Winter 2023
TMA 241 Screenwriting
TMA 259 Princ of Design for Stg & Scrn
TMA 260R Theatre Production 2
TMA 301 Contemp Performance Practices
TMA 411 Future Performance
TMA 202 Drama Perf: Renais to Present
IAS 201R Cultural Survey
TMA 259 Princ of Design for Stg & Scrn
TMA 260R Theatre Production 2
TMA 301 Contemp Performance Practices
TMA 411 Future Performance
TMA 202 Drama Perf: Renais to Present
IAS 201R Cultural Survey
TMA 241 - Screenwriting
Course outcomes common to all sections of TMA 241
- Students will be able to follow practices of professional screenwriting, including formatting, economy of description, etc. Students will also be able to differentiate between the needs of writing for live action versus animation.
- Students will be able to apply the basic artistic principles of screenwriting, including use of character, structure, images, meaning, theme, etc. and will be able to write scripts with quality storytelling.
- Students will be able to collaborate in production and story development, including present stories for large group projects.
- Students will be able to give constructive feedback on others' stories and receive constructive feedback on their own work.
- Students will be able to view the world through the lens of a storyteller and use insights from this view to establish an individual artistic and critical voice in terms of storytelling.
horlacher_emmalisa_-_gruff_and_the_fairy__3_.pdf | |
File Size: | 38 kb |
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TMA 259 - Princ of Design for Stg & Scrn
Course outcomes common to all sections of TMA 259
- Students will use effective design language to analyze professional designs, as well as recognize and distinguish the contribution of costumes, sets, lighting, sound, makeup and props to a production
In groups we created initial designs for a production of the show "Selkie". I was assigned to set and props.
selkie_-_set_and_props.pdf | |
File Size: | 7690 kb |
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TMA 260R Theatre Production 2
Course outcomes common to all sections of TMA 260
- Students will practice technical theatre skills in support of department productions
Emmalisa Horlacher
TMA 260
3-7-23
Reflective Paper
I worked on 12 Angry Jurors for my 260 assignment. In this experience I learned about what it takes to light the show. First, you must have the lighting design and then plug it into the programs and systems. Then, during tech rehearsals you go through the lights and make sure it’s working how you want them to. Make sure the carpet and character’s cloths aren’t changing color too much. In my specific work I learned techie procedures to run lights during the show. I got experience in turning on the system, rerouting power and being ready for cues when I needed to punch go on them.
My favorite part of the experience was getting to be on an amazing crew with some amazing people. This experience reaffirmed my ideas that it matters less what you do and more who you surround yourself with. The crew in this case were absolutely amazing and I adored our stage manager Ellie. She was on top of things and kept a cool head in stressful situations. While I did enjoy pressing the light button, mostly I enjoyed the people. They helped to keep positive attitudes and to keep things interesting, even when it got tough because of the constant repetitive drain of the same show every night.
Overall, I think the experience has been fairly easy. The job was simple but important. I knew that I needed to be there so that I could set up the lighting. Without that set up, the show wouldn’t have had lighting. Having a simple job but an important job was nice. I think that the most “difficult” part was how much time it eats up. It can get exhausting spending three weeks solely working on the play. Even though the work was pretty chill and fun, I wasn’t super passionate about running lighting during the show. It was good to learn and fun to know how to do and be backstage, but it’s not a life love.
This experience solidifies to me that techie work is not what I want to do. I enjoyed getting the insight into backstage work. Seeing the process gives me a good sense of what to expect and what needs done to be able to produce a theatrical production. This will be extremely valuable information for if I ever decide to run a theater or involve myself in such. I can’t guarantee that I ever will own a theater or anything, but I’ll keep that option open. I did like learning about the work of a stage manager and how they produce the show. I like being the person who makes things happen and that is definitely the role of stage manager. I’m interested in being a producer, they are the ones who do what it takes to make sure the play gets put on. That is the same thing that a producer does. I found that to be very interesting how these two different paths seem to overlap in similar ways.
