This study was designed to investigate the relationship between 15 emotional indicators on the Bender-Gestalt Test and acting-out behavior in young children. The subjects were 93 children ranging in age from 5 to 12 years. Each was administered the Bender. A measure of each subject's overt acting-out behavior was then obtained by having teachers rate each student on a Behavioral Rating Scale. Subjects' records were then divided into groups on the basis of both sex and age. Results indicated that neither the total number of Bender indicators nor any of the individual Bender indicators were significantly correlated with total scores on the rating scale. Use of the Bender as a projective device to measure acting-out behavior was seriously questioned.

I denna uppsats studerar jag hur olika samhällskunskapslärare agerar i rollen de har i den samhällsviktiga institution som är skolan. Jag har som utgångspunkt använt mig av sociologiska teorier som behandlar ämnet social kontroll. Jag har valt att lägga fokus på hur läraren behandlar sin roll i egenskap av lärare gentemot skolan som institution. Vidare har jag utgått ifrån det som Arlie Russel Hochschild beskriver som ”surface acting” och ”deep acting” i kombination med Ervin Goffmans ”frontstage” och ”backstage”. Dessa teoretiker menar att människor hela tiden tvingas balansera och handskas med olika roller i olika situationer. Därför har jag valt att studera hur dessa lärare går in i sina roller och hur de anpassar sig till de olika situationerna som uppstår i klassrummet, och hur det i så fall formar skolan som institution. Efter intervjuerna med de olika lärarna har jag kommit fram till att deras personliga erfarenheter och egenskaper lyser igenom i vissa delar av undervisningen då läraren blir tvungen att balansera mellan olika masker och även till viss grad anpassa dessa ut efter institutionens vanemönster och normer. Vidare finner jag att det förekommer variationer i undervisningen gällande vad de olika lärarna väljer att ta upp eller fokusera på. Därefter har jag valt att titta på hur de olika rollerna i kombination med den varierande undervisningen kan komma att skapa olika varianter av skolan som institution. Till min hjälp har jag tittat på Peter L Berger och Thomas Luckmanns teori om hur etablerade regler och normer i olika sammanhang formar olika institutioner. Trots sina olika variationer, och växlande mellan roller kunde jag se att lärarna på ett skickligt sätt anpassar lektionen för att nå målet med skolans läroplan som innebär att de ska fostra eleverna till att bli upplysta och demokratiska medborgare.

To step into a character and a world of the past, the actor must not discard the present, but seek to find connections and links between the worlds. I was cast in the Orlando Shakespeare Theater production of Sense and Sensibility, a Jon Jory adaptation of Jane Austen’s novel, in the role of Lucy Steele. This was an equity production, and it ran February 6th – March 17th, 2013, in the Orlando Shakespeare Theater’s Margeson Theater. Lucy is a female character from England in a period often referred to as the Regency era. As a woman from today’s United States of America, first I explored how Lucy’s words and actions fit into the society of her time, and second I explored how I, a contemporary actor, could organically step into her shoes. One of the greatest tools I had to help me address these questions was the playwright himself, Jon Jory. He was at the Orlando Shakespeare Theater for the 2012 Harriett Lake Festival of New Plays, during which he gave a keynote address and taught a master class in acting, in which I participated. Furthermore, I had the unique opportunity to personally interview him regarding Sense and Sensibility and his connection to the world of Austen and her characters. Along with applying this insight, I applied tools from his acting master class to my work on his Sense and Sensibility text. This special access to the playwright greatly influenced the work and served as a key into Lucy’s world. In addition to working with the playwright, I further researched Austen and her work, because Lucy and her world originate there. I explored various resources about England’s Regency era society and the role of women in this society. By comparing the world and people of the play to the current cultural and political landscape with which I am most familiar, I found iii fundamental links between people living in different times and places, breaking down walls between Lucy’s world and my own. Finally, this performance thesis project utilized the practical acting, voice, and movement skills, which I cultivated in my studio work as an MFA acting candidate at the University of Central Florida. It was a wonderful opportunity as an aspiring young actor to participate in an equity production and work with professional actors. I exercised my stage dialects training by using a standard British dialect, and I applied what I learned in my theatre styles acting class and in various movement classes to develop the behavior and physicality of my character. In order to preserve the new information gained from this study, I chronicled my explorations and discoveries throughout the rehearsal and production process. Through my work with the playwright Jon Jory, my research on Jane Austen and the Regency era, and my application of what I learned in the studio, I strove to create a model process for an actor to utilize when stepping into a role and a world of the past.

