Really, Really, by Paul Downs Colaizzo, is loosely based on the 2006 Duke University sexual assault scandal resulting from what proved to be a false accusation of rape made against three members of the men’s lacrosse team. After individually reading the play, Jorge Burmudez and I both arrived at differing opinions of who was the true victim, in turn inspiring this thesis, which is an exploration of two separate productions of the play demonstrating contrasting perspectives/outlooks regarding sex crimes within sports organizations in the university setting. It will describe our process from conceptualization to a post-mortem talking about particular challenges we faced along with feedback from both casts and audience members who saw the shows. Included will also be my experience with pre-production, auditions/casting, rehearsal journals and post-production documentation of my individual directorial processes. In the end, we are researching where the blame lies in the crime detailed in this play.

1 Regulations of stockbroker's acting towards his clients Abstract The purpose of my thesis is to define and analyze a scope of regulation of securities broker's acting toward his clients. These rules are set up by European law and regulation, which was brought by three legal documents. First is Directive no. 2004/39/EC on markets in financial instrument, also called MiFID (Markets in Financial Instrument Directive). Second rule is implementing regulation of European Commission no. 1287/2006. Third rule is implementing directive of Commission no. 2006/73/EC. The first rule crates so called LEVEL 1 and the last two rules create LEVEL 2. Legal rules in Czech Republic are set up by reception of above mentioned European rules into the Czech act no. 256/2004 Sb. about business activities on capital markets and implementing publication no. 237/2008 Sb. These all legal documents bring wide range of regulations and inside of this regulation; the significant group is created by rules about protection of the clients, which are the subject of my analyses in the thesis. The thesis is composed of introduction chapter and seven specific chapters. In introduction are presented objectives and goals and structure of the thesis. In this chapter is defined the basic terminology and sources of the law. First chapter is focused...

SUMMARY: This thesis focuses on theatre, film and television acting of one of the important representatives of Czech dramatic art in Czech artistic and social context in the second half of the twentieth century. The aim of this work is to depict means of expression used by Vaclav Voska in his roles. It provides summary of actor's theatrical work and in the part dedicated to his TV acting tries to comprehensively describe compering television series "We invite you to the theatre". The following part is dedicated to film acting, especially to his cooperation with the Film Academy of Performing Arts in Prague. The work neither neglects his teaching at the Faculty of Performing Arts Theatre nor his political career. The essential part of this thesis is focuses on his role of Emile Magis in Félicien Marceau's game The Egg. The work purposely omits on Vaclav Voska's production of spoken word (radio, Poetic Cafe Viola, Lyra Pragensis) and it refers only to his major achievements only if they are relevant for analyzed topics. Complete list of theatre and film production is given at the end of his work. The TV list is only a selection with regard to the factual ambiguity at the beginning of the functioning of the medium. The work provides factual data - in some cases, they are presented to public for the first time...

This thesis is an endeavor to accurately document and define my actor coaching process as a director through Robert Harling's Steel Magnolias. The following chapters contain a record of the development of my actor coaching process in this production, including character & actor analysis, a rehearsal log that provides a daily track of my progress, and an evaluation of the process and resulting performance.

The Taming of the Shrew is an early comedy that exposes the oddities we take for granted: curious conventions, wild assumptions, gender roles, relationships, social status, fashion, and everything else we know so defectively. The given circumstances of the script and Petruchio are specific in choice, yet broad in interpretation. Petruchio, the catalyst behind Katherine’s character arc, needed to not only be believable in his ways, but likeable by the audience. This thesis examines the process required to successfully develop and bring to life the character of Petruchio to our modern audience. It includes historical background information on William Shakespeare and the origins of the play itself, Sanford Meisner’s Techniques (moment-to-moment analysis & actioning) and Konstantin Stanislavski’s system are included with the scored actor’s script, journals recorded by the actor to verify his victories and defeats during the six-week production process and critiques to support the success of the production.

The following thesis is a documentation of the production of Two Rooms, including analysis, research production book, script, documentation, and evaluation. The play was performed in New Orleans, Louisiana, at the University of New Orleans Performing Arts Center Lab Theatre on November 7th, 8th, 12th, 13th, 21st, and 22nd, 2015.

