DOCSLIB.ORG

Unlisted Properties: an Exploration in Solo Performance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Unlisted Properties: an Exploration in Solo Performance Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2008 Unlisted Properties: An Exploration in Solo Performance Lauren White 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/1601 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]. © Jason Edward Smith and Lauren Marinelli White, 2008 All Rights Reserved UNLISTED PROPERTIES: AN EXPLORATION IN SOLO PERFORMANCE A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. by LAUREN MARINELLI WHITE B.A., Virginia Polytechnic Institute and State University, 2002 and JASON EDWARD SMITH B.A., The College of William and Mary, 2004 Director: DR. TAWNYA PETTIFORD-WATES ASSOCIATE PROFESSOR OF ACTING AND DIRECTING, THEATRE Virginia Commonwealth University Richmond, Virginia May, 2008 ii Acknowledgement Lauren and Jase would first and foremost like to thank our mentor, Dr. Tawnya Pettiford-Wates, for her unwavering support, encouragement, friendship and tenacious loyalty. Without her guidance, neither this project nor our journeys in this program would have been as fulfilling and enriching as we will always remember them to be. In addition, we would like to thank Dr. Noreen Barnes and David McLain, MFA for their unique perspectives and valuable guidance. We would also like to thank the creative talents of those involved with the development of this project: Melissa Carroll-Jackson, Jenna Ferre, Ron Keller, Kevin McGranahan, Carol Piersol, Tommy Pruitt, Kay Stone, and Shanea N. Taylor. Lauren would like to thank her husband, Justin, for his love and support throughout the many long hours, t.v. dinners, and infinite oil changes to keep up the commute. Lauren would also like to thank Michelle Greer for being the first person to believe in her ability to contribute to the theatre. Finally, Lauren would like to thank Jase for being a true friend, creative partner, and inspirational director. Jase most importantly thanks his family – Mom, Dad, Nanny, Jessica, Jake, Frances and Sam – who have always supported his creative endeavors, no matter how frivolous they seemed at times. He also thanks his friends – Tommy, Tracey, Stef, Katie, Liz, Suzanne, Joy Marie, Jessica, Dave, Chris, Aimee, and many others – for always sharing fun systems about it. Thank you to my colleagues and friends in the TheatreVCU Graduate Class of 2008 – Katie, Paul, Shanea, and Drew – who’s constant output of iii creative excellence never ceases to inspire me. Special thanks to all of the amazingly talented TheatreVCU students that I have had the pleasure of mentoring over the past three years: both your dedication as artists and friendship has kept me constantly smiling. Finally, Lauren “thank you for being a friend, traveled down the road and back again, your heart is true, you’re a pal and a confidant!” iv Table of Contents Page Chapter 1 Piecing the Process Together.............................................................................1 Concept..........................................................................................................1 Objectives......................................................................................................3 Research Results............................................................................................4 Harriet A. Jacobs .....................................................................................7 Mary Chesnut..........................................................................................8 Elizabeth P.W. Packard ...........................................................................9 Mary Ford..............................................................................................11 Pagan Moss............................................................................................12 Bhumika Ghimire..................................................................................13 2 The Script.........................................................................................................15 The Southern Belle......................................................................................15 The Slave Girl .............................................................................................16 The “Insane” Patient....................................................................................18 The Military Bride.......................................................................................22 The Sex Worker...........................................................................................26 The Housewife ............................................................................................31 v 3 Character Analysis...........................................................................................34 The Southern Belle......................................................................................34 The Slave Girl .............................................................................................40 The “Insane” Patient....................................................................................44 The Military Bride.......................................................................................49 The Sex Worker...........................................................................................55 The Housewife ............................................................................................59 4 Directorial Analysis.........................................................................................65 The Southern Belle......................................................................................65 The Slave Girl .............................................................................................66 The “Insane” Patient....................................................................................68 The Military Bride.......................................................................................69 The Sex Worker...........................................................................................71 