeare Theater s mainstage production of William Shakespeare s As You Like It, I knew the biggest challenge before me was to avoid playing him as the villain. I had to discover the reasoning and the humanity behind his heinous actions. Most importantly, I had to try to understand why he would attempt to murder his brother Orlando. Growing up with three sisters whom I considered my best friends, I had no personal frame of reference for this extreme action. This thesis will examine the research and creation of Oliver de Boys. A thorough historical analysis will present the life of William Shakespeare, with specific focus on the relationship with his own siblings. Also included will be the production history of the As You Like It and the times in which it was written. Particular emphasis will be placed on the Elizabethan s preoccupation with primogeniture, the system of inheritance or succession by the firstborn, traditionally the eldest son ( Primogeniture 1). Finally, this section will contain a look at two literary figures that greatly influenced the evolution of Oliver: Saladyne, the eldest brother in Sir Thomas Lodge s Rosalynde, of which As You Like It is largely based on and Cain, the archetype of fratricide. The next chapter will explore Oliver s journey in As You Like It, from villain to lover to brother; ultimately, his conversion from evil to good. It will also document the director s concept for the production and his vision for the portrayal of Oliver. A comprehensive character analysis or character autobiography will examine the psychological motivations behind Oliver s actions, such as sibling rivalry, jealousy, resentment and greed. This thesis will culminate in a comprehensive rehearsal journal, which will document and address challenges, discoveries, failures and victories during the production process.

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In As You Like It 5.4.107-08 we receive Rosalind returning as herself—a woman—no longer in the guise of Ganymede, the "boy" page. Her first lines upon returning are repetitive: "To you I give myself, for I am yours [To Duke Senior] / To you I give myself, for I am yours [To Orlando]." However, comparing Folio versions of these lines produces a provocative variant. In the third and fourth folios, these lines are no longer a repetitious patriarchal pledging, but a tender dialogic exchange—much like vows—between Rosalind and Orlando. While none of our modern Shakespeare editions make a note of this variant emendation, this article traces the editorial history and mystery surrounding As You Like It 5.4.107-08 from seventeenth-century editors to our modern ones—with an emphasis on the shift in Shakespeare editing during the eighteenth century—to suggest the variant emendation warrants consideration for text and performance. Furthermore, the article examines the plausibility of the third and fourth folio's emendation in congruence with Early Modern conceptions of companionate marriage, parental consent, and marriage rites.

In As You Like It 5.4.107-08 we receive Rosalind returning as herself”a woman”no longer in the guise of Ganymede, the boy page. Her first lines upon returning are repetitive: To you I give myself, for I am yours [To Duke Senior] / To you I give myself, for I am yours [To Orlando]. However, comparing Folio versions of these lines produces a provocative variant. In the third and fourth folios, these lines are no longer a repetitious patriarchal pledging, but a tender dialogic exchange "much like vows" between Rosalind and Orlando. While none of our modern Shakespeare editions make a note of this variant emendation, this article traces the editorial history and mystery surrounding As You Like It 5.4.107-08 from seventeenth-century editors to our modern ones with an emphasis on the shift in Shakespeare editing during the eighteenth century to suggest the variant emendation warrants consideration for text and performance. Furthermore, the article examines the plausibility of the third and fourth folios emendation in congruence with Early Modern conceptions of companionate marriage, parental consent, and marriage rites.

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The Internet today has become a powerful tool-that has greatly improved the lives of all peoples across the globe. Simply put, the Internet has brought us into a new century of interconnectedness unlike any other period in human history. However, in terms of politics the effects of the Internet have been rather difficult to monitor, making the recent developments in the country of Iran unique. The Islamic Republic of Iran has become increasingly hostile towards moderate reforms and has steadfastly refused to grant greater freedoms, resulting in the disillusionment of many Iranians with their government. Coupled with this rising discontent has been a meteoric rise of Internet activity. With other outlets of expression dominated by the regime, the Internet has become the sole battlefield for political discussion. This research focuses on how the Internet is being used by both the government and the opposition as a political tool in the struggle for democracy. The intent of this thesis is to analyze the effects- of the Internet through the emergence of three different Internet trends. The expansion of blogging has led to greater political discourse as it has allowed Iranians to provide their opinion in an open environment for the first time. Social networking has given Iranians the ability to meet and learn about each other in ways that would never have been originally possible Lastly, the inception of the "YouTube Effect" has brought the events'oflran worldwide. Different from a typical news piece, these Internet videos are unedited showing the gravity of the situation to outsiders. Above all, the Islamic Republic of Iran presents a unique case study for analyze of the abilities of the Internet in institutionalizing democracy.

