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Plungers and Productivity: a Student Artist's Survival Guide to Multi-Tasking

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Plungers and Productivity: a Student Artist's Survival Guide to Multi-Tasking University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2009 Plungers And Productivity: A Student Artist's Survival Guide To Multi-tasking Amanda Wansa University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Wansa, Amanda, "Plungers And Productivity: A Student Artist's Survival Guide To Multi-tasking" (2009). Electronic Theses and Dissertations, 2004-2019. 4152. https://stars.library.ucf.edu/etd/4152 PLUNGERS AND PRODUCTIVITY: A STUDENT’S SURVIVAL GUIDE TO MULTI-TASKING By AMANDA WANSA B.A. Florida State University, 2006 A thesis submitted in partial fulfillment in the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2009 © 2009 Amanda Wansa ii ABSTRACT To be a fully functioning theatre practitioner, the developing student artist becomes equipped with a practical skill set that is ordinarily cultivated through formal training and study. Typically, organized study leads him/her to focus on a specific facet of the business: acting, directing, design, etc. However, students often develop a vast array of talents and skills within the profession and find themselves standing at a crossroads between what “kind” of artist to be; what singular aspect of the arts on which to focus. Why not do it all? For those students who “do it all”, there is an additional challenge: the artist who is a student immersed in daytime study and nighttime production obligations has to wear two caps. One is that of the learner and one is that of the employee, the producer, and perhaps even the teacher. When are these caps traded or are they both worn through all processes? This thesis will reveal my creative and practical processes from two productions at the University of Central Florida for which I played on- and offstage roles: I worked as a Sound Designer and featured actor in Sophie Treadwell’s Machinal; I was the Vocal Director for Urinetown: The Musical, and also played Penelope Pennywise, a leading role. I will describe the challenges and successes of each project by examining the following evidence: my personal process with each piece, demonstrated through reflection and examples from the work; interviews with those involved in the productions as well as outside reviews and feedback; and research of each play. Research will include production history, intent of authors, and aspects that informed my work both onstage and off. Did multi-tasking sacrifice the quality of my work for any of my delegated tasks? Did I enjoy more success in my progress in time management, the ability to solve problems, and iii collaboration process with fellow artists, or in the actual on-stage products? What aspects of my training in my graduate program added to the quality of my work on these productions? Does being a multi-tasking artist help or hurt one’s career in theatre? iv ACKNOWLEDGMENTS To Dr. Steve: For never letting anything be right the first time around, for musical tangents, and for being a genius. Thank you for being my thesis chair! To Mark Brotherton: for countless hours of good conversation, support on my committee, and for being my #1 fan. To Vandy Wood: for being a voice of reason and for hugs. To Kate, Chris, JJ, Be, Julia, Jim H., and Megan: for making me a whole new artist and a whole new person. You are truly remarkable. To my classmates, THE SARS ALL-STARS—Brittney, Mike, Desiree, Ingrid, and Kyle: for Lazy Moon lunches, shocking the monkey, and “softening-and-rolling” for 3 years. “I love you, I love you, I love you. Boo Ya!” To Julia Listengarten, David Lee, and the casts and production teams of Urinetown and Machinal for putting up with my madness. Especially during tech week. To Anne, Pat, and the Orlando Shakespeare Theater for being my home away from home for a year! To thee! To Jason Whitehead for understanding my musical jokes and references; and for bootlegs. To Earl Weaver and Anita Endsley for allowing me to close the door and cry. To Nick Wuehrman for sitting down with me at the Avocado Kitchen back in 2005 to tell me that it was a good idea for me to come to UCF for grad school. To Lisa Hendershot for putting up with me on a daily basis and for the neon “THESIS” sign. And, of course, to my family. You are the best family. Uncle Bill, Aunt Karen, Clint, and Jenna. Without you I don’t know who I would be or where I would be. Thank you for supporting me and for loving me. v TABLE OF CONTENTS LIST OF FIGURES ..................................................................................................................... viii LIST OF MEDIA ........................................................................................................................... ix LIST OF TABLES .......................................................................................................................... x LIST OF MUSICAL TERMS ........................................................................................................ xi SECTION ONE: MACHINAL ....................................................................................................... 1 CHAPTER ONE: INTRODUCTION ............................................................................................. 2 CHAPTER TWO: GETTING TO KNOW THE MACHINE: PREPARATION ........................... 4 Research on Machinal ................................................................................................................. 7 Initial Design Concepts ............................................................................................................. 10 Casting ...................................................................................................................................... 14 CHAPTER THREE: GRINDING THROUGH THE GEARS: PROCESS .................................. 17 Preparation as a Sound Designer .............................................................................................. 17 Initial Sound Design Presentation ............................................................................................. 17 Further Research and Creation of Tracks ................................................................................. 18 Creating a Sound Plot ............................................................................................................... 22 Preparation as an Actor ............................................................................................................. 23 Episode One: The Office .......................................................................................................... 26 Episode Two: At Home ............................................................................................................ 32 Episode Three: Honeymoon ..................................................................................................... 38 Episode Four: Maternal............................................................................................................. 39 Episode Five: Prohibited ........................................................................................................... 40 Episode Six: Intimate ................................................................................................................ 42 Episode Seven: Domestic ......................................................................................................... 44 Episode Eight: The Law ............................................................................................................ 48 Episode Nine: A Machine ......................................................................................................... 51 CHAPTER FOUR: PROBLEMS WITH THE GEARS: PROBLEMS ........................................ 57 Learning How to be a Sound Designer ..................................................................................... 57 Technical Rehearsals ................................................................................................................ 61 CHAPTER FIVE: FACTORY UP AND RUNNING: PRODUCT .............................................. 65 SECTION TWO: URINETOWN ................................................................................................. 68 CHAPTER SIX: TOO MUCH EXPOSITION: PREPARATION ............................................... 69 Research on Urinetown ............................................................................................................. 70 Reviewing the Score of Urinetown and the Role of Pennywise ............................................... 73 Adjusting the Score ................................................................................................................... 77 Analysis and Comparison of the Urinetown Score ................................................................... 84 CHAPTER SEVEN: RUN, VOCAL DIRECTOR, RUN! PROCESSS ...................................... 92 Casting .....................................................................................................................................
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