Thesis (M.F.A.)--University of Central Florida, 2009. / Adviser: Steven Chicurel. Includes bibliographical references (p. 90-91).

Thesis (Ph. D.)--UCLA, 2008. / Vita. Description based on print version record. Includes bibliographical references (leaves 109-113).

Thesis (M.F.A.)--University of Louisville, 2004. / Department of Theatre Arts. Vita. "May 2004." Includes bibliographical references (leaf 40).

Thesis (M.A.)--Miami University, Dept. of Theatre, 2005. / Title from first page of PDF document. Document formatted into pages; contains [1], iii, 41 p. Includes bibliographical references (p. 36-41).

Thesis (Ph. D.)--University of California, San Diego and University of California, Irvine, 2006. / Title from first page of PDF file (viewed September 5, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 253-272).

Thesis (D. M. A.)--University of North Carolina at Greensboro, 2006. / Title from PDF title page screen. Advisor: Carla LeFevre ; submitted to the School of Music. Includes bibliographical references (p. 96-101).

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Includes bibliographical references (p. 260-275).

Orientador: José Manuel Lázaro de Ortecho Ramirez / Banca: Gabriela Lírio Gurgel / Banca: Mirna Spritzer / Banca: Gisela Habeyche / Banca: Vicente Concílio / Acompanha DVD com fragmentos dos espetáculos analisados. / Resumo: A pesquisa aqui proposta pretende refletir sobre as formas de presença do ator existentes no teatro a partir da fusão com a linguagem cinematográfica. Sob o ponto de vista do ator, foi pesquisada a nova dimensão da sua presença no palco, caracterizada pela utilização da câmara e do microfone. Para tanto, introduzimos uma breve história do teatro durante o surgimento do cinema visando contextualizar os estudos e reflexões contidos nos capítulos seguintes, nos quais serão aprofundados os avanços tecnológicos que culminaram no momento presente. Ao estudar as possibilidades do uso de recursos digitais no teatro, o foco é direcionado para as relações entre ator, câmera e projeção, visando investigar as possíveis formas de presença que vem sendo exploradas no teatro. Assim, o estudo é desenvolvido a partir das encenações: "E se elas fossem para Moscou?", de Christiane Jatahy; "King of War", de Ivo Van Hove; " Le Projet Andersen", de Robert Lepage; "The Tempest", de 4DArt; "Eraritjaritjaka", de Heiner Goebbels. A escolha dos espetáculos se deu devido a diferentes formas de captação e projeção das imagens em vídeo, que possibilitam, formas distintas de presença e de convívio entre ator-câmera-espectador. Por fim, é esperado, também, que o estudo propicie subsídios analíticos para a investigação das novas possibilidades deste "teatrodigital" e das tendências que se desanuviam em um futuro próximo de evolução tecnológica e diversificação técnica. / Abstract: The present research intends to reflect on actor's types of presence in theatre from the fusion with the cinematographic language. Under the actor's point of view, it was researched a new dimension of his presence on stage, characterized by the use of camera and microphone. To this end, the study begins with a short history of theatre during the rise of cinema so as to contextualize the studies and reflections contained in future chapters, which present technological advances culminating in the present day. In studying the possibilities of this "theatre-cinema", the research focuses on relationships between actors, cameras, and projections, as well as investigating possible forms of presence that both cinema and theatre explore, and that enable new relations between actors and spectators to be formed. The study examines the following scenic productions: "E se elas fossem para Moscou?" by Christiane Jatahy; "King of War", by Ivo Van Hove; "Le Projet Andersen", by Robert Lepage; "The Tempest", by 4DArt; and "Eraritjaritjaka", by Heiner Goebbels. The choice of productions is based on different forms of capturing and projecting video images, which allow for distinct modes of presence and of interaction between actors, cameras, and spectators. Finally, the research also aims to supply analytic tools toward the investigation of new possibilities of this "theatre-cinema" and of tendencies that will arise in the near future, based on technological evolution and technical diversification. / Doutor