At the end of my time with 12 Angry Jurors I helped strike the set. It didn’t take much. I first had to do my normal shut down for the night; blackout the lights, give the power back to paradigm and shut off the lightboard. Then I went to help out with the set. Luckily we didn’t have too much to do. We moved the big set pieces, the tables and chairs and that was it. It was simple and easy as the set itself wasn’t too complicated.
TMA 260
3-7-23
Reflective Paper
I worked on 12 Angry Jurors for my 260 assignment. In this experience I learned about what it takes to light the show. First, you must have the lighting design and then plug it into the programs and systems. Then, during tech rehearsals you go through the lights and make sure it’s working how you want them to. Make sure the carpet and character’s cloths aren’t changing color too much. In my specific work I learned techie procedures to run lights during the show. I got experience in turning on the system, rerouting power and being ready for cues when I needed to punch go on them.
My favorite part of the experience was getting to be on an amazing crew with some amazing people. This experience reaffirmed my ideas that it matters less what you do and more who you surround yourself with. The crew in this case were absolutely amazing and I adored our stage manager Ellie. She was on top of things and kept a cool head in stressful situations. While I did enjoy pressing the light button, mostly I enjoyed the people. They helped to keep positive attitudes and to keep things interesting, even when it got tough because of the constant repetitive drain of the same show every night.
Overall, I think the experience has been fairly easy. The job was simple but important. I knew that I needed to be there so that I could set up the lighting. Without that set up, the show wouldn’t have had lighting. Having a simple job but an important job was nice. I think that the most “difficult” part was how much time it eats up. It can get exhausting spending three weeks solely working on the play. Even though the work was pretty chill and fun, I wasn’t super passionate about running lighting during the show. It was good to learn and fun to know how to do and be backstage, but it’s not a life love.
This experience solidifies to me that techie work is not what I want to do. I enjoyed getting the insight into backstage work. Seeing the process gives me a good sense of what to expect and what needs done to be able to produce a theatrical production. This will be extremely valuable information for if I ever decide to run a theater or involve myself in such. I can’t guarantee that I ever will own a theater or anything, but I’ll keep that option open. I did like learning about the work of a stage manager and how they produce the show. I like being the person who makes things happen and that is definitely the role of stage manager. I’m interested in being a producer, they are the ones who do what it takes to make sure the play gets put on. That is the same thing that a producer does. I found that to be very interesting how these two different paths seem to overlap in similar ways.
At the end of my time with 12 Angry Jurors I helped strike the set. It didn’t take much. I first had to do my normal shut down for the night; blackout the lights, give the power back to paradigm and shut off the lightboard. Then I went to help out with the set. Luckily we didn’t have too much to do. We moved the big set pieces, the tables and chairs and that was it. It was simple and easy as the set itself wasn’t too complicated.
TMA - 301 Contemp Performance Practices
Course outcomes common to all sections of TMA 301
- Students will achieve an understanding of the trends in contemporary performance, and analyze what it means in terms of art, representation, and practice
- Students will analyze different performances by identifying particular performance styles and wrestling with their implications
- Students will engage with contemporary performances practices through acting, designing, devising, writing, moving, and more
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Micro-Site Film
March 2023 micro-site assignment BYU TMA 301. Made for academic purposes. Music from freesound.org |
Slam Poetry
The Divine choice I’ve heard people say, my path, my purpose, my destiny as if it's locked down with a divine key. I’ve heard people ask, which path, which purpose, which choice will lead to that destiny as if it were all encompassing with a happily-ever-after pre-set ending. But that’s the thing about choice. So often we treat it like the only thing we have is the choice to choose what has already been chosen. Take a step back, give yourself a momentary lapse. Breathe. And think. To choose is to live. To define your own design and establish your existence by the planting of your personal flag in the soil of land that you decide. You decide. I ask, is there worth in that? To stake your claim because that is what you chose! How much more worth given to the choices of the divine rather than the choices of the heart, when perhaps those two paths are simply but one. Perhaps to choose is the very definition, meaning and purpose of the divine path. I’ve heard. I’ve heard what people say. What instead, do I choose… to believe? Performed at Brigham Young University, TMA Class 301, Poetry Slam. |
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Goldilocks and the Three Bears - Pantomime
I wanted to create a theater for young audiences solo show which tells a story while breaching language barriers and can be performed anywhere at almost anytime. The only condition, I've got to wear pants! Super fun to perform and yes, I am exhausted by the end, but totally worth it. Created for my final project Winter 2023 TMA 301 class at BYU. Performed in class April 18th, 2023 |
TMA 411 - Future Performance
Course outcomes common to all sections of TMA 411
- Students will create the materials and skills necessary (e.g. resume, portfolio, interviewing, networking) to enter the professional field
- Students will assess their strengths and weaknesses in their areas of expertise and will develop a plan for lifelong learning and arts advocacy
A Selection of the reading responses I did:
Emmalisa Horlacher
2-20-23
READING RESPONSE 4
SYNOPSIS:
He talks a lot about the difference between being a professional and an amateur. Professionals seem to be more focused on the work and the process of getting it done while amateurs more focus on what the end result could or should be. He also talked about “the muse” and “the gods” and about their power. He talked about hierarchy and territory, how territory is doing something for the work’s sake and hierarchy is doing something for one's own sake.