Support nurse is a professional group whose work involves close contact with other people, they are also a profession that is in demand in the labor market. The shortage of nurses means they may experience increased stress and lack of influence in their own work. Support nurses main task is to supervise individuals with neuropsychiatric disorders, these individuals also called for patients. The aim of the study was to investigate a group support nurses and their experiences of the emotional aspect of their job role and how relationships with clients and colleagues is important for how they feel and how they can manage the demands of work. In the performance of my study I have started from Arlie Hochschild (2003) theory of emotional wage work, how emotions are expressed and handled by support assistants in the daily work with the users. Wage labor is a central part of many people's lives and some individuals seek out jobs where they feel it can make a difference and the feeling of having meaningful work as evidenced in the results of the study on the basis of the description of the work support nurses. Hochschild (2003) argues that the emotional work means you have a job that consists of relationships with other people and where you are in your work becomes emotionally involved. I have chosen to use a qualitative method in the execution of this study by conducting eight semi-structured interviews with active support nurses divided into five businesses in the support operations in Luleå. The collected material for this study were analyzed using scientific articles that highlights previous research and Hochschild (2003) theory of emotional work. It appears from the results of the study and analysis of the experience of workload and managing their own emotions and the users are different as well, the experience of the emotional load. The support nurses’ highlights colleagues as an important factor to be able to perform at work. Working as a team is seen as a prerequisite and that all have in common is deleted from a user perspective and common goals. It also appears that the recovery is seen as crucial for the support assistants to cope with the work from a long term perspective, to sleep and enough recovery for those support assistants who work evenings / weekends while support assistants who work only during the day are satisfied with their work situation and feel that they get enough of recovery. / Stödassistenter är en yrkesgrupp vars arbete innebär en daglig  kontakt med andra människor. Det är en yrkeskategori som finns och som starkt efterfrågas på arbetsmarknaden. Brist på stödassistenter kan innebära att de kan uppleva en ökad stress och brist på inflytande i det egna arbetet. Stödassistenternas huvudsakliga arbetsuppgift handlar om att handleda individer med neuropsykiatriska funktionsnedsättningar och benämns även som brukare. Syftet med studien har varit att undersöka en grupp stödassistenters och deras upplevelser av att ha ett emotionellt arbete kopplat till deras arbetsroll. Vidare handlade de om hur relationerna till brukare och kollegor har betydelse för hur de upplever att de kan hantera krav i arbetet. I studien har jag utgått från Arlie Hochschild (2003) teori om emotionellt lönearbete. Det emotionella arbetet innebär att man har ett arbete som utgörs av relationer till andra människor och benämns även som känsloarbete (Hochschild, 2003). Lönearbete utgör en central del av många människors liv och en del individer söker sig till arbeten där de upplever att det kan göra skillnad för en annan individ utifrån känslan av att ha ett meningsfullt arbete vilket speglas i studiens resultat. I utförandet av denna studie har en kvalitativ metod användts utifrån åtta semistrukturerade intervjuer som genomförts med verksamma stödassistenter inom fem stödverksamheter i Luleå Kommun. Jag har på så sätt kunnat samla in min empiri som jag sedan har analyserat med hjälp av artiklar och teorier inom området, emotionellt lönearbete. Studiens resultat och analys visar att upplevelsen av arbetsbelastning och hanteringen av de egna och brukarnas emotioner skiljer sig åt, likaså upplevelsen av den emotionella belastningen. Stödassistenterna lyfter fram arbetskollegor som en viktig faktor för att kunna utföra ett tillfredsställande arbete. Att arbeta som ett team ses som en förutsättning och att alla gemensamt skall utgå från ett brukarperspektiv och gemensamma mål. Det framgår att återhämtningen ses som otillräcklig utifrån ett långtidsperspektiv, för de stödassistenter som arbetar kvällar/helger medan stödassistenter som endast arbetar dagtid är nöjda med sin arbetssituation och upplever att de får tillräckligt med återhämtning.

