Student Research and Creative Activity in Theatre and Film

Technical Direction of Paragon Springs

Christine Ann Donaghy — Tue, 23 Apr 2013 09:30:30 PDT

My thesis show, Paragon Springs, is a play based on An Enemy of the People by Henrik Ibsen. My first reading of the show leads me to hope that this undertaking will be profitable for all concerned. Paragon Springs, like the Ibsen play on which it is based, takes place in more than one location. This will contribute to my chances of having a set that might be a little more complicated and challenging than a basic unit set. My first concern was staging the show in the Studio and knowing we would have a smaller budget than shows on the Howell stage. Budgetary limitations affect not only the creativity of the scenic designer but also me, who would be left with a very basic set to build.

My greatest concerns about the process of working on Paragon Springs are as follows: I want to have plenty for my students in the shop to build. I want the final set to look as professional as possible. If I do my job well, I will keep the process organized, keep the lines of communication open and have a great thesis project. In the end, it is not the set design itself that makes or breaks a great thesis show. It is instead how well I fulfill my duties as a Technical Director to the best of my abilities. All shows, large and small, need an organized, efficient and communicative Technical Director to make the production a success. That will be my main goal during this Thesis project. I aim to make this production a success.

Advisor: Edward Stauffer

Costume Design for Paragon Springs

Bethany D. Skinner — Fri, 19 Apr 2013 14:56:04 PDT

This thesis describes the research and costume design and production processes for the play, Paragon Springs by Steven Dietz (1958- ), performed in the Studio Theatre on November 8-9, 11, 14-16, 18, 2012, at the Johnny Carson School of Theatre and Film at the University of Nebraska. Paragon Springs was directed by Carrie Lee Patterson. Bethany Skinner was costume designer; David Tousley was scenic designer; Michael Fortcamp was lighting designer; Alma Cerretta served as props master, and Christine Donaghy provided technical direction. Dietz’s play, which premiered in April of 2000, is based on the play An Enemy of the People by Henrik Ibsen (1828-1906), written in 1882. Dietz’s adaptation is set in the American Midwest in the 1920s. The subject of the play proves to be timeless as the play adapts well to the change in time and place and remains relevant to present day audiences.

Advisor: Janice Stauffer

COSTUME DESIGN FOR AGRAVIO

Julie Douglass — Fri, 19 Apr 2013 10:43:33 PDT

This thesis presents the costume design, research, and execution process for Valor, Agravio y mujer by Ana Caro, adaptation to Agravio by Ian Borden, based on an original translation by Amy Williamsen. The play was performed in the Howell Theatre of the Johnny Carson School of Theatre and Film at the University of Nebraska-Lincoln in October 2012. Agravio was directed by Ian Borden, with Costume Design by Julie Douglass, Scenic Design by Joshua Rajaee, Lighting Design by Aja Michelle Jackson, Properties by David Tousley, and Technical Direction by Erica King.

Advisor: Janice Stauffer

ARTMAKING ON THE EDGE OF A CLIFF: DIRECTING IPHIGENIA 2.0

Shannon E. Cameron — Fri, 22 Apr 2011 09:47:16 PDT

This thesis contains written documentation regarding the process of directing a theatrical production in fulfillment of the partial requirements for Master of Fine Arts in Directing for Stage and Screen at the University of Nebraska Lincoln.

Topics addressed include play selection, script analysis, director/designer collaboration, coaching and actors and evaluation of final product.

Advisor: Virginia Smith

Ontological Movement in Theater: An Account of the Preparation and Direction of the Play Dylan by Sidney Michaels

Aaron Sawyer — Thu, 21 Apr 2011 21:00:56 PDT

This document contains a graduate thesis and follows the creative process behind Aaron Sawyer’s direction of the University of Nebraska-Lincoln’s 2011 theatrical production of the play Dylan by Sidney Michaels. It contains seven sections depicting thesis production from the selection of the material to its completion and final reviews. The introduction establishes the perspectives and experiences that led me to this thesis. The pre-production section is comprised of an analysis of the script as well as research on the time-periods material to the play and its production. The director’s concept portion analyzes the dramatic structures contained within the play, and my aesthetic approach to design and performance styles. The production section consists of journal entries tracking the design and performance progress of the production. The post-production segment reviews the resulting performance from the perspective of faculty responders as well as my own. The conclusion section discusses the production’s journey in the context of both ideals and pragmatics.