THREE SECTIONS
A Professional Demystifies
The Professional shuts up. She doesn’t talk about it. She does her work.
A Professional Self-Validates
The professional cannot allow the actions of others to define his reality. Tomorrow morning the critic will be gone, but the writer will still be there facing the blank page.
The professional blows of critics. The critic hates most that which he would have done himself if he had the guts.
The Artist’s Life
Don't cheat us of your contribution.
There were a lot of sections I could have chosen from. I liked a lot of what he said but I chose these three sections because I felt like, for me, they were the most clear and they applied most to what I feel most valuable to me at this moment. These three sections just helped to validate and encourage some personal philosophies I have been working on adapting into my life.
Some of the ways I get in my own way is when I focus too much on what other people say about my work. Sometimes I only share my work so that I can get justified by other people’s congratulations. This is not how I want to proceed. I would rather develop myself to be open to honest feedback and can decipher between good feedback and bad feedback. I can also get in my head when I think too much about what the product is supposed to be instead of just sitting down and hashing it out. Do the work, yes, maybe it won’t be great, but by doing the work I am creating something that wasn’t there before which is still better than the alternative. Another way I face resistance is when I face the idea that nobody wants to hear what I have to say. It’s hard for me to create things that come directly from my heart because of how vulnerable a place that is and I know that what I have doesn’t align with everybody all the time. It’s such a personal thing, I don’t want it getting hurt but I love his paragraph, “Creative work is not a selfish act or a bid for attention on the part of the actor. It’s a gift to the world and every being in it. Don’t cheat us of your contribution. Give us what you’ve got.”
Emmalisa Horlacher
2-20-23
READING RESPONSE 4
SYNOPSIS:
He talks a lot about the difference between being a professional and an amateur. Professionals seem to be more focused on the work and the process of getting it done while amateurs more focus on what the end result could or should be. He also talked about “the muse” and “the gods” and about their power. He talked about hierarchy and territory, how territory is doing something for the work’s sake and hierarchy is doing something for one's own sake.
THREE SECTIONS
A Professional Demystifies
The Professional shuts up. She doesn’t talk about it. She does her work.
A Professional Self-Validates
The professional cannot allow the actions of others to define his reality. Tomorrow morning the critic will be gone, but the writer will still be there facing the blank page.
The professional blows of critics. The critic hates most that which he would have done himself if he had the guts.
The Artist’s Life
Don't cheat us of your contribution.
There were a lot of sections I could have chosen from. I liked a lot of what he said but I chose these three sections because I felt like, for me, they were the most clear and they applied most to what I feel most valuable to me at this moment. These three sections just helped to validate and encourage some personal philosophies I have been working on adapting into my life.
