title: Preparing for Operatic Roles by Combining Elements of Stanislavsky’s System with Alfreds’ Actioning

authors: Dams, June

subjects: opera

abstract: This thesis examines the process of preparing for operatic roles by combining elements of Constantin Stanislavsky’s ‘system’ with Mike Alfreds’ Actioning. The research is presented as a report of a practice-led experiment, using myself as subject, to test the efficacy of Actioning within my Stanislavskian-influenced dramatic character preparation process for operatic roles. 
This study was undertaken by the singer-actor/researcher as four applied case studies which integrate dramatic character preparation within the early preparation stages of the music/role-learning process. The purpose of this study is to encourage the development of dramatic self-sufficiency for the singer-actor by testing the validity and adaptability of Actioning to improve the efficiency of their dramatic character preparation in the practice studio (general private practice/rehearsal space). 
This research follows a practice-led methodology presented through four applied case studies on the roles of Carmen (Carmen), Carlotta Giudicelli (The Phantom of the Opera) in two productions, and Micaëla (Carmen) with particular focus on her aria "Je dis que rien ne m’épouvante" for the Final DMA Recital. 
Chapter One introduces the focus of the thesis and an overview of the research. Chapter Two covers the relevant literature and justifies the research inquiry. Chapter Three establishes the methodological approach. Chapter Four comprises the four applied case studies of Carmen, Carlotta and Micaëla; and Chapter Five discusses the findings and limitations of the thesis, and offers suggestions for future research. 
This study makes three important contributions to the growing literature surrounding dramatic role preparation for the singer-actor. Firstly, this research tests the efficacy of Actioning in combination with Stanislavskian techniques specifically for the operatic singer-actor. Secondly, the process of Actioning is adapted to suit the singer-actor’s dramatic preparation process in the practice studio, establishing it as a valid and practical preparatory technique for the singer-actor. Thirdly, this thesis provides an expedient and practical model for dramatic character preparation, increasing dramatic self-sufficiency for the singer-actor as well as revealing the practice studio as a valid space for dramatic character preparation.

text: Preparing for Operatic Roles by Combining Elements of Stanislavsky’s System with Alfreds’ Actioning This thesis examines the process of preparing for operatic roles by combining elements of Constantin Stanislavsky’s ‘system’ with Mike Alfreds’ Actioning. The research is presented as a report of a practice-led experiment, using myself as subject, to test the efficacy of Actioning within my Stanislavskian-influenced dramatic character preparation process for operatic roles. 
This study was undertaken by the singer-actor/researcher as four applied case studies which integrate dramatic character preparation within the early preparation stages of the music/role-learning process. The purpose of this study is to encourage the development of dramatic self-sufficiency for the singer-actor by testing the validity and adaptability of Actioning to improve the efficiency of their dramatic character preparation in the practice studio (general private practice/rehearsal space). 
This research follows a practice-led methodology presented through four applied case studies on the roles of Carmen (Carmen), Carlotta Giudicelli (The Phantom of the Opera) in two productions, and Micaëla (Carmen) with particular focus on her aria "Je dis que rien ne m’épouvante" for the Final DMA Recital. 
Chapter One introduces the focus of the thesis and an overview of the research. Chapter Two covers the relevant literature and justifies the research inquiry. Chapter Three establishes the methodological approach. Chapter Four comprises the four applied case studies of Carmen, Carlotta and Micaëla; and Chapter Five discusses the findings and limitations of the thesis, and offers suggestions for future research. 
This study makes three important contributions to the growing literature surrounding dramatic role preparation for the singer-actor. Firstly, this research tests the efficacy of Actioning in combination with Stanislavskian techniques specifically for the operatic singer-actor. Secondly, the process of Actioning is adapted to suit the singer-actor’s dramatic preparation process in the practice studio, establishing it as a valid and practical preparatory technique for the singer-actor. Thirdly, this thesis provides an expedient and practical model for dramatic character preparation, increasing dramatic self-sufficiency for the singer-actor as well as revealing the practice studio as a valid space for dramatic character preparation.

