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Giving Voice to the Hero Within: the Combination of Two Methodologies for Training the Actor/Performer

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Giving Voice to the Hero Within: the Combination of Two Methodologies for Training the Actor/Performer Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 Giving Voice to the Hero Within: The Combination of Two Methodologies for Training the Actor/Performer-- The Use of Ritual Poetic Drama Within the African Continuum and Archetypes for the Actor/Singer As Explored in the Performances of A Thousand Faces: Every Day Heroes A Deconstruction of The Hero With A Thousand Faces by Joseph Campbell Olisa-Mequella F. Enrico-Johnson Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/2113 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Giving Voice to the Hero Within: The Combination of Two Methodologies for Training the Actor/Performer‐‐ The Use of Ritual Poetic Drama Within the African Continuum and Archetypes for the Actor/Singer As Explored in the Performances of A Thousand Faces: Every Day Heroes A Deconstruction of The Hero With A Thousand Faces by Joseph Campbell A thesis in partial fulfillment of the requirement for the degree of Masters of Fine Arts in Theatre Pedagogy with and emphasis in Performance and Voice and Speech specializing in “The Use of Ritual Poetic Drama Within the African Continuum” and “Archetypes for the Actor/Singer” from Virginia Commonwealth University. By Olisa‐Mequella F. Enrico‐Johnson Bachelor of Fine Arts, Virginia Commonwealth University, 2007 Masters of Fine Arts, Virginia Commonwealth University, 2010 Thesis directors: Dr. Noreen Barnes, Director of Graduate Studies, Theatre Professor Janet B. Rodgers, Head of Graduate Voice and Speech, Theatre Dr. Tawnya Pettiford‐Wates, Theatre Virginia Commonwealth University Richmond, Virginia May 5, 2010 Acknowledgement To list all the people who have helped me complete this journey would be impossible. “It took a village to raise an Olisa”. Without my village I would not have accomplished this work. I must give thanks first and foremost to the creator, whom I call both God and Goddess interchangeably. I thank the Creator for the opportunity to explore life as an artist and with this privileged perspective of an educated woman of color from the hip‐hop generation. I would like to thank my Mom, Nancy “Makira” Enrico and my Dad, Gary Lee Johnson, both of whom, instilled in me, spirituality, curiosity, love, music, magic and a sense of belonging to something greater than myself‐ the unconditional love of the Creator. Thank you. To Gusti Hanny my second mom, wherever you are, know that I listened when you told me to “Finish” what you start or your dreams would never come true” and to do everything fully and to the best of my ability. I want to give thanks to my sisters, Cydney, Tiera, Electra and Latesha and to my Brother Greg who support me in all that I do and have always created a safe space for my art. And I thank all of my nieces and nephews who told me that I could be great and that I should finish school. This journey is for you. To all the old crew at Little Theater Off Broadway in Seattle and all members of The Conciliation Project, and especially to Donyell Spotsville, who planted the seeds of the idea of a “Masters in Ritual”. I want to lovingly thank my “Wifeys” from the “Goddess Temple” Ebony Arunga, Felisha Barnes, Rachel Braford. Jacquelynn Camden and Louisa Sargent. And to my “Hubbies” Trey Hartt and Dave Gilcrest. To my friends Brandon Crowder and Shawn Proctor who exchanged ideas or just listened. To the “Ritual” team—Joe Carlson, Phil Volmer, Donzell Lewis and Jaci Camden‐ this is for us. To the Voice and Speech team, thank you for exchanging ideas and offering insights. To Andrienne Wilson for offering me an all access pass to her vast knowledge of music. And Last but certainly not least, To my “Golden Triangle”, Dr. Noreen Barnes, Janet Rodgers and Dr. Tawnya Pettiford‐Wates; I give gratitude for the grace and wisdom you have shared with me. First Dr. Noreen Barnes, for reminding me that I am a scholar and that my ideas are worthy to be written down. To Janet Rodgers for challenging my perceptions of voice and authenticity and for encouraging me to listen to my dreams. For listening to my concerns and questions and for combing through my drafts for errors and clarity. For creating opportunities to apply my practice in your classes. And to Dr. Tawnya Pettiford‐Wates—Words cannot express the humble thanks I give for your unconditional love and guidance, for your protection and encouragement. Thank you all for your support and encouragement. ii Table of Contents Abstract………………………………………………………………………………………………………..