Upon enrolling as a Master’s candidate at University of California Santa Cruz – I decided to focus my research on how I could expand my toolbox as an actor. I had always approached my roles with an instinct, vague at best, of how my role would best be portrayed, but I never had a clear idea of what my method of approach was. So, in researching various acting methods, my aim was twofold – to first clarify for myself what methods I was using in approaching my acting, and secondly, to attempt to apply the newfound wisdom in acting theory to my work. From there, I hope to apply this knowledge not only to my personal approach as an artist, but to also offer some insight for actors who, similar to myself, have a desire to hone their craft, but aren’t quite sure what “method of acting” best resonates with them.

To clarify my research further, I will be focusing on my attempt to apply Stanislavski’s system of acting to two distinctly different roles: Benny Southstreet in Frank Loesser, Jo Swerling and Abe Burrows’ 1950 musical comedy Guys and Dolls: A Musical Fable of Broadway, and Herr Freder in Martin Crimp’s 2009 adaptation of Ferdinand Bruckner’s 1926 play Pains of Youth. Both productions were radically different in approach and execution, thus calling for a variety of different tools in creating both roles. In exploring the differences and similarities in my approach, I hope to discover what methods of acting resonate most with me, and in doing so, aim to emerge with a deeper understanding of not only myself as an actor, but of where I fit in the long lineage of acting methodology.

I chose to use the metaphor of the toolbox because I feel it embodies a holistic approach to acting – on one end, in allowing myself to identify a variety of methods (tools) from different theorists (namely Constantin Stanislavski, David Mamet, and Uta Hagen), I am breaking free of the often cultist desire expressed by some actors to stick to one holy method of acting. On the other end, a toolbox implies that there is space to be filled – thus surrendering to the notion that as an artist, I am constantly growing, learning, and adding new tools to my repertoire.

Every theater history class I have ever taken has started with ancient Greek classicism and Aristotle’s musings on Tragedy. While Aristotle makes a solid case for the purpose of Tragedy and how best to invoke catharsis in the theater, I would like to push his theories a step further; if theater can be cathartic to its audience, can it be therapeutic?

In this thesis, I will be looking at the University of California Santa Cruz’s 2018 production of The Children’s Hour through both an Aristotelian and a psychodramatic lens in order to explore if and how a piece of canonical, American theater might be therapeutic to its audience, eventually creating an elemental list of therapeutic theater.

In search of an acting method, an actor recounts past experiences. Konstantin Stanislavski’s work in An Actor Prepares, is applied to my role of Simon in UCSC’s production of Witold Gombrowicz’s Princess Ivona in Fall of 2015. My work on the role is discussed, along with beat breakdowns, informed intentions, historical context, and given circumstances. In the interest of improvement, Alfred Jarry’s ’Pataphysics as laid out in Exploits and Opinions of Doctor Faustroll, Pataphysician is explored in an attempt to revise my approach to acting. An openness to possibilities is discovered and further synthesized while working under Art Manke in the Jewel Theater’s production of No ̈el Coward’s Fallen Angels. Upon discovering the possibilities that had been missed in the production of Ivona, I surmised that my goals for the show had been unrealized. I reimagine other potential possibilities for my role as well as the show from a directorial standpoint. In conclusion, the notion of an acting method is refuted in the argument that a preconceived system of acting closes the actor from experiencing all possibilities.

The following paper discusses my preparation for and execution of the role of Nancy in the University of California at Santa Cruz’s 2015 production of The Congressladies, an adaptation of Aristophanes’ Ecclesiazusae. During this process there were questions that continually resurfaced. Why do people enjoy watching and performing political satire, an art form that has tenaciously persisted from Ancient Greece until now? If our ensemble was writing song parodies to critique current events, why adapt Aristophanes’ 2400 year old play, instead of writing a new show altogether? What is the importance of actors in political satire? Through my research and performance, I was able to deeply engage with these questions. I will discuss this research, the intensely collaborative rehearsal process, and the execution of my role. Additionally, I will touch upon the Congressladies’ reception by its audiences.

Researching the Actor's Process through Performance

by Kenneth Chang

For my thesis, I exercised the holistic practice as research approach. As a Master's candidate, with an emphasis in acting, I documented various approaches to the actor's process. Since theater is the only art medium to happen in time and space, the ephemeral nature of acting demands that the live performances become the thesis; therefore, my performances are the final products of my research.

In total, beginning in June 2013 to May 2014, I secured and accumulated six different roles. The spectrum of each of the six roles range in vastness and dynamism: a highly stylized play which was a part of the 2013 Santa Cruz Fringe Festival; a play at El Teatro Campesino that deals with an often neglected part of California history; an adaptation of three ancient love stories from the Middle East with the incorporation of puppetry, song, dance, and live music; a highly theatrical, and children-friendly Shakespearean touring troupe presenting a extremely concise version of one of the world's most well-known plays; a darker, feminist play based on the infamous 1927 murder trial of Ruth Snyder; and a world premiere image theatre play about the entirety of humanity. Each of these performances demands a different and unique approach from the actor.

What you have in front of you are artifacts from each of these performances. These artifacts depict a multitude of methods to track the actor's process. In this plethora of artifacts we have:

1. Fully detailed character analysis of Action

2. Task break down cues list of Valley of the Heart

3. Journal of the rehearsal process of Mughal Miniature

4. Physical Score and Set, Props, and Costume Breakdown for Machinal

5. Scansion and Performance journal of Shakespeare's Hamlet

6. Publicity and Press of LoveDream

The ‘self’ is an unavoidable component of any actor’s work – though it is often shunned: we find that our line of work demands we professionally conceal and avoid that ‘self’. However, continuing to crusade in support of my belief that every traditional ‘limitation’ of the theatre is just another unique opportunity in disguise, I explore the value of ‘the self onstage’ by engaging in autobiographical performance and reflecting on the process and the outcome.

Taking into consideration works leading up to this point, as well as experiences in a more traditional acting role in the Fall 2014 production Birth of Stars at the University of California, Santa Cruz, this document discusses the nature of autobiographical performance, the attraction of the form, some of the inherent challenges presented to an actor approaching this mode, and why autobiographical performance is, in my opinion, essential to the field of contemporary performance.