The purpose of this study is to increase the understanding of how retail employees experience the organizational conditions in the workplace in order to be able to perform emotional work in relation to customers. The study is conducted through six qualitative semi-structured interviews with retail employees who are employed in different companies in the retail industry in Sweden. Based on the perspective of Arlie Hochschild's sociology of emotions and the concept of social support, the empirical material has been analyzed. The study's research questions are the following: ● How do retail employees relate to emotional labor? ● How are the organizational conditions at the workplace perceived for performing emotional labor? The result of the study shows that in their work role, retail employees manage and influence both their own and the customers' emotions in order to achieve customer trust. The varying expectations of expressed emotions in different situations can be described through Hochschild's concept of emotion rules and take place on the basis of both informal and formal emotion rules. Retail employees are constantly exposed to managing a distance between perceived and expressed emotions at work, which can be explained through two more of Hochschild's concepts: surface acting and deep acting. To manage emotional work, retail employees express the importance of social support from the environment. On the other hand, the study shows that social support from managers and supervisors was lacking in all interviewees' workplaces, which affects the perception of the organizational conditions for performing work. Time constraints, staff shortages and unreasonable demands from management are perceived as factors that affect the ability to perform emotional labor and risk resulting in unwanted emotions with negative attributes. In contrast to previous research, the results of this study show that retail employees' approach to emotional labor is influenced by more factors than interaction with the customer. / Syftet med denna studie är att skapa en ökad förståelse för hur butiksmedarbetare inom handelsbranschen upplever de organisatoriska förutsättningarna på arbetsplatsen för att kunna utföra det emotionella arbetet i relation till kunder. Studien utförs genom sex kvalitativa semistrukturerade forskningsintervjuer med butiksmedarbetare som förvärvsarbetar på olika företag inom handelsbranschen i Sverige. Utifrån Arlie Hochschilds emotionssociologiska perspektiv och begreppet socialt stöd har det empiriska materialet analyserats. Studiens frågeställningar är följande: ● Hur förhåller sig butiksmedarbetare till det emotionella arbetet? ● Hur upplevs de organisatoriska förutsättningarna på arbetsplatsen för att utföra det emotionella arbetet? Studiens resultat visar att butiksmedarbetare i sin yrkesroll hanterar och påverkar både sina individuella och kunders känslor i syfte att uppnå ett kundförtroende. De varierande förväntningar på uttryckta känslor i olika situationer kan beskrivas genom Hochschilds begrepp känsloregler och sker utifrån både informella och formella känsloregler. Butiksmedarbetare utsätts ständigt för hantering av en distans mellan upplevda och uttrycka känslor i arbetet, vilket kan förklaras genom ytterligare två av Hochschilds begrepp: ytagerande och djupagerande. För att hantera det emotionella arbetet är socialt stöd från omgivningen betydelsefullt för butiksmedarbetarna. Däremot visar studien att det sociala stödet från chef och ledning är bristande på samtliga intervjupersoners arbetsplatser, vilket påverkar upplevelsen av de organisatoriska förutsättningarna för att utföra arbetet. Tidsbrist, personalbrist och orimliga krav från ledningen upplevs vara faktorer som påverkar möjligheten till att utföra det emotionella arbetet och riskerar att resultera i oönskade känslor med negativt attribut. Till skillnad från tidigare forskning visar studiens resultat att butiksmedarbetares förhållningssätt till det emotionella arbetet påverkas av fler faktorer än interaktion med kund.

Scare acting has always been the unsung villains of the entertainment industry. For three months of the year, for about five minutes of a haunted house, they get attention. However, the work scare actors do to is way more than just a five second “boo.” Scare actors have been at the beginning of theatre and continue to influence modern entertainment. Even though the patrons may be the ones feeling the danger, scare actors may be even more in danger than them. Each scare actor is unique from their looks to their moves. It might be take a lot of nerve to go into a haunted house, but it takes a lot more to work it.