This thesis addresses how leaders find themselves doing something even when they don't know what to do. It is based on my own practice as an experienced team leader and it deals with questions of action, time, identity and leadership. A classic understanding of action usually reflects an expectation of a rational means-ends relationship where actions are designed and applied by individuals to reach well-defined goals within a certain context and within a certain time. In contrast, in this thesis, I describe acting as a much more complex process, as something becoming, as a patterning of activities involving multiple actors in a continuous and complex interweaving of relationships. I describe my experience of leading a team of consultants in international development projects where I inquire into how we often find ourselves acting into uncertainty even when we are not at all sure what to do. Adopting the theory of complex responsive processes of relating, which combines insights from the complexity sciences, social psychology and process sociology, I have come to see acting in our projects as complex, unpredictable, emerging themes and patterns of dialogues between colleagues, clients and other actors, rather than as an activity undertaken by an individual such as a team leader. I do not have an outside position to acting in a project as I am fully involved in the process while this paradoxically influences me at the same time. I argue that acting is related to identity, which can be understood as a sense of self, a person's moral self-interpretation which has a narrative structure and which is continuously being formed by (and is forming) one's acting. I argue that my experience of our practice may be explained by the pragmatists' understanding of acting based on actual lived experience where the means paradoxically become our 'ends-in-view' and vice versa, meaning that we do not just try to maintain a theoretical, future goal but move forwards towards what is practically possible, what we find useful and what makes sense in the present. Acting happens in a living present, meaning that we understand the present through our interpretation of the past as well as our expectation of the future, and we construct this living present as something that works for us when we pursue our collective aims and interests. In the process of acting, there is an arrow on time, meaning that what has been said cannot be unsaid, wherefore it is important to reflect on the perspective of 'ends-in-view' and to understand how acting into a situation may reveal new opportunities. The thesis contributes to knowledge within my profession as an original invitation to think differently about two aspects: first, seeing acting in a project with a much more processual, temporal and encompassing understanding where action is not located in an individual; second, understanding how acting is influenced by one's identity, a sense of self, which is paradoxically being formed by the acting at the same time. Further, the thesis identifies sociality, being different things at the same time (Mead, 1932/2002), as a new aspect in the theory of complex responsive processes of relating (Stacey, Griffin, & Shaw, 2000), recognising its significance in the process of understanding of how novelty occurs. The thesis contributes to my practice in terms of an increased reflexivity and acceptance that a team leader cannot determine outcomes in advance; that leadership is a complex process involving many actors; and that observing ends-in-view may create new and surprising ways forward. I find that these insights can lead to an increased acceptance of how we can act under conditions of uncertainty.

BACKGROUND: One in ten sexually active adolescents in the United States become pregnant each year. Significant differences in unintended pregnancy and use of long-acting reversible contraceptive (LARC) methods: the sub-dermal implant, the copper intrauterine device (IUD) and hormonal IUDs, exist between socioeconomic strata as well as ethnic and racial groups. Women using LARC are 20 times less likely to experience a pregnancy than women using short-acting reversible methods. Thus, LARCs present a major opportunity for the prevention of unintended pregnancy. PURPOSE: Characterize contraceptive use, demographics, and behavioral characteristics of a novel population: young women presenting to an urban Pediatric Emergency Department (PED) in order to better understand the contraceptive needs of this population. METHODS: We characterized the current LARC usage. Using an anonymous paper-based questionnaire, we surveyed women ages 16-21 years regardless of chief complaint presenting to our PED regarding their demographics, health care access, sexual history, and history of contraceptive use. We conducted a cross-sectional analysis of demographic characteristics for current LARC and non-LARC users (n=331) using chi-squared for categorical variables and student's t-test for continuous variables. RESULTS: No significant differences were found between women currently using LARC and those not using LARC, however current LARC usage in our population was 15.8%, about three times that documented in the most recent national studies conducted in 2013. CONCLUSION: Current LARC use is particularly high in our urban PED setting. More research is necessary to determine if this is part of a larger national trend or if the early implementation of no-cost contraception in Massachusetts and changes in provider or patient attitudes towards LARC may explain the large observed difference in LARC usage.