This research explores possible applications in choral rehearsals of techniques, methods, and theories of acting that were established by Russian actor, director, theoretician, and pedagogue Constantin Stanislavski (1863-1938). The parallel between the dramatic art and the art of choral music focuses on the discussion of the Stanislavski ‘system’ as described in detail in his ‘Acting Trilogy’ and other critical literature as well as on the use of psycho-technique by Romanian conductor Marin Constantin (b. 1925) and his Madrigal Choir of Bucharest. The introductory chapter presents the premises of this parallel and the complexity of Stanislavski’s artistic personality, his pivotal role in the history of theater and performing arts. The second chapter reviews existing literature that is pertinent to the topic, explaining all the elements of Stanislavski’s acting theory; this process divides the sources into three categories, namely the body of English translations of Stanislavski’s writings, the authoritative source materials that clarify and confirm the practicality of the ‘system,’ and the references on the use of psycho-technique in choral practice. The third chapter describes possible usage of key artistic elements, principles, and techniques of the acting ‘system’ in choral rehearsals, including concepts such as creative mood, concentration of attention, imagination, given circumstances, ‘magic If,’ inner motive forces, action (as in singing and conducting gestures), units (bits) and objectives (tasks), relaxation of muscles, ensemble work, communion, emotion memory, tempo-rhythm, active analysis, through line of action, and super-objective. The fourth chapter explores concrete applications of psycho-technical elements made by this researcher in a practical study with two student ensembles. Limitations and special circumstances about this collaboration are indicated. The rehearsal process is described in detail and focuses on the work on three choral pieces, namely Kasar mie la gaji by Venezuelan composer Alberto Grau (b. 1937), If Music Be the Food of Love by David C. Dickau (b. 1953), and There Will Be Rest by Franck Ticheli (b. 1958) on a poem by Sara Teasdale (1884-1933). The findings of this research, summarized in the final chapter, reflect not only the possibility of using elements of the Stanislavski ‘system’ of acting in choral rehearsals, but also the necessity to employ psycho-technique in choral practice; the results also recommend further applications of the ‘system’ in areas of formation of individual choristers as true artists, of building ensemble unity of expression of emotions, and of developing an effective and meaningful vocabulary of conducting gestures. / School of Music

Thesis (Ed.D.) -- University of Western Sydney, 2002. / A portfolio submitted in fulfilment of the requirements for the award of the degree of Doctor of Education, University of Western Sydney, November, 2002. Bibliography : leaves 134-137.

Thesis (M.F.A.)--York University, 2007. Graduate Programme in Theatre. / Typescript. Includes bibliographical references (leaves 60-61). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR31985

”Problems for the HIgh School Actor” has been prepared so that the teacher and the student have been given a certain degree of flexibility in its use. The order of presentation of the various problems, the amount of time spent on any one time, and the focusing on the major amount of emphasis may vary from class to class and from year to year as the interests, needs, and skills of the enrollee vary. The most educationally worthwhile method can be used to meet these varying situations. This study has been developed so as to make possible further study of the problems herein presented. The resources unit that has been included will be found most helpful. It should be a stimulus for a continued analysis of the great plays. It would be well to consider the objectives involved in “Problems for the High School Actor”: (1) To enable the student to realize the communicative possibilities of bodily action and facial expression; (2) To enable the student to realize the possibilities of emotional expression through the voice.; (3) To help the student acquire grace of movement.; (4) To help the student develop a pleasing, expressive voice.; (5) To make the student aware of the world and the people around him as a source of characterizations.; (6) To develop powers of observation in the student so that he may find in the world around him the inspiration and materials of characterization.; (7) To enable the student to acquire memorization techniques.; (8) To give the student practice in memorizing and characterization.; (9) To give the students practice in working with others in dramatic scenes.; (10) To develop the student’s sense of responsibility in self-organized, self-directed scenes.; (11) To develop the ability to sacrifice personal ambitions to the welfare of the group.; (12) To give the student a knowledge of stage directions and acting techniques.; (13) To develop a critical sense in the student in evaluating his own and other’s work.; (14) To give poise and confidence to the student. The over-all plan in “Problems for the High School Actor’ has been to give the student a chance to act. It has long been the belief of the investigator that the average, serious-minded high school actor can best learn how to act by working on excerpts from the World’s great dramatic literature. When the actor is told exactly what is expected of him in playing his role. He will most appreciably grow, and he soon senses the importance of a well-motivated characterization, and sometimes he will have the techniques so ingrained, he can attack the more complicated problems in acting with sincerity and understanding.

The role of the non-traditional leading man has painted a strong image which mirrors the cultural development of our identities; we turn to these men/characters to understand who, or why, we are. Their contributions require acknowledgement. This thesis is a study of the vital role the non-traditional leading man has played in the evolution of twentieth-century theatre. It will examine, through the use of ten plays, one from every decade of the twentieth century, and twelve male roles, the theory that some of the greatest leading male characters in modern theatre are not epitomized by the qualities identified with the stereotypical, romantic leading man, but instead by characters who serve as a representative of the evolution of man, and his everchanging role in history.

This study is based on the events of September 11, 2001. I will be writing a one man show containing fictional characters that I will write based on research of that day. The show will consist of numerous characters cut from different ages, religions, genders, and points of view. I will be portraying these characters using the tools I have acquired in studio and on stage. The challenge will be to make each character different and bring their experience and unique point of view to the performance. This study will begin at conception of the idea and follow the journey all the way to the final performance. It will show the struggles I encounter as a writer, performer, and producer.

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This comedic short theatre piece follows the main character as she applies the five stages of mourning a death (denial, anger, bargaining, depression, and acceptance) to her recent break-up. The process section then details the writing, development, and performance of the piece for the first time, as well as plans for its future iterations. / text

When it comes to actor training in higher education, there are many practitioners from which to choose. This thesis describes the teachings of Sanford Meisner and Michael Chekhov and the benefits of combining their techniques. This thesis further explores five elements deemed necessary to every actor’s training. These elements are approached through the techniques of Meisner, Chekhov and a combination of their teachings. These five elements are explored through a workshop and performance. During the workshop, I devised and taught new hybrid exercises to approach these elements through a combination of the teachings of Chekhov and Meisner. Responses from workshop participants are included. Finally, the combination of techniques is discussed through the performance of two roles in a Virginia Commonwealth University theatre production. This thesis hopes to serve as a guide to instructors and participants looking to explore the benefits of combining the methodologies of Sanford Meisner and Michael Chekhov.

An Actor's Approach to the Role of Trisha in Five Women Wearing the Same Dress is an analysis of my personal process as an actor and how I applied such process to this given script. This analysis includes chapters of research, documentation, and reflection.