This thesis proposes a critical study of the theoretical framework of Urinetown, asking the question of whether or not the show is truly a “Brechtian musical,” utilizing the tenets and beliefs of Bertolt Brecht. Set in a quirky, Gotham-like town where you have “to pay to pee” due to a severe drought, Urinetown follows a cast of absurdist characters as they navigate a society plagued by the perils of big business, ecological devastation, and the inequalities of capitalism. While the show appears to make a relevant social commentary, supporting a righteous rebellion to overthrow the evil Urine Good Company, in the end, by proving that revolution does not always succeed, writers, Kotis and Hollman invalidate these commentaries, proving that despite its Brechtian appearance, the show in its textual form is much more simply a comedic parody. However, Pomona College’s production, in which I played Hope Cladwell, takes on a much more severe tone, creating legitimate commentary by replacing many of the comedic, two-dimensional characters with living breathing, realities. In a text traditionally lacking authenticity, I approached Hope Cladwell with the intention of finding strength and satire in an otherwise vapid character.

Thesis (MDram)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: The appearance of actresses on stage during the seventeenth century gave rise to the discarding of gender boundaries and the exploration of male characters. By investigating the cause and effect and the critical value of actresses assuming breeches parts (“broekrolle”) within specific historical time lines and theatrical traditions, and a comparative study of the creation and portrayal of breeches parts within a South African context, I will endeavour to assess the success of the assumption of male characters on the stage. Actresses performing breeches parts were not necessarily in competition with their male counterparts, but were often influenced by their socio-economic situations, as well as their natural inclination to male identities. The appearance or beauty of the female performer has almost always been a defining factor in the casting of a part and it is therefore possible that some actresses chose to perform breeches parts because their natural attributes might not have fallen within the general concept of beauty. Although the assumption of male characters was often categorized as sensation seeking and selfglorification, it was accepted during certain historical periods and the theatrical traditions of the time. Breeches parts contributed towards the actress’s level of skills, and thus to their financial gain. Within a South African context a comparative and personal perception will be investigated in relation to the experiences of the above-mentioned actresses. Because of the hybrid quality of the character of Ella/Max Gericke in As die Broek Pas (Man to Man), in other words, the duality of her performed identity, the breeches part of Ella/Max differs from the traditional concept of breeches performances. This aspect contributes to the process of self-assessment through performance as research – situated knowledge. / AFRIKAANSE OPSOMMING: Die vroulike toneelspeler het reeds gedurende die laat sewentiende eeu oor geslagsgrense heen manskarakters (broekrolle) begin vertolk. Deur ondersoek in te stel na die oorsake, gevolge en kritiese waarde van aktrises se aanneming van broekrolle binne ’n spesifieke tydruimte en teaterkonvensies en ’n vergelykende proses wat hierdie skepping en uitbeelding van ’n broekrol in kontemporêre Suid-Afrika belig, kan gepoog word om te bepaal hoe suksesvol hierdie geslagsaanneming op die dramatiese ruimte van die verhoog was en is. Die emansipasie van die vrou en die ontbanning van vroulike toneelspelers het dit vir aktrises moontlik gemaak om buite hulle tradisionele geslagsraamwerk die toneelkarakters van die man te betree en te ontgin. Hierdie toetrede tot broekrolle (“breeches parts”) was nie noodwendig ’n poging om met die man op sy gebied te wedywer nie, maar kan toegeskryf word aan sosio-ekonomiese toestande, sowel as ’n natuurlike voorkeur vir ’n manlike identiteit. Die aktrise se voorkoms is en was nog altyd ’n bepalende faktor ten opsigte van die rolle waarin sy beset word. Dit is dus verstaanbaar dat sommige aktrises uit die aard van hulle ingesteldheid teenoor hul eie voorkoms die keuse maak om manskarakters te vertolk. Die gevolge van hierdie aanneming van manlike karakters is soms as sensasionele vertoon en selfverheerliking beskou, maar is steeds aanvaar binne die teaterkonvensies van sekere tydperke. Daarbenewens het dit die betrokke aktrises se aansien ten opsigte van hulle vaardighede op die verhoog en hul ekonomiese status positief beïnvloed. Die persoonlike gewaarwordinge wat ten opsigte van ’n vergelykende proses binne ’n Suid- Afrikaanse konteks gevolg is, sluit aan by die navorsing oor genoemde broekrolvertolkers. Daar is wel verskille, aangesien die geval van Ella/Max Gericke in As die Broek Pas, nie binne die tradisionele opset van die broekrol val nie, as gevolg van die dualiteit wat in die broekrol teenwoordig is, en dit as ’n hibriede karakter gesien kan word. Hierdie aspek leen hom tot kritiese selfevaluasie binne die gebruik van “performance” as navorsing – “situated knowledge”.

