DOCSLIB.ORG

Building a Character Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Building a Character Pdf, Epub, Ebook BUILDING A CHARACTER PDF, EPUB, EBOOK Constantin Stanislavski | 272 pages | 27 Jun 2013 | Bloomsbury Publishing PLC | 9781780935676 | English | London, United Kingdom Building a Character PDF Book To immigrants, begging in Chiapas is like walking up to a loaded gun. What it is: A set of interview questions from career site, Vault. Goodreads helps you keep track of books you want to read. Q: How do I get a jpg or png version of my character? In the window glass, he sees a battered young man, scrawny and disfigured. If you want characters to come alive like real people, you need a complex mix of the good and the bad. A few I suggested. She can barely afford food for him and his sister, Belky, who is 7. She calls the police. A stranger climbs up the side of his tanker car and asks for a cigarette. He then elaborates ways in which the actor's manner of speech, dress, and movement gestures, facial expressions, etc. Are they a college grad? Since then, new features and content have been added with every update, see details on our facebook page. Once you start answering those kinds of questions in a character template, you might be dealing with overkill. The man writes with a mixture of passion and well built logic that purely reflects the way he proposes the actor to enhance itself. For fifteen minutes write about a character of your choosing. If they have done it well, these people come alive. We ought to develop plots, or story lines, through scenes as much as possible. He is riding on a freight train. Did not like this as much as the first. Why do they want it? Voice and accent are often confused but the qualities of a character voice should be developed separately to learning an accent. There's a lot of detail in here about movement exercises too, and complicated word exercises that break everything down into vowels and consonants and everything. A: Once you've chosen a sex and skin color for your character, the download button in the top-right menu will be enabled. One of the men reaches a grate where Enrique is sitting. Building a Character Writer Lourdes loves him so much she cannot bring herself to say a word. Drinking water can be impossible to come by. The book itself is also historically influenced by Russian culture and theater, as well as European theater, prior to World War I. One of the men pulls out a small scrap of paper. If you change an attribute of your character, be sure to update your Character Profile Worksheet right away. If the main character meets no challenges, then the story just lies there. And if you'd like to download it nicely formatted for you already in a PDF format, feel free to do so below! I don't think including one would be a bad move. Once you have that, work backward. Enrique pushes out his chest and asks for two names, so close together they are almost one. Another blow finds the left side of his face. Or meticulous pronunciation, even eloquent diction. Here is what she does with them:. Tom Wolfe was big on this, especially about showing the social-class characteristics of his subjects. Proceed with Download. Q: How can I download my new character? Enrique clings to her pant leg. My father is starting to come alive. It is common for teachers of acting to regard the works of Stanislavski as the beginning This and An Actor Prepares and Creating a Role are not academic books on theatre history. It was morning, and his voice was loud. You just need to show who they are and what they are about. I would definitely recommend this book to anyone who is interested in acting. Q: What application can I use to open the vector file? Characters are free to use under the cc-by-nc license. Q: Where can I learn more about the origin of the Character Creator? One of the men stands over Enrique, straddling him. He shoots up to steady his hand. Is he an optimist about his chances, or a pessimist? But the way a protagonist meets external challenges tells a lot about his character. But you have to push through because it is totally worth it. Understanding the historical and social context of your character is vital to creating a playground for your imagination. This is when the magic happens and you become your character. Building a Character Reviews It will characterize me. She will not even look at him. He grabs Enrique with both hands. A powerful work succeeds in combining all of them in a unique mix producing a master creation. He is so torn and lonely for her that he sets out on his own, by foot, riding on the tops of freight trains, hitchhiking on trucks, all the way across Honduras and Guatemala, up the length of Mexico, then by coyote across the Rio Grande and illegally into Texas, then finally to North Carolina to hunt for her. But, that being said, would it make sense to also include a section in the book that includes all the main characters profiles. Article by Rick Meyer. Readers also enjoyed. These three volumes belong on any actor's short shelf of essential books. Character profiles are especially helpful for novels which involve several main characters and for stories which use multiple points of view. What happens to the main characters in the stories we edit is called the plot or the story line or the arc of the narrative. Marco is a moneychanger on the Honduran border, and his family, including a son, lives in a five-bedroom house in a middle-class neighborhood of Tegucigalpa. We proudly circulate our newsletter to