Submitted by Gabriela Lopes (gmachadolopesufpel@gmail.com) on 2017-02-08T14:22:01Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) dissertação.pdf: 1451490 bytes, checksum: 8db111be8fc2a2a277ed6aa88f84a6e6 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-02-15T16:51:40Z (GMT) No. of bitstreams: 2 dissertação.pdf: 1451490 bytes, checksum: 8db111be8fc2a2a277ed6aa88f84a6e6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-02-15T16:51:40Z (GMT). No. of bitstreams: 2 dissertação.pdf: 1451490 bytes, checksum: 8db111be8fc2a2a277ed6aa88f84a6e6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2013-06-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / As raízes possuem uma grande variedade de funções nas plantas, incluindo absorção de água, nutrientes e suporte estrutural. A combinação de métodos clássicos de genética e melhoramento com tecnologias moleculares de análise genômica abre uma nova perspectiva para a ampliação do conhecimento das bases genéticas e aceleração de programas de melhoramento. A maioria dos conhecimentos sobre as redes gênicas envolvidas no desenvolvimento radicular vem sendo acumuladas na espécie Arabidopsis thaliana, modelo de planta dicotiledônea. O entendimento dos mecanismos envolvidos na regulação da expressão dos genes é essencial para compreender a forma e a função dos sistemas. Os elementos cis-acting são regiões do DNA que atuam como interruptores moleculares envolvidos na regulação da transcrição de uma rede gênica dinâmica. Embora freqüentemente tenham somente cinco a 20 pb de tamanho, os elementos cis-acting são críticos para o entendimento da regulação gênica. O conhecimento destes elementos presentes na região promotora de famílias gênicas, poderá contribuir para a compreensão dos sistemas reguladores da expressão da rede gênica envolvida na formação do sistema radicular. O objetivo desse trabalho é identificar os elementos cis-acting presentes na região promotora de genes de arroz (Oryza sativa subsp japonica cv. Nipponbare) similares aos genes das famílias Argonauta, Cullin e Arade Arabidopsis thaliana. A região promotora dos genes destas famílias no arroz foi investigada quanto à abundância destes elementos. As seqüências foram analisadas utilizando o programa “Signal Scan Search” do portal “Plant Cis-acting Regulatory DNA Elements” (PLACE) para a identificação dos diferentes elementos cis-acting. Foram detectados 96 diferentes elementos, sendo cinco destes (GAREAT (TAACAAR), TGACGTVMAMY (TGACGT), CCAATBOX1 (CCAAT), LECPLEACS2 (TAAAATAT) e SV40COREENHAN (GTGGWWHG), comuns as famílias gênicas Argonauta, Cullin e Ara. / The roots have a large range of functions in plants, including acquisition of water and nutrients, as well as structural support. The combination of classical methods of genetics and breeding with molecular technologies for genomic analysis opens a new perspective to expand the knowledge of the genetic basis and to accelerate breeding programs. The most advanced knowledge regarding gene networks involved in root development has been obtained in the model dicotyledon plant species Arabidopsis thaliana. Understanding the mechanisms involved in regulation of gene expression is essential to predict the form and function of systems. Cis-actingelements are DNA regions that act as molecular switches involved in the regulation of transcription of dynamic gene network. Although often having only five to 20 bp in size, cis-actingelements are critical to the understanding of gene regulation. Knowledge of the cis-acting elements present in the promoter region of gene families, can contribute to the understanding of the expression regulatory systems of these genes and others, involved with the root system. The objective of this study is to identify the cisacting elements present in the upstream region of rice (Oryza sativa subsp japonica cv. Nipponbare) genes, similar to gene families Argonauta, Cullin and Arain Arabidopsis thaliana. The promoter region of these rice gene families were investigated for the abundance of cis-acting elements. The sequences were analyzed using the software “Signal Scan Search” ofthe website “Plant Cis-acting Regulatory DNA Elements” (PLACE) to the identification of different cis-acting elements. It were detected 96 different cis-acting elements, and five of these, (GAREAT (TAACAAR), TGACGTVMAMY (TGACGT), CCAATBOX1 (CCAAT), LECPLEACS2 (TAAAATAT) e SV40COREENHAN (GTGGWWHG) were common to the gene families Argonauta, Cullin andAra.

