Double Take Project: Using Applied Theatre For Campus Climate Change

Despite research gathered in the Campus Climate Report, I believe that it underrepresented the student experience of the social scene. The document primarily served as an identification tool for four major problems on campus: binge drinking, sexual assault, diversity, and disengagement in the classroom. Double Take Project also identifies similar issues however, this project uses theatrical techniques to gather the anecdotal reality of the student perspective. Double Take Project expands beyond the Campus Climate Report to inspire dialogue in a variety of student-to-student interactions and, more importantly, the project seeks action and solution plans. The social scene dominates our culture and its many issues result in concern for the safety, self-identity, and development of Bucknell students into thriving adults. Double Take Project is rooted in the belief that theatre is a palpable tool for social change. Over the course of many events, Double Take Project has utilized facets of theatre to provide opportunities to voice discontent, widen perception of normalcy on campus, and inspire confidence to act on personal beliefs. The Double Take Project uses many Applied Theatre methods to impact the social scene. For example, I conducted 36 student interviews and transformed the stories into a one-woman show, Rage Behind Curtains, which I performed at multiple venues across campus. I also used interviews to create a radio show airing one story per day. I conducted ten workshops with student groups, Fraternities and Sororities, and in the classroom utilizing Augusto Boal’s Theatre of the Oppressed (TO) techniques. I also created a “social scene confessional” where I stood outside the Elaine Langone Center with a sign that read, “Tell me a story about the social scene” from a wide variety of Bucknell students. Finally, I have assembled a Forum Theatre Company based on Augusto Boal’s method of the spect-actor, utilizing participants as both actors and spectators in the theatre piece. All of the names indicated in this paper have been altered to protect the identity of the participants. While planning events and conducting various theatrical experiences, I learned that there are a series of internal and external issues contributing to our social environment. Internally, students are conflicted with personal beliefs while battling outward social pressure. Whether they are on the outskirts or center of the social scene determines their response to this conflict. For example, I have discovered that students on the borders of the social culture respond with criticism because they feel excluded, whereas the student’s centrally involved critique the culture in private and while their persona appears to not want change. Externally, there are many structural issues that contribute to the current social climate such as without Fraternity meal plans, Cafeteria space is not sufficient to feed all of the students, exclusive party culture, and gendered housing. Through meetings with Deans and staff, I have learned there are also problems between administration and students, resulting in resentment and blame. Although addressing structural issues would instigate immediate change, in my opinion, internal student conflicts are the primary cause for the current negative social atmosphere. I believe that pressure to conform is rooted in lack of personal identity. Because students simply do not know themselves, they form strong social groups that become the definition of themselves. Without confident self-awareness, large and powerful groups coerce students to accept social norms resulting in the individual’s outward distaste for change, yet internal discomfort.

Use and Performance of In-Stream Structures for River Restoration: a Case Study from North Carolina

In-stream structures including cross-vanes, J-hooks, rock vanes, and W-weirs are widely used in river restoration to limit bank erosion, prevent changes in channel gradient, and improve aquatic habitat. During this investigation, a rapid assessment protocol was combined with post-project monitoring data to assess factors influencing the performance of more than 558 in-stream structures and rootwads in North Carolina. Cross-sectional survey data examined for 221 cross sections from 26 sites showed that channel adjustments were highly variable from site to site, but approximately 60 % of the sites underwent at least a 20 % net change in channel capacity. Evaluation of in-stream structures ranging from 1 to 8 years in age showed that about half of the structures were impaired at 10 of the 26 sites. Major structural damage was often associated with floods of low to moderate frequency and magnitude. Failure mechanisms varied between sites and structure types, but included: (1) erosion of the channel bed and banks (outflanking); (2) movement of rock materials during floods; and (3) burial of the structures in the channel bed. Sites with reconstructed channels that exhibited large changes in channel capacity possessed the highest rates of structural impairment, suggesting that channel adjustments between structures led to their degradation of function. The data question whether currently used in-stream structures are capable of stabilizing reconfigured channels for even short periods when applied to dynamic rivers.

Devising: Pioneering Uncharted Territory in Theater

Throughout theatre history, styles of theatre have come in and out of favor in response to the zeitgeist of the period. Neoclassical, Melodrama, Naturalism, all have their place in history offering enlightenment, passion and truth each in tune with the values of the culture in which it was created. As society transforms, so too does the stage, offering new ways to reflect, interpret and challenge our assumptions about the changing world. Our current society wrestles with a ‘shrinking world’, a world consumed with technological advances that fan the fire of the growing interconnectedness of human beings all over the earth. This ‘shrinking world’ phenomenon has the effect of an‘expanded world awareness’. That is to say, now more than ever we question all assumption regarding singular perspectives and cultural convictions. What our new society values is diversification of insight and a myriad of experiences from which to draw our conclusions about the world in which we live. The kind of theatre that fills this need is Devised Theatre. Theatre is a collaborative art form by nature. Theatre cannot be practiced alone. One must partner other artists as well as an audience in order to create a theatre performance. Theatre is a dialogue which can take many shapes. Devised Theatre is a process of making theatre that enables a group of performers to be physically and practically creative in the sharing and shaping of an original product that directly emanates from assembling, editing and reshaping individual’s contradictory experiences of the world. A devised theatre product is a work that has emerged from and been generated by a group of people working in collaboration. There is an emphasis on a way of working that values an accumulation of ideas. (Oddey)

Pedagogical techniques and student outcomes in applied instrumental lessons taught by experienced and pre-service American music teachers.

The purpose of the study was to examine the effect of teacher experience on student progress and performance quality in an introductory applied lesson. Nine experienced teachers and 15 pre-service teachers taught an adult beginner to play ‘Mary Had a Little Lamb’ on a wind instrument. The lessons were videotaped for subsequent analysis of teaching behaviors and performance achievement. Following instruction, a random sample of teachers was interviewed about their perceptions of the lesson. A panel of adjudicators rated final pupil performances. No significant difference was found between pupils taught by experienced and pre-service teachers in the quality of their final performance. Systematic observation of the videotaped lessons showed that participant teachers provided relatively frequent and highly positive reinforcement during the lessons. Pupils of experienced teachers talked significantly more during the lessons than did pupils of pre-service teachers. Pre-service teachers modeled significantly more on their instruments than did experienced teachers.

Learning My Lessons: Research, Rehearsal, and Reflection on the Greats

A successful actor often requires a specific acting method or style to enhance their performance. Through theatrical research, rehearsal and performance, an actor can narrow down their seemingly endless search for the most productive methodology. By researching, studying, and applying the methods of Constantin Stanislavski, Stella Adler,and Tadashi Suzuki to my rehearsal process, I have found my most effective acting style: Stella Adler?s method. I utilize this acting method during the performance period of my early professional acting career. Experimental research for this thesis was completed inthe studio. I applied each of the three aforementioned methods to a dramatic/classical monologue. The results I gathered helped me to decide upon Adler?s methodology to carry with me through my upcoming professional auditions and career. From casting resulting from the auditions, I will employ the methodology to my professional work asan actress. Each acting teacher has provided the performance world with a new way to experience their stage time. The methods are unique and enable the actor to find the most dynamic performance through engaging technical skill.