over , authors each week. Try somewhere else. Do they wear their emotions on their sleeve? What did they study? For example, someone who was abused as a child will most likely react differently in certain situations than someone who had a happy, loving childhood. And if you'd like to download it nicely formatted for you already in a PDF format, feel free to do so below! Every spring, my father let me skip catechism class so I could play baseball. All I know is, reading about it is boring. What do you or your subjects see? We probably ought to declare something right away, so no one can accuse us of cheating. The Character Creator aims to provide a fun and easy way to help you find a look for your characters. This is when the magic happens and you become your character. Viewing Highlight. By Laurence Cook Jan. Here are some more famous tests with which to quiz your character — and a character bible or two for your further perusal! I found the way the book was written to be distracting and interfered with the learning experience. In Building a Character , he explains that the outward expressions of character must flow from that character's inner life: his memories, beliefs, preoccupations, and so on. If they have done it well, these people come alive. Creating character is always difficult for me. Even the exercises are presented in a way that made them generally feel to me more like stories than instructions. This book is all about why Stanislavski is considered a genius. Perfume like lilacs. Download Options. I was expecting a how-to manual, but it was more of a collection of anecdotes that I had no idea how to apply to my own life. Q: How do I get a jpg or png version of my character? Sometimes the temptation is to give minor characters nothing but their names, ages and genders. Characters are free to use under the cc-by-nc license. It is no great effort to be creative. Love with guilt. He shoots up to steady his hand. It was a whole new picture of purpose and method. You can view, edit and export to other formats with vector graphics programs such as Inkscape. Building a Character Read Online We proudly circulate our newsletter to over , authors each week. Be their psychiatrist. Whilst some methods are strict, asking the actor to follow an unbending pathway to character, what follows are three different starting points. Stakes : Objectives are pointless without them. What did they study? First English-language edition. Uncle Marco gives Enrique a daily allowance, buys him clothes and sends him to a private school. But it is true, nonetheless, that writers build characters. Subscribe today today for writing, publishing and marketings tips. If you want characters to come alive like real people, you need a complex mix of the good and the bad. Just like the japanese kisekae electronic paper dolls , you pick and choose items from a list to ornate your character with. Torstov's response is to tell Kostya and presumable you, the reader to stop whining and points out that the theater is not all getting in touch with your inner feelings and being artsy and creative. For example, fantasy writers can use the character profiles to keep track of factors such as magical abilities, family lineage, spells the character is under, and limitations on the character's power to ensure continuity in the action. He lays out a system for acting that demands a kind of psychological realism that was rarely seen in preth Century acting styles. No one is all good or all bad. Register Cancel. Challenges are necessary for plot. Escape the Present with These 24 Historical Romances.
Load more

Recommended publications
  • Blurred Lines Between Role and Reality: a Phenomenological Study of Acting
    Antioch University AURA - Antioch University Repository and Archive Student & Alumni Scholarship, including Dissertations & Theses Dissertations & Theses 2019 Blurred Lines Between Role and Reality: A Phenomenological Study of Acting Gregory Hyppolyte Brown Follow this and additional works at: https://aura.antioch.edu/etds Part of the Psychology Commons BLURRED LINES BETWEEN ROLE AND REALITY: A PHENOMENOLOGICAL STUDY OF ACTING A Dissertation Presented to the Faculty of Antioch University Santa Barbara In partial fulfillment of the requirements for the the degree of DOCTOR OF PSYCHOLOGY In CLINICAL PSYCHOLOGY by GREGORY HIPPOLYTE BROWN August 2019 This dissertation, by Gregory Hippolyte Brown, has been approved by the committee members signed below who recommend that it be accepted by the faculty of Antioch University Santa Barbara in partial fulfillment of requirements for the degree of DOCTOR OF PSYCHOLOGY Dissertation Committee: _________________________ Brett Kia-Keating, Ed.D. Chairperson __________________________ Sharleen O‘ Brien, Ph.D. Second Faculty __________________________ Thalia R. Goldstein, Ph.D. External Expert ii Copyright © 2019 Gregory Hippolyte Brown iii Abstract When an actor plays a character in a film, they try to connect with the emotions and behavioral patterns of the scripted character. There is an absence of literature regarding how a role influences an actor’s life before, during, and after film production. This study examined how acting roles might influence an actor during times on set shooting a movie or television series as well as their personal life after the filming is finished. Additionally the study considered the psychological impact of embodying a role, and whether or not an actor ever has the feeling that the performed character has independent agency over the actor.
