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Developing New Works for the Stage: an Actor's Perspective University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2013 Developing New Works For The Stage: An Actor's Perspective Lauren Butler University of Central Florida Part of the Acting 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 Butler, Lauren, "Developing New Works For The Stage: An Actor's Perspective" (2013). Electronic Theses and Dissertations, 2004-2019. 2518. https://stars.library.ucf.edu/etd/2518 DEVELOPING NEW WORKS FOR THE STAGE: AN ACTOR’S PERSPECTIVE by LAUREN A. BUTLER B.A. NOVA Southeastern University, 2010 A thesis submitted in partial fulfillment of 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 2013 2013 Lauren A. Butler ii ABSTRACT U.S. Theatre is often noted for its commitment to new play development. Since Eugene O’Neill, America has fostered a tradition of celebrating emerging playwrights and their bold, edgy new works through countless development programs such as festivals, new play readings, grant programs, workshops, and world premieres. Although in recent years new-play development has seen a steady decline in funding (Levitow 2), it remains a cornerstone of American identity and an essential medium for pushing boundaries in theatre, both culturally and artistically. New-play development is indispensable for keeping theatre relevant in our ever- changing culture. For my thesis, I explore the process of developing a new play from an actor’s perspective. The role of the director, dramaturg and producer of a new play is often discussed; however the importance of the actor throughout the development process is sometimes overlooked. There are many configurations of artistic teams assembled to develop a new play; therefore, I do not suggest there is one type of team that is best or one type of role for the actor to play within the team. My aim was to collaborate with the playwright, director and fellow actors to discover what is required of an actor in all phases of new play development. I applied the principles learned to my own work in the World Premiere of The Exit Interview by William Missouri Downs at the Orlando Shakespeare Theatre in Partnership with The University of Central Florida. As I navigated my way through the artistic process of developing a new work, I discovered some ‘best practices’, which I employed throughout the rehearsal and performance iii process to further my own skills. I will discuss the development process I experienced, as objectively as possible, outlining the key best practices for an actor working in a collaborative team to develop a new play. iv ACKNOWLEDGMENTS I would like to thank Belinda Boyd, Kate Ingram, Julia Listengarten, Pat Flick, William Missouri Downs, Michael Marrinaccio, Jim Helsinger and Mark Routhier for their support and guidance. v TABLE OF CONTENTS TABLE OF FIGURES ............................................................................................................................................. xi CHAPTER ONE: INTRODUCTION .................................................................................................................... 1 CHAPTER TWO: FROM PAGE TO STAGE ..................................................................................................... 6 New Play Development in America: Why Does it Matter? ................................................................................ 7 The Playwright: William Missouri Downs ............................................................................................................. 14 Exploring the Themes of ‘The Exit Interview’ ...................................................................................................... 17 The National New Play Network: Rolling World Premiere............................................................................. 20 CHAPTER THREE: CHARACTER ANALYSIS ............................................................................................. 22 Cheerleader # 1 (with pompoms) ............................................................................................................................. 22 Mary (Dick’s Ex-Girlfriend – an Oboe Player) ...................................................................................................... 26 Samantha (A mother with a baby carriage) .......................................................................................................... 36 Businesswoman # 2 (An expert on underwear) ................................................................................................. 38 French Girl (confused about her destiny) .............................................................................................................. 39 Dr. Dobson (PhD in religious studies from Yale) ................................................................................................ 40 CHAPTER FOUR: SCENE BREAKDOWN AND TEXT ANALYSIS ........................................................ 44 Act One, Scene One: Warning Labels ........................................................................................................................ 44 Act One, Scene Two: Last Day on the Job ................................................................................................................ 46 Act One, Scene Three: A Train Ran Over My Baby .............................................................................................. 48 Act One, Scene Four: The Secret of the Secret ...................................................................................................... 49 Act One, Scene Five: No Religion, No Politics ........................................................................................................ 50 Act One, Scene Six: An Agonistic in a Foxhole ...................................................................................................... 51 vi Act One, Scene Seven: Gravity is Not Mad at You ................................................................................................ 52 Act One, Scene Eight: The Alienation Effect .......................................................................................................... 52 Act One, Scene Nine: Wenig Gesprach (Small Talk) ........................................................................................... 53 Act One, Scene Ten: God Found Me a Parking Space ......................................................................................... 53 Act Two, Scene One: Towards a Poor Theatre ..................................................................................................... 54 Act Two, Scene Two: What’s it Like to Kiss A Girl? ............................................................................................ 55 Act Two, Scene Three: Imagine Every Little Snowflake ................................................................................... 55 Act Two, Scene Four: Fox News Alert ...................................................................................................................... 55 Act Two, Scene Five: I’m Confident Cause I’m Comfortable ........................................................................... 56 Act Two, Scene Six: The End is Near ......................................................................................................................... 56 Act Two, Scene Seven: A Car Chase in Sanford .................................................................................................... 57 Act Two, Scene Eight: Leave Her Guessing ............................................................................................................ 58 Act Two, Scene Nine: God Ate My Homework ...................................................................................................... 58 Act Two, Scene Ten: John Calvin’s Theory of Predestination ........................................................................ 59 Act Two, Scene Eleven: The Alienation Effect – Part Two ............................................................................... 59 Act Two, Scene Twelve: Wissenschaft im Gegensatz zu Religion (Science vs. Religion) .................... 59 Act Two, Scene Thirteen: The Exit Interview ....................................................................................................... 60 CHAPTER FIVE: RESEARCH ........................................................................................................................... 62 Bertolt Brecht .................................................................................................................................................................... 62 Existential Uncertainty .................................................................................................................................................. 64 Objective Discernment ................................................................................................................................................... 66 Gestalt Therapy ................................................................................................................................................................
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