“Directing Rebecca Gilman’s Boy Gets Girl…” reviews the process of directing Boy Gets Girl by Rebecca Gilman, presented on October 26-29, 2017, in the Cristian H. Moe Laboratory Theater at Southern Illinois University in Carbondale, Illinois. This document chronologically details the year-long production process for the director, beginning with the preliminary research and discussing the development of a concept, through formulating designs, conducting rehearsals and observing performances, and concluding with a post production evaluation. This document begins with Chapter 1, exploring the preliminary research which developed into the director’s concept and vision for production. Chapter 2 explains the pre-production process, including design and production meetings, dramaturgy, and publicity. Chapter 3 details the production process, including auditions, callbacks, rehearsals, and performances. Chapter 4 is a personal reflection and committee evaluation of the overall production, including the recognition of opportunities for future growth as a director.

Made available in DSpace on 2014-06-11T19:25:59Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-09-01Bitstream added on 2014-06-13T20:26:55Z : No. of bitstreams: 1 martins_rf_me_prud.pdf: 796842 bytes, checksum: 580afc68badbe441350e764a1daf49db (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Neste trabalho discuto uma fantasia. Não a fantasia vinculada ao faz-deconta das histórias narradas às crianças, mas, a fantasia expressa por um desejo aparentemente incorporado por grande parte dos habitantes de um país, no qual as pessoas fazem de conta que não há discriminação quando há, que não há racismo quando há. Neste país o faz de contas é vivido por adultos e crianças. Tento observar mais de perto, como meninas negras se inserem neste mundo de fantasias e, a partir delas e por meio delas constroem sua identidade. O trabalho foi realizado com meninas que, no ano de 2005, estavam cursando a 4ª série do Ensino Fundamental, em escolas públicas da periferia da cidade de São Paulo. Minha hipótese é a de que as meninas negras teriam dificuldade para a aceitação dos traços estéticos de seu corpo que as identificariam como negras (cabelos,tom de pele ou cor) e que isso se relacionaria diretamente a um padrão feminino construído como o mais bonito e o mais aceitável com os quais não se identificariam, por natureza. Usei como instrumentos para minha pesquisa contos de fadas, desenhos e dramatizações por entender que esse seria o caminho mais adequado para chegar às fantasias das meninas. Através dos contos tentei descobrir como negociavam com as personagens das histórias narradas de modo a resolverem suas próprias fantasias em relação à imagem dos príncipes, das princesas e delas mesmas. / In this work, I discuss a fantasy. It is not the fantasy about fairy tales narrated in stories for children, but the fantasy that manifests the apparently incorporated desire of the big part of the country's inhabitants; a country where people pretend that discrimination does not happen, but it does, that there is not racism, but there is. In this country, this situation is experienced by adults and children. I try to closely observe how the black girls participated in this world of fantasies and how they build their identity from them and among them. The work has been realized with girls that were studying at stage four classes, in public fundamental schools of the São Paulo city' peripheral area. My hypothesis is that the black girls would have difficulties to accept their physical characteristics, mainly those characteristics that identify them as African descendent people (hair, skin color or tonality), and that this fact would be related to the social feminine standard that they cannot reach, because of their nature. I used fairy tales, draws and dramas as research's frameworks because I believe that those are the best ways to contact with the girls' fantasies. Through the fairy tales I tried to discover how the girls were negotiating with the stories characters, to solve their own fantasies related to the prince' image, princess' image and themselves.

This thesis sets out to answer if, and in that case how, the current development discourse, centring on instrumentalist arguments for gender equality and the “marketization” of aid, is reflected in Plan International Sweden’s campaign on the International Day of the Girl Child. The study draws upon critical feminist theories which stress that the instrumentalist approach, which scholars mean has become more common due to the marketization of aid, essentializes women and men in line with traditional ideas of femininity and masculinity. Through the use of discourse analysis, the study shows that the discourse of Plan’s campaign appeals to traditional constructions of femininity and masculinity where women and girls are ascribed signs such as maternal, responsible, altruistic and efficient, and men self-centred, irresponsible and potentially oppressive. Relatedly, Plan shows clear traces of instrumentalist reasoning, arguing that gender equality, besides being a social right, is an instrument to increase development efficiency. Additionally, the study finds that Plan shows traces of a marketized logic, something that can be seen in the organization’s cooperation with private companies which signifies an acceptance of them as actors in development, and the involvement of several celebrities which help validate, brand and “sell” the organization.

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In this paper I will discuss the personal process of making a film, specifically as it relates to my thesis Galatea. I will do this be examining the individual aspects of filmmaking, including but not limited to: writing, directing, production design, cinematography, editing, and visual effects.