Advisor: Virginia Smith

The Misanthrope: Accepting the Notions of Moliere into a Modern Society

Cristina A. Skinner — Wed, 20 Apr 2011 13:55:32 PDT

“The Misanthrope: Accepting the Notions of Molière for a Modern Society” demonstrates the conceptualization, rehearsal process, and critique of the direction for The Misanthrope, produced during the fall semester of 2010 for the Johnny Carson School of Theatre and Film. The conceptualization process included historical research of France during the 1660s and 2000s, meetings with the designers, and analysis of the play through structure and characters. The process included design meetings and rehearsals. The effectiveness of the production was demonstrated through the responses of four reviewers and a Kennedy Center American College Theatre Festival respondent. Additional material demonstrates the process and the realized production.

Adviser: Virginia Smith

The Scene Design for Macbeth

Michael Leonard — Fri, 23 Jul 2010 07:54:40 PDT

This thesis presents the scenic design for Macbeth written by William Shakespeare. The play was produced by the Department of Theatre Arts at the University of Nebraska - Lincoln and performed in the Howell Theatre on April 17, 2003 through April 26, 2003. The written portion of the thesis is divided into sections: The Play and Synopsis, Scene Deisgn Analysis including Time, Place, and Physical Needs, Design Concept, The Design Process, The Process of Realization, Reviews and Comments on the Scenic Design, and Self Evaluation.

The final portion of the thesis is a collection of sketches, drafting, paint elevations, and production photos. This large (20 MB) pdf file is attached (below) as an "Additional file."

A Pattern of Patience: On Providing Technical Direction for King Lear

Theron L. Seckington — Tue, 27 Apr 2010 12:40:30 PDT

The following writing will document my process as technical director for the 2009 mainstage production of King Lear at the Johnny Carson School of Theatre and Film (JCSTF) at the University of Nebraska – Lincoln (UNL). King Lear was directed by Virginia Smith with scenery designed by fellow Master of Fine Arts (MFA) candidate Patric Vendetti, lights by senior Angela Sharman, and sound by sophomore Max Holm. Costumes were designed by MFA candidate Cecilia Sickler. The shop foreman was Bryan Ruhs, and the production was stage managed by junior Amber Naylor. I was advised by JCSTF technical director Ed Stauffer.

In this work, I will discuss the planning, construction, and production of King Lear, as well as how I overcame challenges along the way.

Costume Design and Execution of King Lear by William Shakespeare

Cecelia Rae Sickler — Tue, 27 Apr 2010 11:49:23 PDT

This thesis documents the costume design and execution for the fall production of William Shakespeare’s King Lear performed on the Howell Stage at the Johnny Carson School of Theatre and Film of the University of Nebraska-Lincoln. The following discusses and documents the research, inspiration, development and construction of the costume design.

Costume Design for You Never Can Tell

Emily S. Parker — Tue, 27 Apr 2010 11:48:15 PDT

This thesis will expound upon the costume design process for The Johnny Carson School of Theatre and Film’s 2009 production of You Never Can Tell, performed in the Howell Theatre at the University of Nebraska – Lincoln. Directed by Dr. Tice Miller, and Mijou Sahiouni, Assistant Director, the production team included Emily Parker as the Costume Designer, Ahna Packard as the Set Designer, and Harrison Hohnholt as the Lighting Designer. This thesis will describe the research, inspiration, rendering and construction process of the costume designer.

Two Kings: An Account of the Preparation and Performance of the Role of Edgar in William Shakespeare's King Lear

Ryan Kathman — Fri, 23 Apr 2010 06:58:24 PDT

This work is my graduate thesis documenting the creative process behind my performance of the role of Edgar in the University of Nebraska-Lincoln’s 2009 production of King Lear by William Shakespeare. It is comprised of five sections including an introduction, pre-rehearsal research, rehearsal and performance journal, post-production responses and conclusion. The introduction outlines my impressions of Edgar and King Lear prior to researching or rehearsing the role. In my research section, I attempt to better understand Shakespeare, his play and the role of Edgar by studying the playwright’s life and the history of the character and play, while also making the case for my own pre-rehearsal interpretation of Edgar. My rehearsal journal records my thoughts, discoveries and struggles during the weeks leading up to and including the production’s two-week run. The response section includes my interviews with faculty members of my thesis committee and their feedback on my performance. Finally, my conclusion attempts to synthesize and explore my final thoughts regarding the entire process.
Advisor: Harris Smith

Goneril: Jealousy and Thirst for Power Caused by the Loss of a Father's Love

Beth L. King — Thu, 22 Apr 2010 12:41:46 PDT

The challenge for every actor is to bring something of yourself to a role. The more real it can become for you the more real it will be for the audience. Goneril is a caricature. She is rich, powerful and she does horrible things like throwing her father out into the cold, having an affair, poisoning her sister and ultimately killing herself. She is one of Shakespeare’s “evil” women. I have to say I do not consider myself evil. So what could I have in common with this monster of a woman? One of our fellow classmates died while we were working on this play. His name is Jason Francis. He always said to look for the love in a scene or character. That advise is what helped me to understand Goneril the woman.