Some of the ways I get in my own way is when I focus too much on what other people say about my work. Sometimes I only share my work so that I can get justified by other people’s congratulations. This is not how I want to proceed. I would rather develop myself to be open to honest feedback and can decipher between good feedback and bad feedback. I can also get in my head when I think too much about what the product is supposed to be instead of just sitting down and hashing it out. Do the work, yes, maybe it won’t be great, but by doing the work I am creating something that wasn’t there before which is still better than the alternative. Another way I face resistance is when I face the idea that nobody wants to hear what I have to say. It’s hard for me to create things that come directly from my heart because of how vulnerable a place that is and I know that what I have doesn’t align with everybody all the time. It’s such a personal thing, I don’t want it getting hurt but I love his paragraph, “Creative work is not a selfish act or a bid for attention on the part of the actor. It’s a gift to the world and every being in it. Don’t cheat us of your contribution. Give us what you’ve got.”
tma_411_-_discussions.pdf | |
File Size: | 174 kb |
File Type: |
TMA 202 - Drama Perf: Renais to Present
Course outcomes common to all sections of TMA 202
- Students will demonstrate a general working knowledge of major historical periods, philosophical trends, and performance movements and will draw connections between society and performance
- Students will analyze great works of literature through multiple perspectives-society, culture, politics, economics, gender roles, religion-to better understand the ways in which dramatic performance functioned in particular times and places
- Students will appraise 1) how we represent the world, others, and ourselves and 2) the consequences of these representations for our families, our communities, and ourselves
Weekly Response Papers
tma_202_-_discussions.pdf | |
File Size: | 259 kb |
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Emmalisa Horlacher
4-20-23
Start 1:50 pm, End 3:24 pm
TMA 202 Final Essay
Section One:
The concept behind Samuel Beckett’s pieces are what make it possible for the Noh movements and Kabuki theater to become so embedded with meaning.
First we must define how Samuel Beckett’s pieces show that we as humans are the ones who give meaning to movement. While anyone can take what they want from the pieces, the pieces themselves spark people to ask questions and decide their own answers. As an audience we are exposed to things that seem to have a relationship, yet we are not exposed to any motives or whys. It is this that is the implied purpose of the piece: Let the audience give answer to the question of motives/purpose/meaning. I would say that overall, this is the concept and purpose of Samuel Beckett’s pieces. People create associations.
When a larger group of people associate meaning to movement we can then classify that movement in that community as being codified. In essence, communities make rules for themselves, which is an expansion on Samuel Beckett’s ideas to allow the individual to create meaning. In this sense, it is a community creating meaning, rather than just the individual audience member. For instance, a community of ballet dancers know the technique required to display first position and if the body is not performing those technical requirements, then it is not in first position. Those are the rules that the ballet community decides to adhere by. In Beckett’s pieces, a person could look at his creations and decide the rules that the actors are living by, yet those rules are never said or expressed.
In Japanese theater, specifically Noh theater, movement and look is very important but only because of the importance the overall community prescribed to it. The masks are important because of who and what they symbolize. The way the feet glide, or the pacing of the steps is important. The way in which the hands move, the way in which the voice sounds, everything is very important. They each have a specific meaning it is trying to display. At first this sounds contrary to the Beckett performances yet it is not. The Beckett performances are like the philosophical precursors to understanding why movement has meaning.
In Japanese theater, as each movement has meaning. We do not ask why it has meaning yet it does. Why does covering the face mean that a person is crying? Why does fast stomps mean a person is mad or agitated? These are not questions asked, these are truths accepted. When we look at Beckett’s pieces, we then understand the answers to these unasked questions. The answer is, as discussed previously, we as humans create codified movement. That is was gives Japanese theater it’s meaning. These codified movements, sounds, masks and emotional associations have been around for hundreds and hundreds of years. Which means that for hundreds and hundreds of years, people have been allowing themselves to prescribe to the rules made by the community of Noh players.
Overall, as we understand that the choice to prescribe ourselves to the predetermined codified movements in Japanese theater, specifically Noh theater, we understand that we are joining a cross generational community that the core of Beckett’s pieces make possible. I am not saying that Samuel Beckett is the precursor to Noh theater, that would be ridiculous. I am saying that the idea behind Samuel Beckett’s pieces, the idea of the audience adding meaning to movement, is what created codified communities, and that those communities are what created Noh theater. It is interesting to think that as we learn about the rules, techniques, and intricacies of those communities, we, in a way, are connecting ourselves back to the beginning and crossing time to relate to all those who once joined in that community, a community set up by people searching for meaning.
