Gay actors have a long history with the notion of “straightening up” to remain castable and economically feasible in today’s market. Searching to find answers for young acting students while strengthening their own self worth, I will explore the history of gay actors in film, television and theatre and in society to understand this notion more fully. By interviewing working actors and managers in the business I will explore how I can address this question of “straightening up” to the future generation of actors and analyze how we can face the future with integrity and self-respect.

U.S. Theatre is often noted for its commitment to new play development. Since Eugene O’Neill, America has fostered a tradition of celebrating emerging playwrights and their bold, edgy new works through countless development programs such as festivals, new play readings, grant programs, workshops, and world premieres. Although in recent years new-play development has seen a steady decline in funding (Levitow 2), it remains a cornerstone of American identity and an essential medium for pushing boundaries in theatre, both culturally and artistically. New-play development is indispensable for keeping theatre relevant in our everchanging culture. For my thesis, I explore the process of developing a new play from an actor’s perspective. The role of the director, dramaturg and producer of a new play is often discussed; however the importance of the actor throughout the development process is sometimes overlooked. There are many configurations of artistic teams assembled to develop a new play; therefore, I do not suggest there is one type of team that is best or one type of role for the actor to play within the team. My aim was to collaborate with the playwright, director and fellow actors to discover what is required of an actor in all phases of new play development. I applied the principles learned to my own work in the World Premiere of The Exit Interview by William Missouri Downs at the Orlando Shakespeare Theatre in Partnership with The University of Central Florida. As I navigated my way through the artistic process of developing a new work, I discovered some ‘best practices’, which I employed throughout the rehearsal and performance iii process to further my own skills. I will discuss the development process I experienced, as objectively as possible, outlining the key best practices for an actor working in a collaborative team to develop a new play.

Call number: LD2668 .T4 1978 B86 / Master of Arts

Thesis (MDram (Drama))—University of Stellenbosch, 2006. / The actor uses the body in different ways when communicating with the audience. Physical theatre focuses less on the voice and more on the rest of the body during communication with the audience. Contact improvisation serves as training for the actor or dancer so that he or she can learn more about how the body communicates. This form of movement works mostly with the inner rather than the outer feelings. The focus is not on what the movements look like, but on what the improviser experience through the movements. Lanon Prigge and Samantha Pienaar developed various exercises that make the practicing of contact improvisation easier. These exercises serve as basis for their way of jamming. Their focus is not on technique, but on the physical skills en personal growth the improvisers experience through contact improvisation. Contact improvisation is associated with dance and acting, but is also recognised for its therapeutic quality. It has the ability to give insight to the emotional state of the improviser. Therefore it is also practiced in the field of therapy.