The Housewife ............................................................................................72 5 Putting It Together ...........................................................................................74 Rehearsals....................................................................................................74 South Eastern Theatre Conference ..............................................................76 6 The Performances............................................................................................78 The Performance Response .........................................................................78 vi 7 Reflections .......................................................................................................86 Actor’s Reflection .......................................................................................86 Director’s Reflection ...................................................................................87 Future Plans.................................................................................................89 Works Cited .......................................................................................................................90 Works Consulted................................................................................................................93 Appendices.........................................................................................................................97 A Publicity Poster for Firehouse Theatre ............................................................98 B Playbill for Firehouse Theatre .........................................................................99 C Production Photos of UNLISTED PROPERTIES.........................................101 D Crew Photos of UNLISTED PROPERTIES..................................................107 E Firehouse Website Promotion........................................................................109 F Rehearsal Schedule........................................................................................110 G SETC Acceptance Letter and Grant Approval...............................................112 H Character Analysis Format ............................................................................115 I Directorial Analysis Format...........................................................................115 J Light and Sound Cues....................................................................................116 K The Ground Plan............................................................................................117 Vita...................................................................................................................................117 Lauren Marinelli White .........................................................................................118 Jase Smith..............................................................................................................119 Abstract UNLISTED
Load more

Recommended publications
  • Letters to an English Professor
    LETTERS TO AN ENGLISH PROFESSOR The Connaghers prequel Published by Joely Sue Burkhart Copyright © 2009-2016 Joely Sue Burkhart Cover Art by Book Graphics All rights reserved. No part of this book may be reproduced, scanned, or distributed in print or electronic form without the express, written permission of the author. This is a work of fiction. Names, characters, places and incidents are the product of the author’s imagination and any resemblance to any organization, event, or person, living or dead, is purely coincidental. Adult Reading Material 2 Joely Sue Burkhart Keep up to date on future releases by signing up for my newsletter. LETTERS TO AN ENGLISH PROFESSOR 3 Letters to an English Professor I heard your voice, and I knew. I knew I had to be in your class. I knew I had to be... Yours. As an Accounting student, Rae Jackson has never cared much for poetry, but that all changes when she hears Dr. Connagher’s distinctive voice quoting some dead dude in the hallway. One look at his face, and she falls. Hard. Piercing blue eyes. Craggy face she could study for hours. And the forearms of a warrior. She can’t sign up for his infamous class fast enough. At least he doesn’t teach Calculus. But an unknown student can’t hide for long in an upper-graduate English class. He calls her to his office, and all she can think about is that gorgeous cherry desk while his rumbling voice rolls her deeper into her fantasies. Oh yes, Dr. Connagher. I’ve been a very naughty student indeed.
    [Show full text]
  • "Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 "Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M. Pemberton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES “NOW I AIN’T SAYIN’ SHE’S A GOLD DIGGER”: AFRICAN AMERICAN FEMININITIES IN RAP MUSIC LYRICS By Jennifer M. Pemberton A Dissertation submitted to the Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2008 The members of the Committee approve the dissertation of Jennifer M. Pemberton defended on March 18, 2008. ______________________________ Patricia Yancey Martin Professor Directing Dissertation ______________________________ Dennis Moore Outside Committee Member ______________________________ Jill Quadagno Committee Member ______________________________ Irene Padavic Committee Member Approved: ___________________________________ Irene Padavic, Chair, Department of Sociology ___________________________________ David Rasmussen, Dean, College of Social Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii For my mother, Debra Gore, whose tireless and often thankless dedication to the primary education of children who many in our society have already written off inspires me in ways that she will never know. Thank you for teaching me the importance of education, dedication, and compassion. For my father, Jeffrey Pemberton, whose long and difficult struggle with an unforgiving and cruel disease has helped me to overcome fear of uncertainty and pain. Thank you for instilling in me strength, courage, resilience, and fortitude.
