This thesis argues the importance of mining the student's faith and strengthening the student’s creative individuality or uniqueness in actor training. I will argue that allying the pedagogy of past master teachers Konstantin Stanislavsky and Yevgeny Vakhtangov with the development of “faith”, in the secular understanding of the word set forth in this paper, will aid actors in implementing a strong technique. The first chapter of this thesis focuses on the broad concepts of faith, both religious and secular, in order to establish the necessary vocabulary for my argument. The second chapter presents the theories of Konstantin Stanislavsky and Yevgeny Vakhtangov, in particular the examination of justification, crossing the threshold, and creative individuality, to advocate for faith as a powerful tool in actor training. The third chapter demonstrates how three projects completed as part of my graduate actor training at California State University Long Beach, which facilitated actor development and created opportunity for the students, reinforced my conviction that teaching faith in action and creative individuality is both useful in the training of young actors—and urgent. The conclusion of this paper argues for the design of practical curriculum that deals with acting as a spiritual vocation in theatre departments throughout the United States.
|Commitee:||Billings, Alexandra, Pillai, Shanti|
|School:||California State University, Long Beach|
|School Location:||United States -- California|
|Source:||MAI 55/05M(E), Masters Abstracts International|
|Keywords:||Acting, Doubt, Faith, Training|
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