This thesis is an evaluation of the acting career of Tallulah Bankhead with some analysis of the roles she played.

In psychology, the self-serving bias refers to a person's tendency to claim responsibility for his or her successes rather than failures. In acting, it takes on new meaning. The study of acting requires that the student use any source that will lead to his or her growth. The bias refers to this tendency towards self-betterment in the artistic process. This study is an attempt to document this process in my creation of the role of Kate in Dancing at Lughnasa. Included in the experiment are outlines of my basic process and the techniques I used to supplement it, how the creation of Kate fit into that process and an assessment of my performance and the usefulness of the various techniques in strengthening my abilities as an actor.

Thesis (M.F.A.)--Boston University. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

This Research Report is submitted in partial fulfillment of MA (by coursework) degree in the School of Dramatic Art, University of the Witwatersrand / Andrew Chakane 2018

This Research Report is submitted in partial fulfillment of My MA (by coursework) degree in the School of Dramatic Art, University of the Witwatersrand / Andrew Chakane 2018

Abstract INTEGRATING THE FELDENKRAIS METHOD INTO THE VOICE AND SPEECH CLASSROOM: INTERTWINING LINKLATER VOICE AND THE FELDENKRAIS METHOD By Janel R. Miley Knipple, MFA A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2018. Major Director: Karen Kopryanski, Head of Voice and Speech, Assistant Professor Department of Theatre Proprioception and kinesthetic awareness are important factors in actor training as performers strive to increase their physical and vocal prowess in order to respond to the demands of roles. The Feldenkrais Method, a somatic approach to learning that promotes greater awareness, has been utilized in actor training for decades; however, the historical details, measurable impact, and benefits of the Feldenkrais Method in this field have been largely undocumented. In this thesis, I will examine the history of the Feldenkrais Method, particularly considering interactions between theatre artists and Feldenkrais. In addition, I will suggest new possibilities for creating a voice and speech curriculum that integrates the Feldenkrais Method, providing both historical precedents and current findings to support the efficacy of incorporating the Feldenkrais Method into actor voice and speech training. Referencing experiences of how the Feldenkrais Method and the Linklater Progression have worked together to improve my own acting and teaching, I will conclude with a strategy on incorporating the Feldenkrais Method into voice and speech training.

This statement of process parses out the techniques utilized when creating a character for performance, specifically focused on examples from three years of graduate studies in acting. The paper identifies and analyzes the challenges an actor encounters, and the tools an actor utilizes when crafting a character. The goal of the process paper is to identify common techniques generally, as well as examining specific techniques used infrequently. The paper concludes with a statement of the state of the artist.

Abstract not available

Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Thesis (Ph. D.)--University of Washington, 1983. / Vita. Bibliography: leaves [131]-139.