In preparation for performance, an actor must develop an understanding for the character they portray. A character must be thoroughly researched to adequately enrich the performance of the actor. In preparation for the role of the "Soldier" in the production, Sunday in the Park with George, it is important to examine the evolution of the "Braggart Soldier" archetypal character throughout the historical literary canon. It is also of equal importance to study an author's canon of literature to acknowledge the reoccurring use of similar archetypal characters in order to successfully interpret the intentions of the author. This thesis paper will be divided into four main sections. First, research of the evolution of the "Braggart Soldier" archetypal character from Greek Theater to Contemporary Theater will help to define the character type. Second, historical production research associated with the musical's creation will also provide a deeper insight into the musical's inception. Sunday in the Park with George was based on the painting A Sunday on the Island of La Grande Jatte. Furthermore, a specific focus will be placed on the painting's creation, the background of the Soldier's inclusion in the painting, the musical's collaborative process, and critical responses of the original production. Third, research of four other Stephen Sondheim shows in which similar archetypal characters appear will demonstrate the author's utilization of the character type. The characters referenced from Sondheim's shows will be: Miles Gloriosus from A Funny Thing Happened on the Way to the Forum; Carl Magnus from A Little Night Music; The Princes from Into the Woods; and John Wilkes Booth from Assassins. By studying the scripts and scores of each of these shows, a pattern of character traits will be revealed to enlighten the actor's preparation for the role of the "Soldier" in Sunday in the Park with George. Lastly, an understanding of the musical's overall structure and themes helps to further define the characterization revealed from script and score analysis. This thesis project will contribute to the pre-existing canon of musical theatre research but will also provide insight to non-musical actors who are researching similar archetypal characters. Musical theatre performers who are preparing for Stephen Sondheim shows can apply this research to help understand the role of this archetypal character in the context of each show.

Upon receiving a role, an actor must research the major themes, concepts, and relationships associated with the play, its collaborators, and the character they are to portray. Only by layering this combination of research and analysis to the rehearsal process and performances in a detailed format can an actor cohesively transform the learned knowledge from the performer's training and research to a finished product on stage. Many forms of art are created using a similar process. This thesis will explore the similarities between the Post-Impressionist technique of pointillism and the actor's process in developing a role. Upon observing the basic process of each technique, one can conclude that the method of consistently adding many specific elements eventually creates a finished product whether it is in the form of a painting on a canvas or a performance on a stage. By paralleling these two artistic techniques, a new contribution to musical theatre is made by presenting a fresh outlook for performers in their approach to creating roles. Research on pointillism and George Seurat's painting technique when interwoven with Stephen Sondheim's techniques in music theory (specifically the examples derived from the score of Sunday in the Park with George), and compared to my technique and process as the actor playing the role of Dot in the University of Central Florida Conservatory Theatre's 2006 Spring production of Sunday in the Park with George, demonstrates how the theories of pointillism and the actor's process are clearly comparable and arguably inseparable.

The theme is the same view of restlessness , fear, silence and tension between the Gaza joy and sadness . Second position is the relationship of man and country . A third, critical thinking on the issue of being alone and the effect of being in a spectacular company.

This thesis explores the use of the Estill Voice Model, in particular six voice qualities (Speech, Twang, Falsetto, Cry/Sob, Belt and Opera) and their permutations, to define character, character traits and emotions. Traits and emotions that specific voice qualities can influence are, but are not limited to, location, age, background, socioeconomic status, genre, intelligence, nationality, class, culture, gender, promiscuity, disposition, pain and revelations. In particular, this thesis explores the use of voice qualities to show specific human qualities of the character "George" from Sondheim and Lapine's "Sunday in the Park with George" and the people he imitates in his painting by letting the characters' given circumstances (textual and subtextual), the way other actors portray the characters and the director's and musical director's input inform the choices in voice quality. By using the specific technical aspects of the Estill Voice Training System and combining them with the limi