Professional Documents
Culture Documents
By
UNIVERSITY OF FLORIDA
MAY 1990
UNIVERSITY OF FLORIDA LIBRARIES
ACKNOWLEDGEMENTS
R.
L.
Gerhardt, Dr. Hernan Vera, and Dr. A.F.C. Wehlburg for the
input and advise which has guided this project.
I
1 1
TABLE OF CONTENTS
page
ACKNOWLEDGEMENTS
i i i
ABSTRACT
CHAPTERS
I
II
1 1 1
INTRODUCTION
Statement of Problem
Personality and Characterization
An Examp 1
Gordon W. Allport
Limitations
Hypothesis
20
25
REVIEW OF LITERATURE
27
Dissertations
Collections of Essays and Periodicals
Acting Texts
Summary
28
29
35
51
53
Personality
Traits
Motivation
Behavior
Analysis
Summary
55
58
67
10
17
78
86
106
IV
108
107
109
118
126
135
144
148
154
155
Summary
155
197
200
BIBLIOGRAPHY
204
BIOGRAPHICAL SKETCH
210
dissertation will be
psychology.
He provides
motivation,
character and
script analysis.
This dissertation includes
VI
CHAPTER I
INTRODUCTION
Statement of Problem
society.
us to understand ourselves,
is
yet to be exhausted;
It
to the contrary,
p.
3-4).
Theatre and
Gordon W.
it
theatre,
it
is
Personality
In
other words,
theatrical terms:
role playing.
It
"The stage is a
conditions.
Until the
community.
If
Feel Like
Fake?:
Approach to Marriage
A Reality Therapy
Why Marriage;
The Basic
in the
ignored, scientists
Artists, however,
analytical.
To the layman,
"Read
(Mekler, p 101).
While Eugene
Taken
don't agree with your Freudian objections.
I
from my author's angle, I find fault with critics
on exactly the same point--that they read too damn
much Freud into stuff that could have been written
exactly as is before psychoanalysis was heard
Authors were psychologists, you know, and
of.
profound ones before psychology was invented.
(Weissman, p. 206)
.
intellectually.
is
warned:
A prevailing thought
in the
classes is analysis leads to the destruction of the instinctive and the spontaneous emotion.
warns his students against getting "Freudian" and "analyzing" their responses (Mekler, p.
161),
realms, warns:
In his
is
Michael Howard--a
"I
am told
Tyrone Guthrie, in a
logi cal
aws
This
The results,
Animal observations,
exercises,
mentioned.
What of the actor who cannot intuit a character,
balanced by
I
is a cultural
An understanding of the
however, be ignored.
All of the acting teachers quoted in Mekler's book
put
it,
As one teacher
10
(Mekler, p.
103).
The
nature.
of
than
research.
systematic study
"What is he like?"
entire personality.
If
personality."
analysis,
subjective in nature.
is
personality
is
Personality
11
Sam Smiley,
in his
He then expands:
unifying
adequate conceptualization of
details (Lazerson, p. 404).
E.
p.
404).
is
psychologists' definitions.
Yet
in an effort
to find a
(Schultz, p. 28).
situations"
12
In the theatre,
conclusions.
the script"
(Brandt, 46).
is
An
essential to the
Smiley
80).
"I
as an artist
Stani
lavski
1961, p.
66)
An Example
During
Until Dark
Jr.
13
Due to
It
'em up"
and the
it
regard to the blocking and physi cal i zat ion dictated by the
script, could not compete with the "Freddy Kruegers" created
by the present horror industry.
In order
personal i ty
human personality.
14
'
The
The
15
The director was able to use the three forms of sadistic expression to both explain Roat
'
play,
it
the
blind stick.
He
represented
outside world.
violent
suffering through pain, humiliation, or embarrassmentexplains Roat's need to taunt Susie even after Susie agrees
to disclose the location of the doll,
interest.
He needs more.
According to the
16
the furniture in the room to help her to "see" where she is.
vulnerable to Roat.
scrutiny.
as he
(Knott, p. 74).
She
is not
to
is
What is desired is a
'
This particular
His
of failure:
being met, he
is
17
play.