The fundamental conceptualisation of what animation actually is has been changing in the face of material change to production and distribution methods since the introduction of digital technology. This re-conceptualisation has been contributed to by increasing artistic and academic interest in the field, such as the emergence of Animation Studies, a relatively new branch of academic enquiry that is establishing itself as a discipline. This research (documentation of live events and thesis) examines animation in the context of performance, rather than in terms of technology or material process. Its scope is neither to cover all possible types of animation nor to put forward a new ‘catch-all’ definition of animation, but rather to examine the site of performance in character animation and to propose animation as a form of performance. In elaborating this argument, each chapter is structured around the framing device of animation as a message that is encoded and produced, delivered and played back, then received and decoded. The PhD includes a portfolio of projects undertaken as part of the research process on which the text critically reflects. Due to their site-specific approach, these live events are documented through video and still images. The work represents an intertwining, interdisciplinary, post-animation praxis where theory and practice inform one another and test relationships between animation and performance to problematise a binary opposition between that which is live as opposed to that which is animated. It is contextualised by a review of historical practice and interviews with key contemporary practitioners whose work combines animation with an intermedial mixture of interaction design, fine art, dance and theatre.

The purpose of this research project is to develop a clinical practice guideline for contraceptive counseling to include long acting reversible contraceptive (LARC) recommendations for the adolescent population. LARCs, which include intrauterine devices and implants, are the top-tier contraceptive for nulliparous women yet they are only used in less than 6% of women under 19 years old. There is no LARC clinical practice guideline that addresses the adolescent’s unique developmental and psychosocial needs that arise. A clinical practice guideline with adolescent-specific recommendations will strengthen counseling especially for long-acting reversible contraceptives. The review of literature searched PubMed, CINHAL, National Guideline Clearinghouse, Google Scholar and the Cochrane Library using search terms "LARCs," and "contraceptive counseling." The search yielded over 35,000 results; titles and abstracts were reviewed using pre-determined inclusion and exclusion criteria. The final source documents included forty-eight applicable manuscripts, which were graded using the United States Preventative Task Force (USPSTF) scale. The evidence was then sorted by similar findings and practice recommendations. The findings were used to formulate practice statements, which were then input into the Bridge-wiz software. The program generated recommendations and assigned a strength rating, and the clinical practice guideline was written from these recommendations. Finally, four clinical experts were identified using snowball sampling; they each participated in the final appraisal using the AGREE II tool. Based on the analysis of the review of literature, fifteen evidenced-based recommendations emerged. The recommendation topics included: best-practices for recommending LARCs, using developmentally appropriate teaching, providing youth-friendly services, and eliminating potential barriers to LARC uptake in adolescents. There are fifteen practice recommendations that increase adolescent uptake of LARCs. Limitations for the project included the absence of an internal review committee to grade the evidence and assign a strength to each recommendation. The use of Bridge-wiz software and the USPSTF evidence scale minimized bias. Providers can facilitate use of LARCs among adolescents by using developmentally appropriate and comprehensive contraceptive counseling. If more adolescents chose a LARC as their primary form of contraception, then overall teenage pregnancies may decrease. Further research is needed to understand other barriers and possible interventions.