Thesis (MDram)--University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The actor's work consists of communication, in other words the transfer of intellectual and emotional ideas. The voice is undoubtedly the most important means of auditory communication. The development and maintenance of the actor's voice is, therefore, an essential requirement for effective communication. The vocal development of actors and singers is aimed at releasing the breathing process, the passage of sound through the body and the organs of articulation, as well as the elimination of obstructive psychophysical inhibitions. The same body parts are used for the production of sound in both speaking and singing. The vocal instrument may be divided into three parts, namely the respiratory system, the glottic system and the resonators. The structure and functioning of the voice as an instrument is in many respects somewhat complex. Knowledge of the structure and functioning of the vocal system facilitates the prevention and elimination of speech problems. Speech and singing, as subdivisions of voice production, are both closely linked to the functioning of certain body parts, and it is for this reason that singing helps to improve speech. For instance, because singing demands a larger breath capacity and greater breath control, singing techniques contribute positively to the development of the actor's voice. Various voice production errors and problems encountered in actors, such as breathing-related problems, defective resonance adaptations and defective projection, can be eliminated by means of technical exercises. An analysis of the techniques for speech and singing reveal such a strong coincidence that they can both be classed as voice production techniques. A singing-based approach to vocal training will, therefore, have only a positive effect on the actor's voice production. / AFRIKAANSE OPSOMMING: Die akteur se werk behels kommunikasie, dit wil sê die oordra van intellektuele en emosionele idees. Die stem is meestalonontbeerlik as ouditiewe kommunikasiemiddel. Daarom is die ontwikkeling en instandhouding van die akteur se stem van wesenlike belang. Die fokus van stemontwikkeling by akteurs en sangers word gerig op die bevryding van die asemhalingsproses, die klankgang deur die liggaam, die artikulasieorgane en die uitwissing van stremmende psigo-fisiese inhibisies. In spraak en sang word dieselfde liggaamsdele vir klankproduksie aangewend. Die vokale instrument kan in drie verdeel word, naamlik die asemhalingstelsel, die glottale stelsel en die resonators. Die bou en werking van die stem as instrument is in vele opsigte kompleks. Kennis van die bou en werking van die vokale instrument kan egter tot die voorkoming of verbetering van stem- en spraakprobleme lei. Spraak en sang as onderafdelings van stemproduksie skakelonderling met betrekking tot die betrokkenheid van sekere liggaamsdele en hul funksies, en derhalwe ondersteun sangoefeninge spraakproduksie. Aangesien sang egter 'n groter asemkapasiteit en sterker asembeheer verg as spraak, kan sangtegniese oefeninge positief bydra tot die akteur se stemontwikkeling. Verskeie stemfoute en stemprobleme van die akteur kan verbeter word met behulp van tegniese oefeninge, naamlik asemverwante probleme, gebrekkige resonansie-aanpassings en gebrekkige projeksie. 'n Ontleding van die tegnieke van spraak en sang dui op so 'n sterk ooreenkoms dat beide as stemtegnieke geklassifiseer kan word. Daarom sal 'n sangtegniekmatige benadering tot stemopleiding die spraakstem van die akteur positiefbeïnvloed.

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The purpose of this study was to implement Character Memory Exploration (a specific pathway towards character justification) within a BFA Acting II course. Primarily using given circumstances and magic if, Character Memory Exploration creates a rich and developed character history through a combination of visualization exercises, improvisation, and writing. The following summary will show individualized exercises and how to implement them, as well as their original purpose, placements, and pairings. This work also delves into student responses and my own successes and failures throughout the experience. The primary conclusion of this writing is that Character Memory Exploration leads to an actor having stronger relationships with props, set and scene partners, a better handle on a characters physical life, and a thinking actor who reacts in an honest and grounded manner on the stage.

This thesis is an attempt to document my creative process as an actor throughout the production process of An Evening of Greek Theater as accurately as possible. In a narrative structure, I will record the development of the production starting with the pre-production process, the rehearsal process, and evaluate my performance. Chapters include character analyses, pre-production, rehearsal and performance, self-evaluation and a scored script. A video is included with excerpts of my work from the production.

The purpose of this thesis is to create the character of Dabby Bryant in Timberlake Wertenbaker's Our Country's Good, which was selected for the third production in the University of New Orleans' 2004-2005 theatre season. The steps involved in creating Dabby Bryant's character involve using specific methods as outlined by the Acting Program of UNO as well as the text A Practical Handbook for the Actor by Melissa Bruder, et. al. I also utilized specific instructions from the director of the production, David Hoover, also my major professor. I also had to use the novel The Playmaker by Thomas Keneally as this is the text from which the Wertenbaker play is taken. The process also includes the journal kept during the rehearsal process and performance run as well as scene scores created as a blueprint for the creation of the character.

Abstract The purpose of this study is to create a believable, multiple dimension character portrayal of Jack Lawson in David Mamet’s Race. Documentation of the process will include: an explanation of the acting technique and analysis used to create the backstory and portrayal of the character; insight into the background and beliefs of playwright, David Mamet; and a personal review of my growth and performance.