Gordon W. Allport
Gordon Allport is one psychologist whose theories can
be used to give the actor insight into the personality of a
He is
Allport's definition of
Personality
is
(Hilgard, p.
132-
18
133,
141).
This
(Watson, p. 609-610;
Schultz, p.
194-195).
adults (Schultz, p.
194).
seemingly simple
developed (Hilgard,
p.
137).
p.
19
p.
203-211).
He is also credited by
some for making the largest contribution toward the acceptance of the studies of personality as an academically
is
is
His holistic
a role.
is
always
motivation
is
Allport's studies of
Finally, Allport's
W.M. Jaeger,
in his
theatre
20
(Jaeger, p. 331).
He
entitled "Persona-
He
p.
209).
by actors.
His theories
standing of
character.
theories
fuller under-
patient, an
21
In these
motivational research:
In plays where the external action of the plot
itself is the dominant element of the play (as in
allegories, farces, and some Classical tragedies,
for example), the psychological aspect of
In fact,
characterization is of small importance.
when the actor insists on psychologically
motivating every action, even when such motivation
is irrelevant to the nature of the play, the
quality of the play's structure may suffer
greatly.
On the other hand, some plays feature
interior action (like those of Chekhov and O'Neill
for example) and here the psychology of the
characters is the vehicle for the plot itself.
(Benedetti, p. 152)
created
duplicate of
A distinction can be
Psychological
22
character in
The personality of a
between
exist.
play do
itself; a dramatic
character will eventually reach full actuality only
A
when blended with the personality of an actor.
human personality lives in an unlimited milieu, the
everyday world of extensive possibility for
situation and activity; a character exists in the
delimited milieu of a play, an imagined world of
diminutive probability and necessity. A
personality is an individual performing actions; a
character is an agent of action.
Infinite change
is possible and likely for a human being.
Each
body cell is regenerated in a human about every
seven years.
The personality of a person alters at
least somewhat each day and changes greatly during
a longer period of time, because of rapidly stored
Today's
new experiences and developing attitudes.
close friend may be tomorrow's acquaintance and
The components of a
next week's stranger.
character, however, once established, never change.
Although Hamlet goes through several changes in the
course of the play, the script never changes from
year to year.
Although any reader's interpretation
of Hamlet, or any other character, may change, a
character himself is always the same within the
limits of the sayings and doings of the play.
Thus, a human personality can be identified as
infinite and always changing, while a dramatic
character is finite and never changes.
A human
possesses an open personality with a series of
altering and alterable distinctive qualities. A
character possesses a closed structure with a
series of specific and fixed distinctive qualities.
If a persona is a friend of a number of people,
each one will know the person by different traits.
But everyone who comes in contact with a character
can, potentially, know that character in exactly
the same way, because the same traits are apparent
to all.
A human personality can assume nearly any
set of traits it wishes, but a character can only
possess those which a writer gives it.
Hence,
A personality exists
in and of
23
Smi
ey
83
Despite the differences which exist between created characters and living people,
strong
The process by which a character attempts to
satisfy his needs and desires and is frustrated by
his situation is much like the process by which
By
personality is formed in real life.
understanding a character's way of responding to
frustration or difficulty, we will discover an
active and expressive sense of his personality.
(Benedetti, p. 152)
understanding of theatre:
To suggest, therefore, that the actions within a
"play" are somehow "unreal" in the sense that they
are wholly separate from reality is to miss, quite
entirely, the most striking aspect of the theatre,
which is that insofar as it is different from
everyday reality, it is different in the direction
of "more real" rather than "less real;" usually,
hour for hour, more rather than less intense,
revealing, enlightening, evocative, and even
whimsical.
The theatrical context, whether it is
composed of stage and scenery, street and trestles,
celluloid and camera, is an arena for goals
intensely pursued, battles vibrantly engaged, loves
eagerly sought, and lives brilliantly lived.
to
separate acting from reality, therefore, is to
diminish both. (Cohen, p. 6)
24
(Klurman, p.
ix-x).
In
preparation for
Man,"
to achieve
in order
Upon observing Mr. Hoffman's physical and emotional preparaMr. Olivier approached him with the idea
easier"
July 1989).