This thesis takes as its starting point the dramaturgical metaphor of the world as a stage, which is used in sociological role theories. These theories often presume what stage acting is about in order to use it as a simile for every day acting. My intention is to investigate how stage actors actually work with their roles, in particular how they work with emotions, and how it affects their private emotions. The thesis draws on participant observation and interviews with actors during the rehearsal phase of two productions at a large theatre in Sweden. The results show that the inhabiting of a role for the stage is more difficult and painstaking than has been assumed in role theories so far. Shame and insecurity are common, particularly in the start up phase of the rehearsals. Interestingly, these emotions do not disappear with growing experience, but instead become recognized and accepted as part of the work process. The primary focus is the interplay between the actors' experience and expression of emotions, often described in terms of surface and deep acting, concepts which are elaborated and put into a process perspective. Analysis of the rehearsal process revealed that actors gradually decouple the privately derived emotional experiences that they use to find their way into their characters from the emotions that they express on the stage. Thus private experiences are converted to professional emotional experiences and expressions, triggered by situational cues. When the experience has been expressed the physical manifestation can be repeated with a weaker base in a simultaneous experience, since the body remembers the expression. It is important though, that the emotional expression is not completely decoupled from a concomitant experience; then the expression looses its vitality. The ability to professionalize emotions makes the transitions in and out of emotions less strenuous but can infiltrate and cause problems in the actors' intimate relations.

Magister Curationis - MCur / Increasing numbers of unintended pregnancies are occurring due to contraceptive failure. Unsafe abortion remains one of the top five avoidable patient-related causes of maternal death in South Africa. There are much higher reported failure rates for short-acting methods of contraceptives than long-acting methods of contraceptives; the uptake of long-acting methods of contraception though remains low.

This study examined Stanislavski's system as it was explained in his three books, An Actor Prepares, Building A Character, and Creating A Character. The study then examined the applicability of the Stanislavski System to the theaters of Bertolt Brecht and Absurdist theatre as represented by Harold Pinter and Samuel Beckett.

The area of investigation in the Jake's Women's thesis resides with the actor's preparation in the portrayal of a character who struggles with the pain of loss and betrayal. The acting technique explored centers around the psychology behind the emotional and physical aspects of acting. The results rely on the thoughts and feelings of sensitivity in the actor's body. Development of an actor's inner technique and outer instrument is explored and implemented. An actor's belief in the body to produce effective imaginary people or place within a scene rests in the actor's ability to allow his or her instrument to create real-life emotion. This process of belief is accomplished through the trained technique of relaxation exercises, thus, giving the actor the discipline to concentrate on the process of creating a believable character. The human condition becomes the central focus in the honest representation of a man suffering to forgive and forget his troubles.

Stand-up comedy has been a major influence on American culture and has given the "Everyman" the ability to laugh at ourselves. Stand-up comedians have been performing in nightclubs, bars, clubs, and, most importantly, theatres for the past 60 years. Stand-up comedy can take many forms: a monologue of entertaining incidents that form a story, or a string of one-liners, or a succession of jokes. This performance project and thesis is an examination and an attempt at the art form that we call stand-up comedy. It will answer the question of what is the best approach to writing comedy for an actor finishing his graduate acting program. It will also challenge the idea of simple joke-telling versus storytelling and examine the following question: Can anyone be a standup comedian? A research of the history, an analysis of the practitioners, and training from graduate studio work will support the discovery of a practical approach to writing and performing a stand-up comedy routine.

“The untrained body, like the sculptor's marble, can express nothing but its own limitations” (Lust 70). As acting styles have changed through the years, corresponding schools of thought have arisen to prepare performers for their unique challenges. Perhaps the goal of producing a “gripping performance,” one in which the audience is truly invested, has remained the same since the time of Thespis. How one arrives at this desired result, however, has varied greatly through the ages. Techniques, not surprisingly, tend to build on previous theories, beliefs and practices. Étienne Decroux’s corporeal mime technique builds on the teachings of Jacques Copeau, but as a result, takes the art form into a radically new direction. Vsevolod Meyerhold studied with Stanislavski, learning his inside-out approach to performance, and, with biomechanics, creates a performance technique that turns Stanislavski’s approach on its head. The point is not that these theorists developed something that undermines the previous work, but that they built their theories from knowledge of older techniques. In essence, these theorists learned from the past to prepare for the future. Advancements in film technology have dramatically changed both the nature of film, and performance, itself. Computer-generated characters and environments are becoming more commonplace in film due to the flexibility they provide in composing shots, and the relatively low price tag that comes with them. Technology still can’t replace the subtlety that comes from a human performance, so currently, actors find themselves in the unique position of having one foot in the real world and the other foot in the virtual world. The motion-capture process, or moCap, is the best example of this unique relationship. By placing sensors at key joints on an actor’s body, their performance can be tracked by a computer and then directly applied to a computer-generated model (Hooks 30). In a iv sense, it’s digital puppetry. Because only the movements are being recorded and not the actor’s physical appearance, performers can play parts that are not necessarily their physical type or even their own species. Director Peter Jackson cast Andy Serkis to play a forty-foot-tall ape in the 2005 remake of King Kong, and thanks to the motion-capture process, the result is a perfect blend of live acting and computer-generated graphics. The relatively low cost and flexibility of this process has made it available, not just to filmmakers in Hollywood, but also to the independent market. I am currently directing a feature length film that utilizes both computergenerated backgrounds and virtual characters accomplished through the motion-capture process. This production has been in the works since I started graduate school. As I learn more and more about specific acting techniques in class, I am always looking for something that I could apply specifically to motion-capture performance. Currently there is little research on the topic and certainly, there’s no specific acting theory that applies to this medium. In this paper I hope to formulate an acting technique that is tailored for the field of motion-capture performance, building upon theories of the past. Further study in this technique will better prepare future performers in this field, as well as provide insights for directors new to the medium. The following three techniques in particular, each with their emphasis on an outside-in approach to acting, will provide the basis for this theory: Meyerhold’s biomechanics; Decroux’s corporeal mime; and Edward Gordon Craig’s uber-marionette concept. I will provide detailed sections on each one of these approaches, discussing the theoretical sides of each, as well as specific exercises students in these schools are asked to perform. Next, I will provide a detailed section on the motion-capture process, discussing how it works and the challenges it presents to performers. Finally I will apply each one of the three theories to the motion-capture process, v finding points where the theories apply and also where they fall short. By choosing specifically what applies to the moCap process from each one of the techniques, we will be left with a new theory that specifically relates to virtual performance. This will not only serve as an invaluable guide to both future performers and directors entering the field of motion capture, but will hopefully be the beginnings of an acting theory that can bring performance education programs into the 21st century. Working in the virtual realm requires a performer to use his imagination, but having training and knowledge in theories of the past will mean the imagination is not the only thing actors have to work with.