There are two people that Goneril loves in this play, her father King Lear, and herself. Goneril is insanely jealous of Lear’s affection toward her younger sister Cordelia. I believe that Goneril was Lear’s favorite child until Cordelia was born, after all Goneril was the first royal child born into the family. Now Lear dotes on Cordelia and has no interest in Goneril. This affects how Goneril deals with her husband, her lover and all of the men in her life. She does not trust men and believes she can only count on herself. Lear is not a good father to Goneril but it is her choice to seek revenge that finally causes her downfall.

Advisor: Harris Smith

Becoming the Bastard: An Exploration of the Creative Process for Preparing the Role of Edmund in King Lear

Daniel Gilbert — Thu, 22 Apr 2010 12:14:50 PDT

This thesis is a documentation of the creative process I utilized in the preparation of the role of Edmund in the 2009 UNL production of William Shakespeare’s King Lear. It is comprised of three main parts. Part One: Research consists of all complied materials pertaining to the life and work of William Shakespeare and his play King Lear; including play structure, language and themes. Part Two: Process is an examination of the rehearsal process and methodology used in character development. Part Three: Evaluation is a conclusion of the process and provides faculty responses as well as self examinations regarding the success or failure of the performance; including journals, analyses and interviews.
Advisor: Harris Smith

Insight into Madness: The Rise and Fall of the Duke of Cornwall

Kyle Broussard — Thu, 22 Apr 2010 10:56:20 PDT

The Duke of Cornwall, created by the world’s most popular and influential playwright in history, William Shakespeare, is a complex, compelling, and controversial character brought forth to life in the pages of King Lear. In accordance to guidelines established by the University of Nebraska, the following graduate thesis will provide a basic outline of my journey through the challenges of understanding, developing, and ultimately performing the role of Cornwall in Shakespeare’s King Lear. The Duke of Cornwall was a challenging and often difficult role to embody and understand due to several factors, such as interpreting his motivations, understanding his part in context to the entire play, and finding a successful way to combine my essence as a person and a performer with a character who embodies pure malice, mayhem, and madness. I will also provide personal insight into the process that I discovered and used, mainly through trial and error, to bring the Duke of Cornwall to life on King Lear’s opening night.
Adviser: Harris Smith

The Heroic Struggle of Pleasing a Mad King: An Actor’s Exploration of the Earl of Kent in William Shakespeare’s King Lear

Robie A. Hayek — Thu, 22 Apr 2010 10:46:02 PDT

This thesis is the research and analysis of the creative process I used in the University of Nebraska-Lincoln Johnny Carson School of Theatre and Film’s 2009 production of King Lear. It is comprised of three main parts. Part One: Research explores the life and work of William Shakespeare. Part Two: A Study of King Lear examines the history of King Lear including major themes and performance history. Part Three: Process provides insight to the thought process of an actor while building a character. Additional materials include documentation of the rehearsal and performance, script analysis, and critical responses to the actor’s performance.

Processing King Lear

Patric Michael Vendetti — Thu, 22 Apr 2010 09:40:25 PDT

This thesis is the culmination of my scenic design work for William Shakespeare’s The Tragedy of King Lear in the Howell Theatre at the Johnny Carson School of Theatre and Film at the University of Nebraska-Lincoln. Within this paper I will look at the processes used to create the set design, the execution of the set design and the final product when seen in a fully realized production.

Quiet Virtue or Roaring Indignation: One Actor's Quest, and Ultimate Failure, to Reveal Complexity in Shakespeare's Cordelia

Mary Lucy Lockamy — Wed, 21 Apr 2010 12:50:07 PDT

QUIET VIRTUE OR ROARING INDIGNATION: ONE ACTOR'S QUEST, AND ULTIMATE FAILURE, TO REVEAL COMPLEXITY IN SHAKESPEARE'S CORDELIA Mary Lucy Lockamy, M.F.A University of Nebraska, 2010

Advisor: Harris Smith

This thesis documents the performance process I underwent while tackling the role of Cordelia in William Shakespeare’s King Lear in the November 2009 production at the University of Nebraska-Lincoln. This document is the culmination of a three-year endeavor to attain a Master of Fine Arts in Acting.