It's so much
The story
One is
approach
play or
role,
Neither is
it
(Mekler, p.
12).
is
the
Many
An
actor need not choose one theorist over another but should
join any
25
study of psychology.
nature.
broad
foundation on
dictates
as
the play,
Hypothes i
This discus-
Finally the
character
2 6
Insight into
CHAPTER II
REVIEW OF LITERATURE
Siground Freud developed the first formal
theory of
century.
Theatre was
It
moves to
in terms of
27
28
Pi sser tat ions
As early as 1919,
"August Strindberg.
A Psychoanalytic
Later,
The
1 i
es
positive
29
in general.
Homey
and
Death of
As a result of
theorists.
is
the
The
expanded to
30
growing field.
the script,
literary standpoint:
in terms of
They discuss
performance.
Question of Reading--Otherwi se
published in 1977,
in part,
book of essays,
The
was
interpretation of Freud.
When
it
was republished,
just four
Lacan and
"
Hamlet
The
31
edited by
book.
of theatre.
In
whose text is
it
anyway?,"
This
(Rimmon-Kenan, p. 90-103).
One article in Joseph Reppen and Maurice Charney's The
it
"
is
p.
169-189).
"
32
in the use of
art,
to
it
in that
of Freud.
essays on Shakespeare:
."
"Expounding the
An Int erdestruct i ve
83-170).
's
is
coming to
193-
Allport, "Personality:
for Art?,"
1)
33
3)
a
34
It
is
not
is
to be performed.
Florida professor.
year.
discusses psychology as
listings.
For
35
general,
in addition to this,
publications on Haml et
and numerous
Two
books have been published this year which analyze the works
of Samuel Beckett,
to demonstrate a particular
Acting Texts
What of the books which approach theatre as a
performance vehicle?
a
these questions.
36
As one
author put it, they belong on the fiction rather than the
non-fiction shelves.
He continues:
indirectly
approach to training.
Little emphasis
is
placed on teaching
person
It will
is
an
also
it
is
rarely
37
implemented as
basic part of
actor training.
Character
An Actor Prepares
'
Bui 1 ding a
Stanislavski explains,
body of
role"
(Stanislavski,
138).
In An Actor
creativity,
Prepares
He introduces the
1936, p.
44).
Stanislavski
38
character.
tempo and
Stanislavski realized:
275)
Creating
Role
is
tanis 1 avski
'
application of his
theories.
and Othel lo
to discover parts of
is
this third
Creating
It
In
later years:
like us,
39
As with many innovative leaders,
and he
'
As
He
1949, p
is
There
is
On the Technique of
40
(Chekhov, p.
1)
harmony.
(Chekhov, p. 2-5).
2).
(Chekhov, p. 3).
is
to
41
requirement.
the second
4-5).
a role.
A character
'
developing
character.
he
42
Theatre professes
resource.
to explore,
Cohen's book
Situation:
is
Performance.
Playing the
Into
43
Cohen
life"
258).
job is to create
ix).
McGaw believes
Understanding what
44
rehearsal conduct,
second section.
However, no reference is
The book
logical,
left-hemisphere brain
the level of
45
the student
through
logical development of
balance of
lead to dependency on
94).
exercises.
Only
Towards
Theory
He explores theories of
practical contributions.
psychology on acting.
In his
introduction he states:
For
Ribot,
It
46
horizon-widening, outlook:
Without meaning to do so, it foists a simplistic
view of life, and one that can be mechanically
interpreted according to a given formulae.
It's as
if as soon as you have discovered Hamlet's superobjective and the sequence of actions that
constitute his progress in the play, there is
nothing more to be said--either about the character
or the work.
It denies the existence of dimensions
which cannot be reduced to Method terminology and
makes no provisions for unverifiable phenomena like
surrealism, fantasy, magic and that flouter of all
conventions, genius.