    [Show full text]
  • Chapter 4: Acting
    096-157 CH04-861627 12/4/03 12:01 AM Page 96 CHAPTER ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ 4 Acting No role is too small. In this scene from Julius Caesar, the varied responses of the crowd members to Caesar’s death give the scene more depth. One can see Mark Antony, played by Al Pacino, judging the crowd’s mood and planning how to manipulate it. cting is a question of absorbing other Apeople’s personalities and adding some of our own experience. —PAUL NEWMAN, ACTOR 96 096-157 CH04-861627 12/4/03 12:02 AM Page 97 SETTING THE SCENE Focus Questions What special terminology is used in acting? What are the different types of roles? How do you create a character? What does it mean to act? Vocabulary emotional or straight parts master gesture subjective acting character parts inflection technical or objective acting characterization subtext leading roles primary source substitution protagonist secondary sources improvisation antagonist body language paraphrasing supporting roles So now you’re ready to act! For most students of drama, this is the moment you have been waiting for. You probably share the dream of every actor to create a role so convincing that the audience totally accepts your character as real, for- getting that you are only an actor playing a part. You must work hard to be an effective actor, but acting should never be so real that the audience loses the theatrical illu- sion of reality. Theater is not life, and acting is not life. Both are illusions that are larger than life.
    [Show full text]
  • TRAINING the YOUNG ACTOR: a PHYSICAL APPROACH a Thesis
    TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Anthony Lewis Johnson December, 2009 TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH Anthony Lewis Johnson Thesis Approved: Accepted: __________________________ __________________________ Advisor Dean of the College Mr. James Slowiak Dr. Dudley Turner __________________________ __________________________ Faculty Reader Dean of the Graduate School Mr. Durand Pope Dr. George R. Newkome __________________________ __________________________ School Director Date Mr. Neil Sapienza ii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION TO TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH...............................................................................1 II. AMERICAN INTERPRETATIONS OF STANISLAVSKI’S EARLY WORK .......5 Lee Strasberg .............................................................................................7 Stella Adler..................................................................................................8 Robert Lewis...............................................................................................9 Sanford Meisner .......................................................................................10 Uta Hagen.................................................................................................11 III. STANISLAVSKI’S LATER WORK .................................................................13 Tension
    [Show full text]
  • Editors' Preface Introduction
    Notes Editors’ Preface 1. Carey, Susan. The Origin of Concepts. Oxford: Oxford University Press, 2009, 4. 2. See Zunshine, Lisa. “What is Cognitive Cultural Studies?” Introduction to Cognitive Cultural Studies. Ed. Lisa Zunshine. Baltimore: Johns Hopkins University Press, 1. Introduction 1. Deborah Mayo, Interview with John Lutterbie, Stony Brook University, tape recording, July 3, 2003. 2. Ibid. 3. Margarita Espada, Interview with John Lutterbie, Stony Brook University, tape recording, June 30, 2003. 4. Ibid. 5. Ibid. 6. Margarita Espada, Interview with John Lutterbie, Stony Brook University, tape recording, February 4, 2002. 7. I bid. 8. Deborah Mayo, Interview with John Lutterbie, Stony Brook University, tape recording, December 5, 2001. 9. Ibid. 10. Ibid. 11. Deborah Mayo, Interview with John Lutterbie, Stony Brook University, tape recording, November 7, 2001. 12. See Patrice Pavis, Theatre at the Crossroads of Culture (London and New York: Routledge, 1991), 178–209. 13. Hubert L. Dreyfus and Stuart E. Dreyfus. Mind Over Machine: The Power of Human Intuition and Expertise in the Era of the Computer (New York: Free Press, 1986), 50. 14. Ibid., 30. 15. Ibid., 30–31. 16. Neil Young, “Harvest Moon.” http://www.lyricsfreak.com/n /neil+young/harvest+moon_20099104.html. March 14, 2011 234 NOTES 1 The Language of Acting 1. I saw an Irish dance performance in which a fiddler was given a standing ovation despite the obvious fact that the instrument had no strings . 2. See Helga Noice and Tony Noice. “Two Approaches to Learning a Theatrical Script.” Memory. 4, no. 1 (1996): 1–17; and Helga Noice and Tony Noice.
