This thesis will examine the character of Mrs. Medlock in the Orlando Shakespeare Theatre's "Theatre for Young Audiences" stage production of The Secret Garden. While recording my preparation and performance of the role, I will be drawing on and integrating many of the skills I have been acquiring in my Master's Degree program at UCF, including not only acting, movement, and voice, but also theatre research. My goals are twofold: first, to document the method of creating a rich, multi-layered, remarkable character, and second, to try to solidify what I have learned about this process and thus prepare for future roles in my career.

In 1985, Christopher Durang created a master work titled The Marriage of Bette and Boo which was described by The New Yorker as a "brimming cornucopia of brilliant lines." Frank Rich of the New York Times called it "so speedy and chipper that it could almost be mistaken for a Bob Fosse musical." Douglas Watt of the New York Daily News referred to it as a "farcical study of a disastrous marriage, marked by still births, insanity in the family and divorce." These critical responses indicate the necessity to maintain the complexity of the character of Soot without allowing her to fall into the easy stereotypes that trap many artists. The play's focus on alcoholism, spousal abuse, and cancer make it difficult to reconcile the very serious circumstances with the overtly comical reactions created in the play. My challenge in portraying the character of Soot is to resolve these issues. I focused on the teaching of Konstantin Stanislavski as interpreted by Sonia Moore of the American Center for Stanislavski Theatre Art to navigate this challenge. Ms. Moore asserts: "Only after the actor has studied the play, the events, and the given circumstances will he be able to select the actions which will involve his emotions and other inner experiences." With this in mind, I began by studying the script and the playwright for clues about the given circumstances within the world of the play. "You're the dumbest white woman alive" is a line from the play used to describe Soot. This line of dialogue has been used in the past to justify stereotypical performances of this character which mask the complexity of a woman who has been seriously hurt by the man she loves. These types of simplified characterizations are flat and do not take into account the inner and outer forces that make Soot who she is. Olympia Dukakis played Soot at the Public/Newman Theatre in New York City in an Obie award-winning performance. She is quoted as saying, "This is a very forgiving play." Durang later agreed with this assessment saying, "I remember thinking that that sounded right." He further added that The Marriage of Bette and Boo is "based on my parents, it's more emotionally close to me than some of my more surreal plays...I like the balance of the comic and the sad. It should play as funny, but you should care about the characters and feel sad for them." Durang also confides that his own father was an alcoholic and that "in life, my mother lost three [children in childbirth]." Since the play, however humorous, is based on real events in the life of the playwright and his family, it is reasonable to search for playable and understandable motives for the character's action through research of real life given circumstances. To this end, I have been researching the behavior rationalizations inherent in the social interactions of alcoholic families. This has led me to discover a possible explanation for Soot's unusual responses to unpleasant comments and situations. The eGetgoing Online Addiction Treatment Alcohol and Drug Rehab Counseling web page explains that family members often choose enabling behavior to cope with the destructive choices of the alcoholic. Enablers "may have their own system of denial that is fed by the lies and deceptions." Further, it states, "We can think of denial as a way of telling the truth about a small part of reality as if it were all of reality." In this way, Soot is employing a rational tactic to cope with an irrational existence. I believe further research will also identify denial associated with personal tragedy. These understandable and human connections will provide me with the basis of my beginning explorations of this achingly beautiful and sympathetic woman because, as Sonia Moore states, "A person's psychological and physical behavior is subject to the external influence of his environment." Soot's environment includes the time period of the piece and is complicated by the memory play nature of the script, but it adds context for Soot's behavior as a subservient 1950's housewife who feels as if she has very little control over her own world. According to Elaine Tyler May in her book Homeward Bound, "If a woman was not satisfied being a homemaker she was supposed to keep that information hush-hush and go about her daily activities as though nothing was wrong." This information provides further justification and adds strength to the logic of Soot's actions as she deals with the dysfunctional world of her family. The work I have done researching Soot's motivations appears to be relevant to the execution of the play. I may now begin to apply that research to the creation of Soot. The role of Soot provides a wonderful opportunity to develop and grow as a performer. A thesis role needs to supply the MFA candidate with significant challenges. This role has already provided huge opportunities to connect my research skills with my stage work. I believe the role of Soot will force me to push myself and apply all the skills and training I have received during my studies in order to do justice to the richness of the character.