year: 2017

title: The challenge of integrating non-continuous processes-milk powder plant case study

authors: Atkins, Martin John

subjects: milk production

abstract: The integration of non-continuous processes such as a milk powder plant present a challenge for existing process integration techniques. Current techniques are generally based on steady and continuous operation which for some industries is not the case. Milk production varies considerably during the year as dairy cows in New Zealand are grazed on pasture, which affects the scheduling and operation of plants on site. The frequency and duration of cleaning cycles and non-productive operating states can have a major affect on energy demand and the availability of heat sources and heat sinks. In this paper the potential for indirect heat transfer between the several plants using a heat recovery loop and stratified tank at a typical New Zealand dairy factory is investigated. The maximum amount of heat recovery is calculated for a range of recirculation loop temperatures. The maximum amount of heat recovery can be increased considerably if the temperature of the hot fluid in the recirculation loop is varied depending on which condition the site is operating under.

text: The challenge of integrating non-continuous processes-milk powder plant case study The integration of non-continuous processes such as a milk powder plant present a challenge for existing process integration techniques. Current techniques are generally based on steady and continuous operation which for some industries is not the case. Milk production varies considerably during the year as dairy cows in New Zealand are grazed on pasture, which affects the scheduling and operation of plants on site. The frequency and duration of cleaning cycles and non-productive operating states can have a major affect on energy demand and the availability of heat sources and heat sinks. In this paper the potential for indirect heat transfer between the several plants using a heat recovery loop and stratified tank at a typical New Zealand dairy factory is investigated. The maximum amount of heat recovery is calculated for a range of recirculation loop temperatures. The maximum amount of heat recovery can be increased considerably if the temperature of the hot fluid in the recirculation loop is varied depending on which condition the site is operating under.

year: 2009

title: Final arrangements following death: Maori indigenous decision making and tangi

authors: Nikora, Linda Waimarie

subjects: Maori death rituals

abstract: Death is a universal event. It will happen to all of us, yet how we respond to death is particular and influenced by our cultural worlds. This study offers an investigation of the idiographic, of how one woman responded to, and made arrangements to, mourn and bury her mother. Specifically, we explore how she and her whanau (family) under pressure of time and grief and in the absence of clear final wishes, met to consider issues and make decisions about the situation they were confronted with. This case forms part of a much larger programme of research into Maori death rituals, change and adaption. Informing a scholarly audience unfamiliar with the Maori world requires a significant amount of contextual information. The case study is a powerful strategy to achieve this and one that draws readers into deep understanding (Willig, 2008). This case provides insight into the struggles of an indigenous fourth-world people living within the heterogeneity of Aotearoa/New Zealand society; it demonstrates how values change across generations as people live their lives increasingly away from their ancestral homelands; and how traditionally defined roles and responsibilities within the whanau (family) are challenged by members living away from each other.

text: Final arrangements following death: Maori indigenous decision making and tangi Death is a universal event. It will happen to all of us, yet how we respond to death is particular and influenced by our cultural worlds. This study offers an investigation of the idiographic, of how one woman responded to, and made arrangements to, mourn and bury her mother. Specifically, we explore how she and her whanau (family) under pressure of time and grief and in the absence of clear final wishes, met to consider issues and make decisions about the situation they were confronted with. This case forms part of a much larger programme of research into Maori death rituals, change and adaption. Informing a scholarly audience unfamiliar with the Maori world requires a significant amount of contextual information. The case study is a powerful strategy to achieve this and one that draws readers into deep understanding (Willig, 2008). This case provides insight into the struggles of an indigenous fourth-world people living within the heterogeneity of Aotearoa/New Zealand society; it demonstrates how values change across generations as people live their lives increasingly away from their ancestral homelands; and how traditionally defined roles and responsibilities within the whanau (family) are challenged by members living away from each other.

year: 2012-03