    [Show full text]
  • Donovan Christina
    Taking the ‘Leap of Faith’? The Narrative Construction of Trust and Distrust in Further Education A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY CHRISTINA DONOVAN July 2019 In dedication to the incredible students I have had the pleasure to know and work with #LoveOurColleges #ReimagineFE Acknowledgements Firstly, my thanks go to the participants in this study for their willingness to share their experiences. This PhD would not have been possible without their openness and honesty. I thank them for trusting me with their stories. Completing this PhD would also not have been possible without the support of some incredibly important people; most of all my supervisory team. I think it is fair to say that I was not the easiest student at the beginning. Your patience has been not only invaluable; it has also helped to heal wounds from which I was still recovering. I have a huge amount of respect for you all as accomplished academics, but most of all, as human beings. I have been very lucky. To Dr. Keith Williams, thank you for being the friendly face who always made time for me, no matter how silly the question, and always noticed when I might not be okay. Your kind words have often lifted me out of self-doubt. To the aptly named Professor John Diamond, I will miss our conversations. Thank you for listening so carefully and responding so thoughtfully, and never failing to illuminate and challenge my thinking. And finally, Dr. Clare Woolhouse, I am eternally grateful that I have not once had to worry about anything because ‘Clare knows’.
    [Show full text]
  • Adapting Copyright for the Mashup Generation
    ARTICLE ADAPTING COPYRIGHT FOR THE MASHUP GENERATION PETER S. MENELL† Growing out of the rap and hip hop genres as well as advances in digital editing tools, music mashups have emerged as a defining genre for post-Napster generations. Yet the uncertain contours of copyright liability as well as prohibitive transaction costs have pushed this genre underground, stunting its development, limiting remix artists’ commercial channels, depriving sampled artists of fair compensation, and further alienating netizens and new artists from the copyright system. In the real world of transaction costs, subjective legal standards, and market power, no solution to the mashup problem will achieve perfection across all dimensions. The appropriate inquiry is whether an allocation mechanism achieves the best overall resolution of the trade-offs among authors’ rights, cumulative creativity, freedom of expression, and overall functioning of the copyright system. By adapting the long-standing cover license for the mashup genre, Congress can support a charismatic new genre while affording fairer compensation to owners of sampled works, engaging the next generations, and channeling disaffected music fans into authorized markets. INTRODUCTION ........................................................................ 443 I. MUSIC MASHUPS ..................................................................... 446 A. A Personal Journey ..................................................................... 447 † Koret Professor of Law and Director, Berkeley Center for Law & Technology, University of California at Berkeley, School of Law. I thank my sons Dylan and Noah, Peter DiCola, Kembrew McLeod, Gregg Gillis, DJ Guzie, and DJ Solarz for inspiration and background about mashup culture. I also thank Mark Avsec, Jane Ginsburg, Eric Goldman, Molly Van Houweling, David Nimmer, Dotan Oliar, Sean Pager, and participants at the Berkeley Law IP Scholarship Seminar, Berkeley Law Faculty Seminar, and Fifth Annual Internet Law Work-in-Progress Conference for comments.
    [Show full text]
  • THIS # WEEK CHANCELLOR/See Page
    JANUARY 29, 1999 I N S I D E 500 Jobs Lost In Initial Phase Of Universal Restructuring BY STEVE WONSIEWICZ Anderle, Sr. VP /Creative Servic- management c marketing sales R &R MUSIC EDITOR es Jeri Heiden, Sr. VP/Publicity Baron, Sr. VP/Marketing WRTS /Erie, PA Promotion Dir. Matt The reality of consolidation in Diana & Artist Development Morty Sharer has been in the radio business for the record industry hit home last the ini- Wiggins, Sr. VP/Urban Promo- a grand total of one month. While the week, as Seagram began an- tion Dave Rosas and Sr. VP/Pro- circumstances of his getting his job are tial phase of its previously of the motion Peter Napoliello. Key interesting (you can read about it in the nounced restructuring Universal Music Group. Over A &M personnel who remain are story), he now has to put up or shut up. a two -day period, Universal fur- New York -based VP /Publicity To help him get a running start, MMS loughed some 500 employees, Steve Karas; Los Angeles -based Editor Jeff Axelrod paired Matt up with with the biggest cuts occurring at VP/Publicity Laura Swanson; Sr. WKTU /NY Dir. /Marketing Don Macleod for A &M Records (about 170 of VP /Sales & Distribution Richie mentoring. Jeff some one -on -one 200 employees were let go) and Gallo, who will assume a cata- eavesdropped on the conversation, and Geffen Records (110), as the log post at Universal Music & you can read the first part of a two -part Chancellor Goes On The Block company folds the two legendary Video Distribution; and Sr.