(Word Count: 638 words)
Section Two:
Death is a human experience and people have been wrestling with death for generations. Often we try to explain death, to understand it, yet in our search to understand we may be ill equipped to fully define this phenomenon with just the incomplete version of death that we as humans are exposed to. The plays Hamilton and Rosencrantz and Guildenstern both define death as what we decide to make of it, however, this option does not truly help in defining death.
Hamilton says, “I’ve imagined death so many times it feels more like a memory.” Here he defines death as a memory. Throughout the play it talks about death with the association of losing someone and with a lens of sadness. Through this the play captures death as an impactful, but heartbreaking event. We understand that death is loss. When Hamilton himself dies, we feel that it is Burr who has still lost in this long rivalry he has had. To Hamilton, who has lost so much in his life, he feels like death is a memory. Throughout the entire play, the characters are defining death in the ways they see fit the most.
In Rosencrantz and Guildenstern death is not a loss or an ending. They are living the experience of death. Throughout the play they continually explore death and its concepts, associations and meanings. The play is not trying to present itself as a “this is what the afterlife is like” but rather it is more of a personification of death on the human experience. The play invites the audience to ask questions about the nature of death, yet it lacks any authority to answer those questions. In fact, the play seems to imply to the audience that they are the ones with the authority to decide the answers to such questions. Just as Rosencrantz and Guildenstern cannot totally find meaning, we as humans are in the same boat and by trying to define death, we see that it is much too big to be able to truly define.
As the character Hamilton tries to define death, his actions tell the audience that death is defined by whatever a person thinks of it. Granted, the way he and those around him think of it is beautiful, but it is still just people deciding. In Rosencrantz and Guildenstern that is the whole purpose of the play is for the audience to decide to interpret death how they see fit. Both options do not totally consider that perhaps death means more than just what people make of it.
It is a comforting thing to be able to define death, and more comforting when we get to decide what it means as then we can choose what options comfort us the most, however, death may be more complicated than that. Perhaps death is not only what we define it as. Perhaps death has facets more than what we can comprehend. Perhaps death has a purpose and meaning that we, the living, cannot authoritatively discover at this time. While these two plays help us humans wrestle with the concept, they cannot fully define the experience of death since they lack the imagination that it could be more than whatever we as humans can come up with.
(Word Count: 544)
4-20-23
Start 1:50 pm, End 3:24 pm
TMA 202 Final Essay
Section One:
The concept behind Samuel Beckett’s pieces are what make it possible for the Noh movements and Kabuki theater to become so embedded with meaning.
First we must define how Samuel Beckett’s pieces show that we as humans are the ones who give meaning to movement. While anyone can take what they want from the pieces, the pieces themselves spark people to ask questions and decide their own answers. As an audience we are exposed to things that seem to have a relationship, yet we are not exposed to any motives or whys. It is this that is the implied purpose of the piece: Let the audience give answer to the question of motives/purpose/meaning. I would say that overall, this is the concept and purpose of Samuel Beckett’s pieces. People create associations.
When a larger group of people associate meaning to movement we can then classify that movement in that community as being codified. In essence, communities make rules for themselves, which is an expansion on Samuel Beckett’s ideas to allow the individual to create meaning. In this sense, it is a community creating meaning, rather than just the individual audience member. For instance, a community of ballet dancers know the technique required to display first position and if the body is not performing those technical requirements, then it is not in first position. Those are the rules that the ballet community decides to adhere by. In Beckett’s pieces, a person could look at his creations and decide the rules that the actors are living by, yet those rules are never said or expressed.
In Japanese theater, specifically Noh theater, movement and look is very important but only because of the importance the overall community prescribed to it. The masks are important because of who and what they symbolize. The way the feet glide, or the pacing of the steps is important. The way in which the hands move, the way in which the voice sounds, everything is very important. They each have a specific meaning it is trying to display. At first this sounds contrary to the Beckett performances yet it is not. The Beckett performances are like the philosophical precursors to understanding why movement has meaning.