Cette thèse est une étude sur le geste de soin, c’est-à-dire le fait de se soucier d’autres personnes et de leur apporter une aide nécessaire. Elle est ancrée dans un cas particulier : l’action humanitaire, l’action d’organisations intervenant dans des situations d’urgence générées par des conflits ou des catastrophes. Ce secteur de pratiques vient nourrir et contextualiser notre réflexion en lui apportant ses contraintes propres. Le constat d’un ensemble d’écueils dans les pratiques de soin se trouve à l’origine de ce travail. Ces problèmes sont généralement perçus comme des abus de pouvoir, que ce soit le soigné qui se voit abusé (imposition d’une forme de soin, manque de respect, etc.) ou bien le soignant (manque de reconnaissance, manipulation, détresse empathique, etc.). Selon la conception dominante, ces écueils auraient leur source dans l’asymétrie de la relation de soin. Il faudrait alors réduire, si ce n’est même, annuler cette asymétrie. Mais que serait le soin en l’absence de cette asymétrie ? Que pourrait faire le soignant s’il se trouvait tout autant vulnérable que le soigné ? Cette thèse dénonce une conception dominante du soin qui tend à un affaiblissement du soignant. Non seulement la souffrance ne trouve pas de réponses effectives, mais elle se voit légitimée et même célébrée. Notre travail vise à dénoncer cet empire de la souffrance et en révèle les racines profondes. De plus, la contribution de cette thèse n’est pas uniquement critique : elle propose de retrouver la puissance au cœur du geste de soin. Nous montrons que la source de cette puissance se trouve dans le désir, le désir entendu dans son sens fondamental et intrinsèque. Cette thèse propose finalement de replacer le désir au cœur du soin. Le vitalisme et la puissance normative anti-dogmatique de philosophes comme Spinoza, Nietzsche, Canguilhem et Deleuze nous éclairent tout au long de ce travail ainsi, qu’un travail empirique réalisé auprès d’acteurs humanitaires. / This is a study on the gesture of care, i.e. the fact of caring for other people and providing them with the help required. It focuses on a particular case : humanitarian action, the action conducted by organisations that intervene in emergency situations generated by conflicts or disasters. This sector of practices nourrishes and contextualises this philosophical reflection. The impulse of this work resides in the observation of a set of pitfalls of caring practices. These issues are generally perceived as abuses of power: it is either the care-reciever that is being abused (imposition of a particular form of care, lack of respect, etc.) or the care-provider (lack of recognition, manipulation, empathic distress, etc.). According to the dominant understanding, these pitfalls would find their origin in the asymetry of the caring relations. It would then be necessary to reduce, or even, to remove this asymetry. However, what would care be in the absence of this asymetry? What could the carer do if he/she was as vulnerable as the one being cared for? This thesis critiques a dominant conception of care that leads to a weakening of the carer. Not only does this understanding makes it impossible to properly respond to suffering, but it also leads to legitimising distress and vulnerability, and even, celebrating these states. Hence, this work seeks to denounce this empire of suffering and reveals its deeper roots. Furthermore, this thesis is not only a critique; it also makes a proposition, that of coming back to power of acting at the heart of the gesture of care. It shows that the source of this power resides in desire, a desire understood in a fundamental and intrinsic sense. It eventually proposes to place desire at the center of care. The vitalism and the normative and anti-dogmatic power of philosophers such as Spinoza, Nietzsche, Canguilhem and Deleuze are a source of inspiration throughout this work, as well as an empirical study conducted with humanitarian actors.

The aim of this study was to understand how teachers in Sweden act when they suspect child abuse. Eight semi-structured interviews were conducted with teachers from six different schools teaching at various grades. A qualitative method was applied in order to reach broader answers and enabling the possibility of follow-up questions. The collected data was analyzed with the new institutional theory and the theoretical concepts about street-level bureaucratsand discretion. Earlier studies within the area has been found by using the keywords: teacher, child abuse, report, mandatory report, consequence andneglect. The empirical data resulted in three large categories, which further contained several subcategories explaining why the teachers took action or not when suspecting child abuse. The results indicated that the teachers act in different ways within their discretion, and sometimes against the law. Furthermore, the majority of the teachers have knowledge about the notification requirements according to the social services act (SFS 2001:453), but that some schools use their own policies and guidelines that the teacher choose to apply instead. Concludingly, the current study aligns with the new institutional theory illustrating that the solution for some organizations is to detach practical actions from formal structures and thereby ignoring laws.

Thesis advisor: Marina B. McCoy / Thesis advisor: Peter Kreeft / An in-depth study of Karol Wojtyła's creative synthesis of medieval and modern thought, in which he brings together 1) traditional Thomistic metaphysics and anthropology and 2) the insights of contemporary phenomenology, in order to understand the reality of man as person in his integral totality. / Thesis (BA) — Boston College, 2009. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program. / Discipline: Philosophy.

Com esse trabalho, investiga-se a noção de técnica em relação à função artística do ator, visando à ampliação do conhecimento sobre processos de ensino/aprendizagem da voz no teatro, principalmente, por meio do estudo da obra Freeing the Natural Voice, de Kristin Linklater comparando-a com as publicações de Jerzy Grotowski, referentes ao período de seu trabalho de 1965 a 1969. Entende-se \"o ator\" como um \"corpo que age em cena\". Por meio da elaboração da noção de \"corpo\" e \"voz\", em relação com o ambiente sociocultural, a técnica do ator é concebida como uma \"técnica corporal de transmissão\". Essa concepção ilumina a investigação e a comparação entre o pensamento de Linklater e Grotowski, inclusive as ideias-chave como a \"voz natural\", a \"organicidade\" e a \"via negativa\". O estudo possibilita a exposição da obra de Linklater, ainda pouca conhecida no Brasil, bem como a criação de novos processos para o ensino-aprendizagem da técnica vocal no teatro. / This work investigates the notion of technique in relation to the artistic function of the actor with a view to broaden knowledge about processes for teaching/learning voice for the theatre, principally through a study of the book Freeing the Natural Voice, by Kristin Linklater, in comparison with the publications of Jerzy Grotowski, that refer to the period of his work between 1965 e 1969. \"The actor\" is understood as \"a body that acts in a scenic space\" and, through the elaboration of the notion of \"body\" and \"voice\" in relation to the sociocultural environment, the \"actor\'s technique\" is conceived as \"a body transmission technique\". This conception illuminates the comparison of Linklater and Grotowski, including key ideas such as \"the natural voice\", \"organicity\" and the \"via negativa\". The study makes possible the exposition of Linklater\'s work in Brasil, where she is still little known, as well as the creation of new processes for the teaching/learning of vocal technique for the theatre.