    [Show full text]
  • Social Media Poems 2018 Simeon Berry
    Social Media Poems 2018 Simeon Berry Contents Confessional (Paisley Rekdal) ...................................................................................................................... 1 The Afterlife Is a Room Full of Windows You Are Trying to Avoid (Joanna C. Valente) ......................... 2 Barbie Chang’s Mother Calls (Victoria Chang) ........................................................................................... 5 I Am the Whole Defense (Mai Der Vang) .................................................................................................... 7 I Meant Eyes But Wrote Yes (Amy Dryansky) ............................................................................................. 8 Caught In A Trap: The Dead Redux (Tanya Olson) ..................................................................................... 9 Suburban Pastoral (Adam Sol) .................................................................................................................... 10 Night Falls like a Button (Chen Chen) ........................................................................................................ 11 I Remember, I Remember (Mary Ruefle) ................................................................................................... 12 Not a Warning, Not a Challenge, Not an Instruction Manual (Eugenia Leigh) .......................................... 20 Dear Reader (James Tate) ..........................................................................................................................
    [Show full text]
  • GENESIS 3:1-7 Series: Understanding Your Roots
    Scott Turansky, Senior Pastor October 11, 2020 GENESIS 3:1-7 Series: Understanding Your Roots [PRAYER] Heavenly Father, I thank you for your great love for us. Lord, we need your grace, we need your love. We need to understand how to follow you more. So I ask that in this session now, this session of looking at your word that you will reveal yourself and empower us with an understanding of what that looks like we ask. Teach us, Father. We need you. In Jesus’ name, amen. I’m really glad that you are here, either online or here, because it makes a statement about you that you are interested in growing spiritually. That’s something we have in common. That we want to grow spiritually. That’s what Calvary Chapel is about. You know the value of learning. We never stop learning. We never stop growing spiritually. We need that. We need to understand more about God, more about His word. As we come together and do that it empowers us for our lives. I spend hours each week studying the Bible and then thinking about what does God want to say to me and then what He wants to say to you. And then I try to live it in the course of a week. What does this look like? How can I experience this? Because I know when I stand up here on Sunday morning, it’s an opportunity for God to speak to you. Yes, I’m sharing a message. But there’s something about what God has done inside of me that’s going to pass through whether I stumble or stutter or whatever.
    [Show full text]
  • Lover Unbound
    Lover Unbound By JR Ward Glossary of Terms and Proper Nouns ahvenge (v.) Act of mortal retribution, carried out typically by a male loved one. attendhente (n.) Chosen who serves the Scribe Virgin in particularly close manner. Black Dagger Brotherhood (pr. n). Highly trained vampire warriors who protect their species against the Lessening Society. As a result of selective breeding within the race, Brothers possess immense physical and mental strength as weir as rapid healing capabilities. They are not siblings for the most part, and are inducted into the Brotherhood upon nomination by the Brothers. Aggressive, self-reliant, and secretive by nature, they exist apart from civilians, having little contact with members of the other classes except when they need to feed. They are the subjects of legend and the objects of reverence within the vampire world. They may be killed by only the most serious of wounds, e.g., a gunshot or stab to the heart, etc. blood slave (n.) Male or female vampire who has been subjugated to serve the blood needs of another. The practice of keeping blood slaves has largely been discontinued, though it has not been outlawed. the Chosen (pr.n.) Female vampires who have been bred to serve the Scribe Virgin. They are considered members of the aristocracy, though they are spiritually rather than temporally focused. They have little or no interaction with males, but can be mated to Brothers at the Scribe Virgin's direction to propagate their class. They have the ability to prognosticate. In the past, they were used to meet the blood needs of unmated members of the Brotherhood, but that practice has been abandoned by the Brothers.