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Acting is a process of pretending to be someone who the actor is not. While acting is often considered to be a specialized skill of trained professionals, a simple and perhaps universal form of acting occurs during oral storytelling, in which the storyteller acts out the characters of the story during the moments of dialogue and self-reflection. In order to examine this skill experimentally, we had both trained actors and untrained novices read four fairy tales aloud. The stories contained a series of contrastive characters that spanned age, gender, and species. The major dependent variables were the vocal parameters of pitch height, loudness, timbre, and speech rate. The results demonstrated that participants created distinguishable acoustic profiles for each character within a story, regardless of the story’s familiarity. Monotonic trend analyses revealed the sequential changes in vocal parameters that were produced as a function of the age, gender, and species of the represented characters. Linear mixed-effects models showed a significant effect of acting training on character portrayal, with actors showing more-expansive pitch depictions than novices. We argue that portraying characters during storytelling is one of the most fundamental forms of acting in human life. / Thesis / Master of Science (MSc) / Acting is a process of pretending to be someone who the actor is not. It is often thought of as a skill of trained professionals. We propose that oral storytelling is a form of everyday acting. When a storyteller reads aloud, they act out the characters of the story during moments of dialogue—when the characters themselves are speaking in the story. We explored the vocal portrayal of contrastive characters by both trained actors and non-actors as they read fairy tales aloud. The results revealed that participants, regardless of acting experience, portrayed the characters as predicted, performed the characters uniquely from each other, and remained consistent in their portrayal across a story. Actors were found to use a larger pitch range than non-actors, specifically for high-pitched characters. We argue that portraying characters during storytelling is one of the most fundamental forms of acting in human life.

Exercise is important to employees’ health and well-being. Exercise has been found to increase resources, foster resource replenishment, and increase happiness, which may make it effective in supporting employees against the harmful effects of depletion that arise from emotion regulation. Surface acting is a demanding behavior in which employees must fake their emotions to follow organizational display rules, but we know little about how exercise breaks can prevent harmful effects extending from this common job demand in some organizational settings (e.g., customer service). Fifty participants (N = 50) completed a surface acting task in which they listened to audio-recorded negative restaurant reviews and were instructed to respond to the reviews without conveying negative emotions across a 90-minute in-lab experimental session. Participants were randomly assigned to one of four break conditions (no break, a passive break, an exercise break, or a flaw essay break) which occurred halfway through the experimental session. Participants then completed the surface acting task again for 20 minutes. The surface acting task was effective in inducing emotion regulation. Participants who received a break experienced a decrease in depletion after the break, while participants who did not receive a break experienced an increase in depletion. However, no evidence was obtained to suggest that exercise breaks led to a reduction in depletion relative to other experimental conditions, nor a difference in mastery or positive affect. This thesis contributes to research on emotion regulation and exercise break by creating a new surface acting task that can easily be given in experiments. Also, this thesis suggests that organizations should ensure that employees are receiving breaks during worktime to guarantee employees maintain high productivity. / M.S. / Work is stressful as individuals may need to enhance, change, fake or suppress emotions through a process known as emotion regulation. One type of emotion regulation is surface acting in which individuals fake emotions to better align with organizational display rules. Surface acting has been found to contribute to emotional exhaustion, work-to-family conflict, feelings of inauthenticity and insomnia. Surface acting is common in customer jobs in which employees need to address customer concerns. Research has demonstrated that breaks can be used to help restore resources and reduce depletion. Specifically, exercise has been found to be beneficial in helping employees combat the harmful effects of emotion regulation and the depletion that comes with it. In this study, fifty participants completed a surface acting task in which they listened to audio-recorded negative restaurant reviews and were instructed to respond to the reviews without conveying negative emotions across a 90-minute in-lab experimental session. Participants were randomly assigned to one of four break conditions (no break, a passive break, an exercise break, or a flaw essay break) which occurred halfway through the experimental session. Participants then completed the surface acting task again for 20 minutes. The surface acting task was found to induce emotion regulation. Participants who received a break experienced a decrease in depletion after the break, while participants who did not receive a break experienced an increase in depletion. There was no evidence to suggest that exercise breaks were better at reducing depletion than the other conditions. This thesis suggests that organizations should ensure that employees are receiving breaks during worktime to guarantee employees maintain high productivity.

