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CHILDACTORETHICS:

CHILDREN

INPLAYSWITHADULTTHEMES

by

MEREDITHC.OTT

A

THESIS

PresentedtotheDepartmentofTheaterArts

inpartialfulfillmentoftherequirements forthedegreeof

MasterofArts

June2009brought to you by COREView metadata, citation and similar papers at core.ac.ukprovided by University of Oregon Scholars' Bank

11 hasbeenapprovedandacceptedby:

Dr.TheresaMay,Chairof.

Date

CommitteeinCharge:

Acceptedby:

DeanoftheGraduateSchool

Dr.TheresaMay,Chair

Dr.SaraFreeman

111

AnAbstractoftheThesisof

THEMES

notbeenfullyexplored. IV

CURRICULUMVITAE

NAME

OFAUTHOR:MeredithC.Ott

PLACEOFBIRTH:Spokane,Washington

DATEOFBIRTH:April3,1984

GRADUATEANDUNDERGRADUATESCHOOLSATTENDED:

UniversityofOregon,Eugene

UniversityofPugetSound,Tacoma

DEGREESAWARDED:

AREASOFSPECIALINTEREST:

TheaterEducationforYouth

ActingTheory

PROFESSIONALEXPERIENCE:

ofOregon,Eugene,2008-2009

2006-2007

GRANTS,AWARDSANDHONORS:

StateUniversity,March2009

v VI Vll

ACKNOWLEDGMENTS

I interviews. V111

TABLEOFCONTENTS

ChapterPage

...........5

WhatisChildhood?10

RegulatingChildrenintheTheatre11

FOR

THECHILDACTOR16

ParentalObligation17

Theatre/ArtistObligation19

Development22

JJilIlVillVl)

JrROJillV37

V.PHYSICALABUSEANDTORTUREINJJILLOWMAN

VI.CHILDSUICIDEINSIXIlVOFillV

ilUJr11rOR55

INPLAYSWITHADULTTHEMES62

Chapter

IX Page

ProposedGuidelines65

A.ParentalInvolvement65

B.CompanyandCastInvolvement66

C.Supervision67

D.RehearsalProcess68

F.ExitInterviewandEvaluation71

..................72

WhatNow?73

BIBLIOGRAPHy78

1

CHAPTERI

INTRODUCTION:

REPRESENTINGCHILDHOODONSTAGE

2 toeducatethem. 3 undoubtedlyallbetakenintoconsideration. 4 candiscernrepresentationfromreality. 5 Pain regionalequitytheatres.

RatingSystems

6 participatinginit.

ParentalGuidelines).

deemuptothatmaturitylevel. 7 8 participateinonthestage. All 9 10 legal healthysuccessofachildactor.

WhatisChildhood?

11 forthesafetyoftheactualchild.

RegulatingChildrenintheTheatre

12 aresurroundedbywar,death,andabuse. 13 14 stageentirelycommandscriticism. A a 15 iftheyaremerelylearninghownottoact). 16

CHAPTERII

DEVELOPMENTALPSYCHOLOGYANDRESPONSIBILITY

FORTHECHILDACTOR

Play 17

ParentalObligation

thechildsafe. 18 315).
withtheappropriatemorals. 19

Theatre!ArtistObligation

20 All 21
child. 22

Thisdecisiondeservespause.

Development

23
trust. notappropriateinareallifesituation. 24
given before, cast. 25
performedlessoften. themtowardsadevelopedmoralsense. accurateandmorallyresponsiblemanner. involvedif 26
televisionandfilm(Klein44). 27
creativeways. 28

CHAPTERIII

HARSHLANGUAGEANDTOPICSOFSEXUALVIOLENCE

INTHEPAINANDTHEITCH

29
12). 30
surroundingtheplay. 31
(Steppenwolj). 32
from theparents"(Steppenwoljj.

PlaywrightsHorizons'versionoftheplay:

33
perceptionofthemselves(Als3). To childportrayingher. 34
greenroomduringtherunoftheshow. 35
36
37

CHAPTERIV

THEMESOFSOCIALVIOLENCE,LOSS,ANDGRIEF

INTHETROJANWOMEN

38
(4).He

Women,

Medeakillsherownchildren.

39
actorsaremoreoftenthannotincluded. 40

Women:

future(xxvii). backdrops. 41
42
I greaterdegree(Anonymousparent). 43
expenencmg. (Anonymousparent). 44
thingfora 5 th parent). emotionallyandmentallytaxing. 45
keep. neededtodo(Anonymousparent). 46

Women,

skills.Accordingto theproduction. creativeprocess(Anonymousparent). 47
eventsandapositiveartisticexperience. 48

CHAPTERV

PHYSICALABUSEANDTORTURE

INTHEPILLOWMAN

I 49
processvis-a.-visthechildrenwhowerecast. 50
asten.Willisnotes, theageoftheactorsportrayingthem(Willis). 51
andIreadthemintheroles(Willis). experienceasateachingartist. 52
m (48).Thelittlegirl andtheprofoundchallengesintheplay. cast. 53
concernsthanyouthconcerns(Willis).

Willis

subjectmatter. 54
means. 55

CHAPTERVI

family 56
andcharactersastruth? 57
Boy" thefamilyofcharacterswerepresent. 58
ofPirandello'scharacters"(Billington36).

36).How

59
60
outthehelpofadults. handle.

Search

61
62

CHAPTERVII

INPLAYSWITHADULTTHEMES

63
64

Thequestionsmightlooklikethis:

65
awhole?

ProposedGuidelines

shouldinclude:

A.ParentalInvolvement

66
being.

B.CompanyandCastInvolvement

67
withthechild. c.Supervision 68

Pillowman

69

D.RehearsalProcess

A onstage. commentsofherexperience, 70
create(Anonymousparent). thestoryanddebriefwiththeirparents. 71
toprotecther.

E.CommunityCommunicationDuringProduction

companyorsharetheirfeedback.

F.ExitInterviewandEvaluation

72
suchas: havemadeyoufeelmorecomfortable? improve.

Considerations

73

WhatNow?

74
adultpowerthatisheld. 75
bySteve'scharacter. heads. 76
makeanegativereplytotheformer(144). 77
audiencefromfacingtheseissuesheadon. 78

BIBLIOGRAPHY

Als, (October2,2006):94.

TYASymposium

oftheArt.V9,no.2(Winter1997):4-8.

The Guardian(London).16Sept.2008:36.

NewYork:Routledge,2007.

NewYork:TheRonaldPressCompany,1966.

Jul.2008:55.

Griffin,2005.

79
Rev.

29Jul.2005:57.

2003):45-65.

Orleans:AnchoragePress,1982.

(London).9Jul.2008:42.quotesdbs_dbs17.pdfusesText_23