    [Show full text]
  • 2002 Fellows Thesis E32.Pdf (4.073Mb)
    JIEOUIEM'S WALTZ, A NOVEL ILLUMINATING INTERPERSONAL RELATIONS BETWEEN IMVER- AND OTHER-DIRECTED IDENTITIES A Senior Honors Thesis by ANTONIO CORONEL ELEFANO, JR. Submitted to the Office of Honors Programs k Academic Scholarships Texas A@M University in partial fulfillment of the requirements of the UNIVERSITY UNDERGRADUATE RESEARCH FELLOWS April 2002 Group: Art And Literature 1 REQUIEM'S 8'ALTZ, A NOVEL ILLUMINATING INTERPERSONAL RELATIONS BETWEEN INNER- AND OTHER-DIRECTED IDENTITIES A Senior Honors Thesis by ANTONIO CORONEL ELEFANO, IR. Submitted to the Office of Honors Programs & Academic Scholarships Texas ASM University in partial fulfillment of the requirements of the UNIVERSITY UNDERGRADUATE RESEARCH FELLOWS Approved as to style and content by: i 6 Charles Tay or Edward Funkhouser (Fellows Advisor) (Executive Director) April 2002 Group: Art and Literature 1 ABSTRACT RROUIEM'S 8'ALTZ, A NOVEL ILLUMINATING INTERPERSONAL RELATIONS BETWEEN INNER- AND OTHER-DIRECTED IDENTITIES. (April 2002) Antonio Coronel Elefano, Jr. Department of English Texas ARM University Fellows Advisor: Dr. Charles Taylor Department of English In The Lonely Crowd, David Riesman proposes the distinction between inner- and other- directed people. Inner-directed people have core values and are internally driven. Contrast this with the other-directed individual who uses his or her contemporaries— friends and the mass media —as sources for identity —a presentational self drawn from the expectations of whoever is currently watching. I explore this dichotomy in a creative work, a novel entitled Requiem's It'alr . In this novel, two protagonists, a woman and her stepson, alternate telling the story; one protagonist is inner-directed; the other is other-directed.
    [Show full text]
  • A Grounded Theoretical Approach to Embodiment Among Homeless Youth
    University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2010 A Grounded Theoretical Approach to Embodiment Among Homeless Youth Felicia Washington Sy University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Psychology Commons, and the Social Work Commons Recommended Citation Sy, Felicia Washington, "A Grounded Theoretical Approach to Embodiment Among Homeless Youth" (2010). Electronic Theses and Dissertations. 637. https://digitalcommons.du.edu/etd/637 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. A GROUNDED THEORETICAL APPROACH TO EXAMINING EMBODIMENT AMONG HOMELESS YOUTH ____________ A Dissertation Presented to the Faculty of the Graduate School of Social Work University of Denver ____________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy ____________ by Felicia Washington Sy August 2010 Advisor: Dr. Walter LaMendola ©Copyright by Felicia Washington Sy 2010 All Rights Reserved Title: A GROUNDED THEORETICAL APPROACH TO EXAMINING EMBODIMENT AMONG HOMELESS YOUTH Advisor: Dr. Walter LaMendola Degree Date: August 2010 Abstract Using grounded theory methodology, this research explored, described and theorized about the ways youth, specifically homeless youth; make sense of their bodies within the context of living environments. It describes the relationship between body, space, and context for homeless youth in order to inform treatment options for this population. The importance of context, setting, and participant frame of reference was stressed, because embodiment is contextually and culturally influenced.