Made available in DSpace on 2016-04-26T18:15:24Z (GMT). No. of bitstreams: 1 Joubert de Albuquerque Arrais.pdf: 2237400 bytes, checksum: 182f77b81e7c7ce0175d25c992267080 (MD5) Previous issue date: 2015-12-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In the 21st century, dance has been conveyed in reality television shows for new talents. The images displayed configure a discourse which celebrates a neoliberal competence. According to such discourse, competitions and entertainment transform the dancing body in a midiatic product, which strongly bonds with the so-called selective auditions. We problematize this kind of presence of the dance on TV with the theoretical proposal of Competent Discourse (CHAUÍ, 2014, 1981) and we read it from the Theory Bodymedia (KATZ & GREINER, 2015, 2005). Our hypothesis is that the programs that compose such televisual segment transform themselves into the bodymedia of the fundamental values of neoliberalism. The titles of many of them already show the mediatic relations and communication ties with the neoliberal values, engineered as competent discourses on competence which formulate, biopolitically, the competent body that needs to show their competencies publicly. We emphasize the program and North American franchise So You Think You Can Dance (Fox 2005-2015), known by the acronym SYTYCD, which also composes our research object. This program produced some authorized replications by spreading throughout the world a "so-you-think" way of making the body dance. One of them is a franchisee program in Portuguese, Achas Que Sabes Dançar?(SIC, 2010, 2015). In Brazil, it is broadcast as a non-franchised and controversial version called Se Ela Dança, Eu Danço (SBT, 2011, 2011) .The research suggests that publicly showing 'selective auditions', which were before situations relegated to backstage, made them become biopolitical dispositives (FOUCAULT, M.; AGAMBEN, G.; ESPOSITO, R.; FREIRE FILHO, J.; PRADO, J. L.A.) of the model of the competent body to dance , in which competence is associated with competition. The association between competent and winner becomes an abyssal line (SANTOS, B. S.) of invisibility production for all the bodies which do not fit in the logic of new capitalism (SENNETT, R.) and artist capitalism (LIPOVETSKY, G. & SERROY, J.). The objective is to critically reflect upom the reach of the discourse of the dancing body, that mediatizes itself and it engenders in society / Na televisão do século XXI, a dança tem sido veiculada em programas competitivos do gênero Reality Show para novos talentos. Suas imagens estruturam um discurso que celebra a competência neoliberal. Nele, competição e entretenimento transformam o corpo que dança em um produto midiático de forte vínculo comunicacional com as chamadas audições seletivas. Problematizamos esse tipo de presença da dança na TV com a proposta teórica do Discurso Competente (CHAUÍ, 2014, 1981) e a lemos a partir da Teoria Corpomídia (KATZ & GREINER, 2015, 2005). Nossa hipótese é que os programas que constituem esse segmento televisual transformam-se, eles mesmos, em Corpomídias dos valores fundamentais do neoliberalismo. Os títulos de muitos deles já evidenciam relações midiáticas com os valores neoliberais, engenhados como discursos competentes sobre a competência, quando formulam, biopoliticamente, o corpo competente que precisa mostrar suas competências publicamente. Destaca-se o programa/franquia norteamericano So You Think You Can Dance (Fox, 2005-2015), cuja sigla é SYTYCD e que compõe nosso objeto de pesquisa. Ele produziu replicações autorizadas, difundindo pelo mundo um jeito so-you-think do corpo dançar. Uma delas é um programa franqueado em língua portuguesa, o Achas Que Sabes Dançar? (SIC, 2010, 2015). No Brasil, ele se divulga em uma versão não franqueada e polêmica, o programa Se Ela Dança, Eu Danço (SBT, 2011, 2011). A pesquisa propõe que a publicização das audições seletivas, antes relegadas aos bastidores, fez delas Dispositivos Biopolíticos (FOUCAULT, M.; AGAMBEN, G.; ESPOSITO, R.; FREIRE FILHO, J.; PRADO, J.L.A.) do modelo de corpo competente para dançar , no qual a competência se associa à competição. A associação entre competente e vencedor torna-se uma Linha Abissal (SANTOS, B. S.) de produção de invisibilidade para todos os corpos que nela não se encaixam na lógica do Novo Capitalismo (SENNETT, R.) e do Capitalismo Artista (LIPOVETSKY, G. & SERROY, J.). O objetivo é o refletir criticamente sobre o alcance do discurso sobre o corpo que dança que se midiatiza e de que ele engendra na sociedade