The study of stage combat is designed to fabricate the illusion of physical combat without causing harm to the performers. Most research in this field does not take into account the characterization of the actor during the training of a fight scene. An actor primarily learns the stunt choreography of the scene and often times the subtleties of the character is often forgotten. Scenes that involve physical contact are an essential aspect of the dramatic action. My aim is to eventually devise a process that will consistently create fight scenes that maintain the integrity of the fight director‘s work as well as the mastery of the actor‘s character composition. I am aware this is an ambitious project therefore will I approach this endeavor in two stages. This document will cover the first stage of this project: the investigation of the current process of several professionals who have varying experiences with fight choreography. I will propose and explore the significance of a series of questions a director, actor and fight choreographer should answer before embarking upon a fight sequence successfully. Questions such as: How important is the stunt physiologically and psychologically on the character? Does gender play a role in a fight sequence? Do size, age, and race play a role on character choice in a sequence? Why did the character choose that weapon? Where did that character learn to fight and why in that style?

Although ample research has been conducted to explore employee emotional labor and customer incivility at the workplace, there is limited literature examining the role of surface acting in the stressor-strain relationships associated with customer incivility. The current study focuses on the mediating effect of surface acting between customer mistreatment-emotional exhaustion and customer mistreatment-service sabotage relationships. Based on several theoretical models regarding mental and emotional resources, including the Conservation of Resources Theory and Ego Depletion Theory, it is hypothesized that a significant mediating effect of surface acting can be identified in the customer mistreatment-emotional exhaustion and customer mistreatment-service sabotage relationships. A total of 173 UCF-affiliated participants with at least a month of service working experience were recruited from the UCF SONA system and surveyed their emotional stress and interaction with customers at work to test the hypotheses. The concept of service sabotage was studied at both the individual and environmental levels to obtain a comprehensive understanding of the relationships. Deep acting as a different type of emotional labor was also inspected in the current study. Results revealed the significant relationships between surface acting and customer mistreatment, emotional exhaustion, as well as individual-level service sabotage. Results also supported the hypotheses regarding the mediating effect of surface acting on customer mistreatment predicting emotional exhaustion and individual-level service sabotage, but not environmental-level service sabotage. Theoretical and practical implications, limitations, future research directions are discussed.

An actor seeking to improve his craft can find numerous sources containing countless tips and techniques on the art of acting. However, the majority of these books target the adult actor often leaving young performers struggling to understand complex acting theory. With the goals of creating a nurturing learning environment and quality performance work within a compact rehearsal schedule, this thesis project created and evaluated a new synthesis of modern acting theory for directors to use when working with young performers. This technique adapted and coalesced several perspectives on foundational acting theory-specifically looking at the use of a character's wants and actions as described by Bruder et al., Caldarone & Lloyd-Williams, Cohen, Jory, Mamet, and Stanislavski. I tested the developed technique using an independent production of The Cat Who Ran by Naoko Kudo performed by a group of seventh through tenth grade actors. This thesis shares the process of creating this rehearsal tool with its readers. This process included researching and synthesizing the technique, documenting my process as director and acting coach for The Cat Who Ran, testing the technique throughout the production of The Cat Who Ran, evaluating the effectiveness of the technique through qualitative observation from production team and audience members, and theorizing the potential effectiveness for other scripts. The documentation of the project includes surveys, worksheets, text analysis, and production photos.