    [Show full text]
  • Rehearsing Emotions the Process of Creating a Role for the Stage
    ACTA UNIVERSITATIS STOCKHOLMIENSIS Stockholm Studies in Sociology New series 45 Rehearsing Emotions The Process of Creating a Role for the Stage Stina Bergman Blix ©Stina Bergman Blix and Acta Universitatis Stockholmiensis, Stockholm 2010 ISSN 0491-0885 ISBN 978-91-86071-41-7 Printed in Sweden by Universitetsservice US-AB, Stockholm 2010 Distributor: eddy.se ab, Visby, Sweden Front cover photos: To the left: An actor displaying grief by G.B. Duchenne, taken from “The Expression of Emotions in Man and Animals” by Charles Darwin (1872), reproduced by Jens Östman. To the right: An actor displaying grief © Stina Bergman Blix. In memory of my beloved sister Clara Contents Acknowledgements .................................................................................... xi Introduction ..................................................................................................1 1. Stage Actors, Roles and Emotions......................................................7 Dramaturgical Theory .................................................................................................7 Playing and Playing at ...........................................................................................8 The Relationship between Actor and Character ............................................10 Emotion Work in Role Playing............................................................................12 Double Agency ......................................................................................................19 Emotion Theory..........................................................................................................23
    [Show full text]
  • Stanislavsky an Introduction – Jean Benedetti
    Jean Benedetti was born in 1930 and educated in England and France. He trained as an actor and teacher at the Rose Bruford College of Speech and Drama, returning in 1970 as Principal of the College until 1987. He is author of a number of semi-documentary television plays. His published translations include Brecht’s Edward II and A Respectable Wedding and Georges Michel’s A Sunday Walk. His first book was a biography of Gilles de Rais. In 1982 he published the first edition of Stanislavski: An Introduction, which has been reprinted many times. Stanisla- vski: A Biography was first published in 1988 and then revised and expanded. He subsequently published The Moscow Art Theatre Letters in 1991 and Dear Writer … Dear Actress, the love letters of Anton Chekhov and Olga Knipper, in 1997. Stanislavski and the Actor, an account of Stanislavski’s teaching in the last three years of his life, followed in 1998. From 1979 to 1987 he was chairman of the Theatre Education Committee of the International Theatre Insti- tute (UNESCO). He is currently Honorary Professor at both Rose Bruford College and Queen Margaret University College Edinburgh. Books by Stanislavski AN ACTOR PREPARES AN ACTOR’S HANDBOOK BUILDING A CHARACTER CREATING A ROLE MY LIFE IN ART STANISLAVSKI IN REHEARSAL STANISLAVSKI’S LEGACY STANISLAVSKI ON OPERA Books by Jean Benedetti STANISLAVSKI: HIS LIFE AND ART STANISLAVSKI & THE ACTOR THE MOSCOW ART THEATRE LETTERS DEAR WRITER, DEAR ACTRESS: THE LOVE LETTERS OF ANTON CHEKHOV AND OLGA KNIPPER Stanislavski An Introduction Jean Benedetti A Theatre Arts Book Routledge New York A Theatre Arts Book Published in the USA and Canada in 2004 by Routledge 29 West 35th Street New York, NY 10001 www.routledge-ny.com Routledge is an imprint of the Taylor & Francis Group.