…vi Prologue‐ Calling for a Hero’s Rite for Passage into the Actualized Self……………….1 Introduction‐ To the Reader……………………………………………………………………...……...5 Disclaimer……………………………………………………………………………………..……...5 De/Construction and Definition……………………………………………………..…..….6 Deciphering…………………………………………………………………….…………………...11 Part I­ Departure Chapter 1‐ The Use of Ritual Poetic Drama Within the African Continuum…….……14 The Call To Adventure………………………………………………………………….………..14 Supernatural Aid………………………………………………………………………….……..…17 Elementary Elements: What Does a Class Look Like?...........................,................20 The Trinities…………………………………………………………………….……………………27 Chapter 2‐ Archetypes For the Actor/Singer……………………………………………………...35 The Crossing of the First Threshold………………………………………………………..35 The Belly of the Whale, The Collective Unconscious and Archetypes………..39 A Kaleidoscope Experience with AFAS……………………………………………………41 AFAS in an Undergraduate Classroom Setting………………………………………...43 Working with Frankie Armstrong…………………………………………………………..48 The Shadow of the Archetype……………………………………………………………...…50 Preparing an AFAS Journey‐ Creator/Destroyer……………………………………...51 Leading the Intensive‐ Sixteen Archetypes in Two Days………………………….53 Potential Power of RPDWAC combined with AFAS………………………………….54 iii Part II­ Initiation Chapter 3‐ Initiators, Initiation, and Intuition……………………………………………..….…..56 The Road of Trials……………………………………………………………..………………..….56 Meeting with the Goddess…………………………………………………..…………….…….61 The Collective Unconscious and RPDWAC……………………………..…………….…..69 Chapter 4‐ “Fairytales”‐ Our Learning Community……………………………..………...…….71 Apotheosis……………………………………………………………………………..………………71 Scheduling………………………………………………………………………………..……………72 Safe Space…………………………………………………………………………………..………….74 Structure of Sharing……………………………………………………………………..…………79 Scripting the Piece………………………………………………………………………..………...83 The Questions………………………………………………………………………………..……….85 Shifting into Production Mode…………………………………………………………..…….89 Opportunity Knocks—Answer the Door…………………………………………..………91 Fill/Phil in the Blank‐ Becoming a Gatekeeper…………………………………….……92 Receiving Notes‐ Last Second Changes………………………………………………..……94 Last day of Class: Closing and Opening…………………………………………………..…95 The Performance: Still in Process…………………………………………………………….96 Chapter 5‐ Archetypal Man‐Infestations……………………………………………………….…….99 Transformations of the Hero: The Archetype Journey in a Ritual State…..…..99 Perspectives on a Palate………………………………………………………………………….103 Lost Ideas……………………………………………………………………………………………….106 Hints of Gold…………………………………………………………………………………………...110 The Shadow……………………………………………………………………………………………110 Applying Archetypes to Acting………………………………………………………………...112 Part III­ Return…114 Chapter 6‐ The Cosmogonic Cycle and Reflections………………………………………………114 The Crossing of the Return Threshold……….…………………………………..114 How Deep Does the Rabbit Hole Go?.................................................................116 Free Will………………………………………………………………………………………120 iv A Commitment to the Overriding Principle of Community………...…...121 Chapter 7‐ The Remount, Spring 2010: A Thousand Faces the Musical………………....123 Why a Musical?...........................................................................................................123 Scheduling…………………………………………………………………………………...125 Shifting Perspectives on Time and Space……………….………………………128 Emotions……………………………………………………………………………………..132 Generations of Heroes…………………………………………………………………..134 It’s a Musical, So There Must Be Music…………………………………………..137 Archetype Journey Adjustments……………………………………………………138 The Final Push‐ Down the Rabbit Hole…………………………………………..141 Reflections………………………………………………………………………………...…145 Epilogue‐ Shifts in the Paradigm of a Hero………………………………………………………….147 Works Cited………………………………………………………………………………………………………148 Appendix A‐ The 2009 Script…………………………………………………………………………..…151 Appendix B‐ The 2010 Script and Some Music……………………………………….………..….172 Appendix C‐ The Creator/Destroyer Journey ……………………………………………………..200 Appendix D‐ From Child to Crone: As Facilitated by Olisa Enrico‐Johnson for the 2010 Cast of A Thousand Faces: Every Day Heroes . Witnessed and Transcribed by Professor Janet Rodgers…………………………………………………………………………………….206 Appendix E‐ A List that Compares RPDWAC to the Western Dramatic Form…..…….216 Appendix F‐ An Oral Tradition: The Truth and the Lie and The Origins of Drama…217 Vita……………………………………………………………………………………………………………….…..218 v Abstract GIVING VOICE TO THE HERO WITHIN: THE COMBINATION OF TWO METHODOLOGIES FOR TRAINING THE ACTOR/PERFORMER‐‐ THE USE OF RITUAL POETIC DRAMA WITHIN THE AFRICAN CONTINUUM AND ARCHETYPES FOR THE
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