TEETH AND OTHER TALES is a novella and a collection of short stories that explore the blurry lines between illusion and reality. Teeth, the novella, is narrated backward in time, chronicling the life of Lucy from the age of sixty-five back to seventeen. After years of surviving an oppressive marriage, Lucy escapes her husband, but in doing so abandons her three children. In order to rationalize her decisions, Lucy uses selective memory to create her own reality to the extent that she comes to believe her own delusions. The four short stories in the collection feature protagonists who create their own personal myths and struggle to protect their distorted truths, with mixed results. These struggles between the “real,” as conventionally defined, and personal fictions are complicated by elements of magical realism and surrealism. The stories were influenced by the short fiction of Nikolai Gogol, Franz Kafka and Haruki Murakami.

Utifrån tankar om makt, begär och normalitet ämnar texten skapa en förståelse både för Alva Roselius konstnärskap, och idén om konstnärskap i vidare bemärkelse. Med avstamp i personliga berättelser diskuteras Friedrich Nietzsches begrepp ‘ressentiment’ och Wendy Browns tanke om att alla människor i ett senkapitalistiskt samhälle bär på detta. Vidare avhandlas språket, och dess inneboende makt, i relation till kroppen och den fysiska akten av att brodera. Broderiet diskuteras fortsatt utifrån sin kvinnligt kodade tradition och med utgångspunkt i Tiqquns Preliminary Materials for a Theory of a Young-Girl ifrågasätts idén om the young-girls universalitet. Att den ideala medborgaren i ett konsumtionssamhälle beskrivs som en young girl handlar om makt snarare än slump. Det feminint kodades icke-universella varande stärks av Rozsika Parker som härleder konsthantverkets, jämte konstens, låga status till dess utövare. Hon visar på att konst traditionellt skapats av män medan konsthantverk utförts av kvinnor. Texten resonerar avslutningsvis kring motsättningen mellan det kvinnliga och det konstnärliga och menar att detta idag är helt förändrat, då konstnärens prekära arbetssituationen givit denne en kvinnligt kodad expertis. Alla konstnärer är således kvinnligt kodade. Konstnären är inte längre ett ensamt geni som drivs av behovet att skapa, konstnären är the young girl, driven av upprättelsebehov. Texten rör sig mellan ett poetiskt och ett akademiskt språk och refererar, i linje med detta, till poeter tillika teoretiker och konstnärer.

Like every other poet, I’ve always been trying to write the poem living inside of me. The poem of myself. So many iterations of this very poem have come about because of my exploration of the greats and because of my exploration of self. The most predominant themes that come up in my thesis are my Cherokee heritage and culture, my family, and my chosen relationships. Interspersed are poems about hardships I, and others, have faced as women. The constant dilemma of womanhood is certainly exacerbated when “woman” is paired with “non-white.” Through my poems, I’ve tried to explore these themes as authentically and a transparently as possible. This means that occasionally I’ve expressed frustration and anger and fear. Please let this abstract serve as a content warning for mention of sexual assault and an eating disorder. The truth of poetry is that it is the place where we house our traumas, frustrations, and major questions. In this manuscript, I have housed many pieces of myself and I hope that the reader is willing to cry in the crevasses and delight in the peaks with me.

On December 5, 1969, an experimental production of Neil Simon's A Star-Spangled Girl was presented at the Callier Hearing and Speech Center in Denton, Texas. On December 6, 1969, the production was repeated in the Studio Theatre on the North Texas State University campus in Denton, Texas. The production was experimental in that it was directed for a deaf audience.

One of the well-known Chinese revolutionary classics The White-Haired Girl (baimaonü, 白毛女) has gone through different adaptations as a propaganda of Chinese Communist Party from the 1940s to the 1960s. In recent years, the 2011 and 2015 operas are presented by the Ministry of Culture. The 2015 opera became especially widely known for Xi Jinping’s wife, Peng Liyuan’s involvement as an artistic director. What is the purpose of remaking this outdated propaganda in post-socialist China? How can these new adaptations work effectively as a means of propaganda? My study on the new adaptations of the White-Haired Girl (hereafter WHG) can serve as an example of the changes of the propaganda in the age of post-socialism. To do so, this study will use the 2011 opera and the TV reportage program which analyzes the 2011 and 2015 opera in the following ways: examine the 2011 opera as a representative work of the 21stcentury adaptations and focus on the TV reportage program Cultural Focus (Wenhuashidian, 文化视点) which demonstrates the intention of the production through interviewing the main artists and staffs of the 2011 and 2015 operas, and the Chinese public. By doing so, I argue that the emphasis of propaganda is switched from class struggle to social harmony in the 2011 and 2015 operas compared to the film (1950) and the ballet film (1971). This social harmony is achieved by promotion of familial and generational harmony. Also, the heroine, Xi’er is represented as a female individual who can contribute to the unification of the nation instead of being presented as a class subject. In this regard, the endeavor of seeking social harmony through new adaptations reflects anxieties over social disintegration in contemporary China.