    [Show full text]
  • Day 11 Self Observation
    Day 11 Self Observation A few weeks ago, I had surgery. During my recovery, I was paying attention to my body and all that it was going through and I was reminded just how important self-observation is for the actor. As an actor the greatest sources of information and inspiration are your life, your body, and your emotional states. You are experiencing things all the time and you must pay attention to them so you can sense how they feel and manifest themselves. This is a challenging task because we tend not to notice what is going on inside of ourselves unless things becomes extreme or chronic. So I want to encourage you to start paying attention to what is going on with you. And I want you to write it down because paying attention isn’t enough. Writing concretizes information, making it more real and useful than just looking at something and hoping that you’ll remember it. These self- observations of your experiences and emotions, physical sensations and musings, should be included in your actor’s journal where you write about all of the people and things you see that could become part of a characterization. So pay attention. Become an observer of yourself. Watch, listen, and feel what is going on inside of you and around you. By doing that you can have access to everything you will ever need as an actor. About Me Answer the following questions about yourself. Date ___________ Name ___________________________________________ Period ________ Age _______ Birth date ______________ Zodiac Sign ____________________ I was born in __________________, _____.
    [Show full text]
  • Michael Chekhov and His Approach to Acting in Contemporary Performance Training Richard Solomon
    The University of Maine DigitalCommons@UMaine Electronic Theses and Dissertations Fogler Library 5-2002 Michael Chekhov and His Approach to Acting in Contemporary Performance Training Richard Solomon Follow this and additional works at: http://digitalcommons.library.umaine.edu/etd Part of the Performance Studies Commons Recommended Citation Solomon, Richard, "Michael Chekhov and His Approach to Acting in Contemporary Performance Training" (2002). Electronic Theses and Dissertations. 615. http://digitalcommons.library.umaine.edu/etd/615 This Open-Access Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of DigitalCommons@UMaine. MICHAEL CHEKHOV AND HIS APPROACH TO ACTING IN CONTEMPORARY PERFORMANCE TRAINING by Richard Solomon B.A. University of Southern Maine, 1983 A THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in Theatre) The Graduate School The University of Maine May, 2002 Advisory Committee: Tom Mikotowicz, Associate Professor of Theatre, Advisor Jane Snider, Associate Professor of Theatre Sandra Hardy, Associate Professor of Theatre MICaAEL CHEKHOV AND HIS APPROACH TO ACTING IN CONTEMPORARY PERFORMANCE TRAINING By Richard Solomon Thesis ~dhsor:Dr. Tom Mikotowicz An Abstract of the Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in Theatre) May, 2002 Michael Chekhov was an actor, diuector, and teacher who was determined to develop a clear and accessible acting approach. During his lifetime, his ideas were often viewed as too radical and mystical. Over the past decade however, the Chekhov method of actor training has enjoyed an expansion of interest.
    [Show full text]
  • An Actor Remembers: Memory's Role in the Training of the United States
    An Actor Remembers: Memory’s Role in the Training of the United States Actor by Devin E. Malcolm B.A. in The Human Drama, Juniata College, 1997 M.A. in Theatre, Villanova University, 2002 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Theatre History and Performance Studies University of Pittsburgh 2012 UNIVERSITY OF PITTSBURGH Dietrich School of Arts and Sciences This dissertation was presented by Devin E. Malcolm It was defended on November, 5th 2012 and approved by Kathleen George, PhD, Theatre Arts Bruce McConachie, PhD, Theatre Arts Edouard Machery, PhD, History and Philosophy of Science Dissertation Advisor: Attilio Favorini, PhD, Theatre Arts ii Copyright © by Devin E. Malcolm 2012 iii AN ACTOR REMEMBERS: MEMORY’S ROLE IN THE TRAINING OF THE UNITED STATES ACTOR Devin E. Malcolm, PhD University of Pittsburgh, 2012 This dissertation examines the different ways actor training techniques in the United States have conceived of and utilized the actor’s memory as a means of inspiring the actor’s performance. The training techniques examined are those devised and taught by Lee Strasberg, Stella Adler, Joseph Chaikin, Stephen Wangh and Anne Bogart and Tina Landau. As I shall illustrate, memory is not the unified phenomenon that we often think and experience it to be. The most current research supports the hypothesis that the human memory is composed of five distinctly different, yet interrelated systems. Of these five my research focuses on three: episodic, semantic, and procedural.