Twelfth Night does not end with the acceptance and consummation of these “alternative couples.” Instead, the reveal of the twins has a clarifying effect and the characters are returned to the partner who is considered socially acceptable. The final relationships are heterosexual matches that do not stray from class or any other societal confines. Indeed, the story serves to reinforce common standards equating alternative love with madness and proper love with lucidity. Standing outside of the couplings are only bachelor men: Antonio, Sir Andrew, Feste and Orsino’s pages. In effect, these men are desexualized without romantic counterparts. While they are deemed outcasts in Illyria, one character in particular stands to gain from this seeming lack of sexuality and outsider status: the clown, Feste. Gender and power find clarification through the character of Feste because he is afforded all of the privileges of a male in a patriarchal society and in order to analyze him, his positionality within the function and structure of the story must be acknowledged. Usually the character of Viola holds this position in scholarship, but the possibility of Feste played by a female actor introduces similar themes of cross-gender disguise while decoding the heteronormative standards reinforced by the conclusion of the play.

When it comes to actor training in higher education, an extremely strong emphasis is placed on understanding the voice and interpreting the text. While some institutions do incorporate movement courses into the curriculum of the students, many do not serve the learning actor in the most effective way. The work of Rudolf Laban is a way to strengthen the curriculum taught to actors, specifically in regards connecting actors to their bodies. This thesis discusses and analyses the use of Laban’s movement theory in the movement classroom, and focuses on the most effective way of presenting the material to the student. Included is research on Laban’s theories, the structure of a Laban for the actor course, feedback from participants, exercises crafted to better suit the learning actor, and connections to other acting and movement practitioners. The aim is to provide actors with a well-rounded toolbox that will assist them in creating more dynamic and livable characters. This thesis hopes to serve as a guide for both instructors of movement and students alike, providing all with a resource to refer to when working with the body on or off the stage.

This thesis considers first, the existence of a relatively new kind of characterization in the plays of Harold Pinter, and second, the need for the actor who performs Pinter to seek a new mode of acting. The purpose of the study is to identify the special problems or tasks which are thus imposed on the actor who plays a Pinter character. An examination of Pinter's dramaturgy reveals an emphasis on character relationships and a combination of the three different styles of characterization defined by Lorenz Kjerbuhl-Petersen: the type, the individual, and the shadow. This study concludes that the Pinter actor must simultaneously perceive a complex psyche in what seems a common human type, create an individualized concept of personality although information and behavior are misleading, and allow the actor's personality to color and expand that of the character.

This thesis is an exploration of movement pedagogy as a continuation of basic acting lessons from Stanislavski. Using the example of an introductory semester of movement instruction, physical acting and movement concepts are explained in terms of their connection to and derivation from universally accepted acting terminology and ideas. This is put forth as a way to facilitate the synthesis of movement instruction with other acting curriculum, as well as providing a new way to view some familiar acting concepts. Several specific examples are explored in more depth as case studies in physical equivalents to the intellectual, visual, or emotional techniques familiar to all with a basic knowledge of Stanislavski based acting principles.