In Japanese theater, as each movement has meaning. We do not ask why it has meaning yet it does. Why does covering the face mean that a person is crying? Why does fast stomps mean a person is mad or agitated? These are not questions asked, these are truths accepted. When we look at Beckett’s pieces, we then understand the answers to these unasked questions. The answer is, as discussed previously, we as humans create codified movement. That is was gives Japanese theater it’s meaning. These codified movements, sounds, masks and emotional associations have been around for hundreds and hundreds of years. Which means that for hundreds and hundreds of years, people have been allowing themselves to prescribe to the rules made by the community of Noh players.
Overall, as we understand that the choice to prescribe ourselves to the predetermined codified movements in Japanese theater, specifically Noh theater, we understand that we are joining a cross generational community that the core of Beckett’s pieces make possible. I am not saying that Samuel Beckett is the precursor to Noh theater, that would be ridiculous. I am saying that the idea behind Samuel Beckett’s pieces, the idea of the audience adding meaning to movement, is what created codified communities, and that those communities are what created Noh theater. It is interesting to think that as we learn about the rules, techniques, and intricacies of those communities, we, in a way, are connecting ourselves back to the beginning and crossing time to relate to all those who once joined in that community, a community set up by people searching for meaning.
(Word Count: 638 words)
Section Two:
Death is a human experience and people have been wrestling with death for generations. Often we try to explain death, to understand it, yet in our search to understand we may be ill equipped to fully define this phenomenon with just the incomplete version of death that we as humans are exposed to. The plays Hamilton and Rosencrantz and Guildenstern both define death as what we decide to make of it, however, this option does not truly help in defining death.
Hamilton says, “I’ve imagined death so many times it feels more like a memory.” Here he defines death as a memory. Throughout the play it talks about death with the association of losing someone and with a lens of sadness. Through this the play captures death as an impactful, but heartbreaking event. We understand that death is loss. When Hamilton himself dies, we feel that it is Burr who has still lost in this long rivalry he has had. To Hamilton, who has lost so much in his life, he feels like death is a memory. Throughout the entire play, the characters are defining death in the ways they see fit the most.
In Rosencrantz and Guildenstern death is not a loss or an ending. They are living the experience of death. Throughout the play they continually explore death and its concepts, associations and meanings. The play is not trying to present itself as a “this is what the afterlife is like” but rather it is more of a personification of death on the human experience. The play invites the audience to ask questions about the nature of death, yet it lacks any authority to answer those questions. In fact, the play seems to imply to the audience that they are the ones with the authority to decide the answers to such questions. Just as Rosencrantz and Guildenstern cannot totally find meaning, we as humans are in the same boat and by trying to define death, we see that it is much too big to be able to truly define.
As the character Hamilton tries to define death, his actions tell the audience that death is defined by whatever a person thinks of it. Granted, the way he and those around him think of it is beautiful, but it is still just people deciding. In Rosencrantz and Guildenstern that is the whole purpose of the play is for the audience to decide to interpret death how they see fit. Both options do not totally consider that perhaps death means more than just what people make of it.
It is a comforting thing to be able to define death, and more comforting when we get to decide what it means as then we can choose what options comfort us the most, however, death may be more complicated than that. Perhaps death is not only what we define it as. Perhaps death has facets more than what we can comprehend. Perhaps death has a purpose and meaning that we, the living, cannot authoritatively discover at this time. While these two plays help us humans wrestle with the concept, they cannot fully define the experience of death since they lack the imagination that it could be more than whatever we as humans can come up with.
(Word Count: 544)
horlacher_emmalisa_202_final_exam_essay.pdf | |
File Size: | 75 kb |
File Type: |
IAS 201R - Cultural Survey
Course outcomes common to all sections of IAS 201
- · Demonstrate a basic understanding of the people, worldview, culture (and language, where applicable) of the foreign setting in which the student studies.· Recognize one’s cultural presuppositions and biases through exposure to, and study of, foreign perspectives on one’s own culture.
- Prepare a foundation to become competent in understanding, communicating and interacting with the new cultural contexts experienced during time abroad, Train students to be safe and to be ambassadors of BYU Help students understand cultural, political and economic history of their host country Provide a forum for directors to plan with their groups
- Students will learn the practical information necessary to succeed in the new cultures they will visit.
Prepared for my study abroad class.