    [Show full text]
  • 'Dead Pet Acting': Legacies of Stanislavsky
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... More than ‘Dead Pet Acting’: Legacies of Stanislavsky IAN MAXWELL It is easy to misunderstand Konstantin Stanislavsky.1 He is reviled by the left, champions of Brecht, for his bourgeois humanism; ignored by the post- structuralists, champions of Artaud, for his arch-modernism; claimed by the psychoanalysts of the Actors Studio as the inventor of the Method. His achievements are rendered as a unified, completed corpus—a theory— characterized in uncomplicated opposition to the equally unproblematized “theory” of his compatriot, collaborator and friend, Vsevolod Meyerhold. Meyerhold’s topography of the actor, goes the story, followed the logic of the (William) Jamesian schema (famously: “I saw the bear, I ran, I felt afraid”) to produce an “outside-in”, “physical” theory of acting. Stanislavsky, in contrast, worked from the inside out, producing a “psychological” theory of acting; the theory that, notwithstanding the political/formalist diversions of Brecht, won out in the grand narrative of theatre history.2 In fact, Stanislavsky only reluctantly committed his work to the page. His first book, the autobiographical My Life in Art, was published in 1924 in response to the success of his company’s American tours of 1923 and 1924; the second, An Actor Prepares, was written as the first of what Stanislavsky expected to be a seven book magnum opus, and published posthumously in 1936. The other English-language publications bearing his name—Building a Character and Creating a Role 3—are better read as collections of drafts and notes, rather than the explication of a single model.
    [Show full text]
  • The Vocabulary of Acting: a Study of the Stanislavski 'System' in Modern
    THE VOCABULARY OF ACTING: A STUDY OF THE STANISLAVSKI ‘SYSTEM’ IN MODERN PRACTICE by TIMOTHY JULES KERBER A thesis submitted to the University of Birmingham for the degree of MASTER OF ARTS BY RESEARCH Department of Drama and Theatre Arts College of Arts and Law University of Birmingham September 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis aims to examine the extent to which the vocabulary of acting created by Konstantin Stanislavski is recognized in contemporary American practice as well as the associations with the Stanislavski ‘system’ held by modern actors in the United States. During the research, a two-part survey was conducted examining the actor’s processes while creating a role for the stage and their exposure to Stanislavski and his written works. A comparison of the data explores the contemporary American understanding of the elements of the ‘system’ as well as the disconnect between the use of these elements and the stigmas attached to Stanislavski or his ‘system’ in light of misconceptions or prejudices toward either. Keywords: Stanislavski, ‘system’, actor training, United States Experienced people understood that I was only advancing a theory which the actor was to turn into second nature through long hard work and constant struggle and find a way to put it into practice.
    [Show full text]
  • University of Oklahoma Graduate College The
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE ACTING SYSTEM OF KONSTANTIN STANISLAVSKI AS APPLIED TO PIANO PERFORMANCE A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By ANDREA V. JOHNSON Norman, Oklahoma 2019 THE ACTING SYSTEM OF KONSTANTIN STANISLAVSKI AS APPLIED TO PIANO PERFORMANCE A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY THE COMMITTEE CONSISTING OF Dr. Barbara Fast, Chair Dr. Jane Magrath, Co-Chair Dr. Eugene Enrico Dr. Igor Lipinski Dr. Rockey Robbins Dr. Click here to enter text. © Copyright by ANDREA V. JOHNSON 2019 All Rights Reserved. AKNOWLEDGMENTS The completion of this document and degree would have been impossible without the guidance and support of my community. Foremost, I wish to express my gratitude to my academic committee including current and past members: Dr. Jane Magrath, Dr. Barbara Fast, Dr. Eugene Enrico, Dr. Igor Lipinski, Dr. Caleb Fulton, and Dr. Rockey Robbins. Dr. Magrath, thank you for your impeccable advice, vision, planning, and unwavering dedication to my development as a pianist and teacher. You left no stone unturned to ensure that I had the support necessary for success at OU and I remain forever grateful to you for your efforts, your kindness, and your commitment to excellence. My heartfelt thanks to Dr. Fast for serving as chair of this committee, for your support throughout the degree program, and for many conversations with valuable recommendations for my professional development. Dr. Enrico, thank you for your willingness to serve on my committee and for your suggestions for the improvement of this document.
    [Show full text]