There are three main sections. In Part One, I focus on Cordelia’s presence in the story of King Lear, before Shakespeare ever wrote his version, in order to compare and contrast earlier Cordelias to Shakespeare’s Cordelia. In this discussion and the ones that follow, I focus on the traditional conception of the character of Cordelia as simple and one-dimensional, and in the end, I argue that modern audiences, and I as the actor, are not satisfied with a character who exhibits her virtuousness only through steady calm and sweet composure.

Part Two comprises the journal I kept during the rehearsal process of King Lear from the first day of rehearsal until closing night. It is an informal and personal piece that describes my frustrations, elations, musings, and discoveries that are all normal to an actor’s exploration of a role.

Part Three is a collection of critiques from the three main members of the Graduate Acting faculty at UNL. In this portion, each faculty member provides his or her insight as it relates to my performance of my thesis role and my general progress as an actor here at UNL.

I also include appendices to each section, including a brief selection of annotated bibliographies, images, journal entries, a theatre review, and feedback transcriptions.

Costume Design for Tartuffe by Molière

Shannon Paulick — Wed, 21 Apr 2010 07:42:23 PDT

“Tartuffe: The Costume Design Process” is a paper that describes the conceptualization, creation, and critique of the costume design chosen for the Johnny Carson School of Theatre and Film’s production of Tartuffe during the spring semester of 2010. The conceptualization process included meetings with the director, historical research of France during the 1660s, and consideration of the play’s specific needs. The rough sketches and finalized renderings, along with the historical research, are featured within the thesis. The creation process involved numerous people, hours, and creative solutions to bring the design to fruition. Newspapers and an American College Theatre Festival respondent reflected on the effectiveness of the production within the critique process. The thesis also features an individual analysis from the costume designer. Additional information concerning the design process may be acquired from the pictorial evidence of the actualized performance.

Adviser: Janice Stauffer

I am Regan: The Preparation, Performance and Afterthoughts on the Character of Regan in King Lear

Tiffiney C. Baker — Wed, 21 Apr 2010 07:38:37 PDT

The Preparation, Performance and Afterthoughts Concerning the Role of Regan in Shakespeare’s King Lear Tiffiney Carol Baker, M.F.A. University of Nebraska, 2010 Adviser: Harris Smith In April of 2009 I was cast as Regan Cornwall in the University of Nebraska-Lincoln’s main stage production of King Lear. Throughout the summer I researched various aspects of the playwright, the play’s origins, family dynamics and various other aspects concerning the world of the play in order to gain a clearer understanding of the character. The following is the documentation of my process divided into three sections. Section one contains historical research and a character analysis. Section two is a daily journal written during the rehearsal process. Section three contains interviews with the theater faculty concerning my performance.

How to Write Comedy for Radio

Johnny Carson — Tue, 09 Oct 2007 06:59:56 PDT

Entertainment and television icon Johnny Carson received his bachelor of arts degree in radio and speech (with a minor in physics) in 1949 from the University of Nebraska. While at Nebraska, he was a member of Phi Gamma Delta fraternity and served as master of ceremonies for the Kosmet Klub, a male dramatic society.

Before completing his bachelor of arts degree, Carson did a senior thesis for his broadcasting professor, William Dempsey. His 1949 senior thesis was entitled “How to Write Comedy for Radio,” which he recorded on a reel-to-reel tape. The 45-minute recording was a scholarly examination of the techniques and devices that radio comedy writers used to construct the jokes and gags in comedy radio shows. Using bits from several well-known comedians, such as Jack Benny and Bob Hope, Carson illustrated the various techniques used to write comedy, which he later effectively used in television through his “Tonight Show” monologues.

Born in Corning, Iowa, on Oct. 23, 1925, Carson grew up in Norfolk, Neb. He died on Jan. 23, 2005.

Carson became host of “The Tonight Show” in October of 1962. He retired in 1992 after hosting more than 4,531 shows.

In November 2004, Carson announced a gift of $5.3 million to the University of Nebraska Foundation to support the renovation and expansion of the Temple Building, where he got his start, and to create an endowment to keep performance spaces equipped with the latest advances in lighting and sound technologies.

Following Carson’s death in January 2005, the University of Nebraska Foundation received an additional gift of $5 million from the estate of Carson for endowed support of programs in theatre, film and broadcasting. Annual income from the endowment provides support to the Johnny Carson School of Theatre and Film in the Hixson-Lied College of Fine and Performing Arts and the broadcast program in the College of Journalism and Mass Communications.

In August 2005, the University of Nebraska renamed the Department of Theatre Arts the Johnny Carson School of Theatre and Film, creating a permanent legacy for Johnny at the University of Nebraska.

The complete 45-minute monologue is available as the "Related File" linked above. It is a downloadable mp3 file of 69 Mbytes.