    [Show full text]
  • Presenting Carly and Elliot: Exploring Roles and Relationships in A
    Molloy College DigitalCommons@Molloy Faculty Works: Music Therapy Music Therapy 2010 Presenting Carly and Elliot: Exploring Roles and Relationships in a Mother-Son Dyad in Nordoff- Robbins Suzanne Sorel D.A., M.T.-B.C., L.C.A.T Molloy College, [email protected] Follow this and additional works at: https://digitalcommons.molloy.edu/mustherapy_fac Part of the Music Therapy Commons DigitalCommons@Molloy Feedback Recommended Citation Sorel, Suzanne D.A., M.T.-B.C., L.C.A.T, "Presenting Carly and Elliot: Exploring Roles and Relationships in a Mother-Son Dyad in Nordoff-Robbins" (2010). Faculty Works: Music Therapy. 1. https://digitalcommons.molloy.edu/mustherapy_fac/1 This Article is brought to you for free and open access by the Music Therapy at DigitalCommons@Molloy. It has been accepted for inclusion in Faculty Works: Music Therapy by an authorized administrator of DigitalCommons@Molloy. For more information, please contact [email protected],[email protected]. Qualitative Inquiries in Music Therapy 2010: Volume 5, pp. 173–238 Barcelona Publishers PRESENTING CARLY AND ELLIOT: EXPLORING ROLES AND RELATIONSHIPS IN A MOTHER-SON DYAD IN NORDOFF-ROBBINS MUSIC THERAPY Suzanne Sorel1 ABSTRACT This study explores what occurred between a mother and her son with high-functioning autism who were seen for 24 sessions at the Nordoff-Robbins Center for Music Therapy at New York University. This was the first time that a parent and child had been seen in music therapy sessions at the center in which the parent was an active participant. The study was conducted one and one-half years after the sessions had concluded.
    [Show full text]
  • Gd&T Tolerance Stack up Analysis
    Gd Continue For G-Dragon's eponymous EP, see Kwon Ji Yong. The merger is being considered for the merger of the South Korean singer, rapper and producer Pattern below (Korean name). See the templates for discussion to help reach consensus. It's a Korean name; Kwon's last name. G-DragonG-Dragon on Infinite Challenge Yeongdong Expressway Song Festival 2015BornKwon Ji-yong (1988-08-18) August 18, 1988 (age 32)Seoul, South KoreaOther namesGDOccupationRappersingersongwriterrecord producerentrepreneurfashion designerNet worthUS$40 million[1]Musical careerGenresHip hopK-popdance-popR&BtrapInstrumentsVocalsYears active1994– presentLabelsYGAssociated actsBig BangYG FamilyGD & TOPGD X TaeyangKorean nameHangul권지용Hanja權志⿓Revised RomanizationGwon Ji-yongMcCune–ReischauerKwŏn Chiyong Websiteygbigbang.com/gdragonSignature Kwon Ji-yong (Korean: 권지용; born August 18, 1988),[2] also known by his stage name G-Dragon, is a South Korean rapper, singer-songwriter, record producer, entrepreneur and fashion designer, dubbed as the 'King of K-Pop'. G-Dragon trained for six years, from the age of twelve, on the South Korean entertainment label YG Entertainment, before debuting in 2006 as the leader of the hip-hop boy band Big Bang, which became one of the best-selling boy bands in the world. His first solo album, Heartbreaker, and his title track of the same name, released in 2009, were commercially successful, becoming the top-selling album of the Korean soloist at the time and earning him album of the year at the Mnet Asian Music Awards 2009. G-Dragon collaborated with Big Bang Bandmate T.O.P to release the album GD and TOP in 2010. His first EP, One of a Kind (2012), received critical acclaim and three singles: One of a Kind, Crayon and That XX.
    [Show full text]