It is a safe technology for
actors committed to safe travel and although it can
be relied on to get you from Point A to Point B, it
doesn't always insure that you will experience all
the landscape and naturel phenomena that abound
between those two points. And finally, it is, in
contemporary American practice, a renunciation of
what Stanislavsky intended it to be--which was not
a rigid system of applied esthetics technology but
more like a helpful, rather casual guide who says:
Why don't you try going down this road, it may get
you to your destination? On the other hand, should
you decide to turn off at any point along the way,
by all means do so--for there is territory down
there that even I have never seen and you may find
things for yourself every bit as interesting as
anything I might suggest. (Marowitz p. 18)
Master Teachers of Theatre:
Theatre by Nine American Masters
Hobgood,
is
educators.
Observations Teaching,
edited by Burnet M.
47
theatre student:
student.
Hobgood
'
illuminates the
He,
10).
'
footnotes
favorably by
p.
20).
48
In his
discussion
(analytical,
hemispheres:
In
cr eat
a
veness
'
88-89).
it
can be
Perhaps most
Benedetti
's
learned
The best training is not experienced as training;
rather it is the unconscious and automatic
byproduct of a compelling esthetics inquiry.
In
the very effort to discover how a play or scene
works, how a character's mind works, how human
behavior itself works, we end up learning to act!
(Hobgood, p. 104)
they do demonstrate
psychological foundation
is
important.
However, a direct
49
discusses
human behavior.
of psychology for
a
Interestingly, he
and
the character,
50
This
resource for
Stella
improvisat ional
Therefore psychological
acknowledgement is limited.
The books previously presented reflect some of the
important to the
51
Summary
The previous discussion of dissertations, essays,
It
substantial amount of
a
literary
is
the
theorists is lacking.
The research which reflects the interest of psychology
in the areas of drama and literature far outweigh any
A movement beyond
is
17).
It
is
in
that this
52
the psychologists'
theories of personality.
These theories
CHAPTER 1 1 I
GORDON ALLPORT AND HIS WORK
Gordon Allport (1897-1967) revolutionized the world of
psychology by moving the study of the personality into the
mainstream of psychology.
adults.
He was a teacher,
scientific manuals.
The thrust of his studies and theories of the
overlooking
unique and
53
1961, p.
54
8).
choose
He recognized
clues in regards to
few of Allport's
Personal
t.v
is
The idea
the foundation of
Allport criticized
55
disclaimer in which he
(Allport,
reinforce Allport
1961, p.
28).
These statements
's
17).
1961, p.
28).
Dynamic Organization
The personality is constantly changing, and any
rather,
it
56
p.
48).
This
Instead,
the
1937, p. 48).
Systems
A system is a complex of elements
interaction.
A habit, sentiment,
all
in mutual
trait,
Determine
Personality
Personality
is
something, and
j_s
active.
it
does something.
motivate or direct
1961,
p.
29).
or activity;
Personality
personality
is
is not
57
It
is what
(Allport,
1937, p.
All
48).
"determining tendencies."
They exert
direct influence on
29).
p.
Character ist i c
All behavior and thought are characteristic of the
redundant in
Allport acknowledged
(Allport,
He used it,
1961, p.
though,
to
"drive
29).
is
A person's main
to adjust
to the
Personal
t.v
1961, p.
29).
person
58
"really is,"
regardless of the way other people
perceive his qualities or the methods by which we
study them.
Our perceptions and our methods may be
in error, just as an astronomer may fall short in
studying the constitution of a star.
But the star
is still there, a challenging object for study.
My
definition does not, of course, deny that a person
is variable over time or that his behavior may
change from situation to situation.
It says simply
that the person has an internal structure and range
of characteristics (variable, to be sure, but
ascertainable), and it is this structure that we
hope to study. (Allport, 1961, p. 35)
Traits
Allport was
traits.
stimuli," to be real.
They are a
199).
p,
p.
356).
(Allport,
1961, p. 333-334).
itself
He did not
59
traits
dispositions).
A common trait
identifies
trait which to
(Allport,
349).
An example of a common
An
is
1961, p.
373).
personal choices.
rather than
60
particular society.
less influential
it
to
the individual.
Allport
1961,
p.
1961, p.
355).
existence of traits.
is
If
trait.
30%
(Allport,
1961, p.
354-355).
tags, however.
61
An argument of
semantics themselves.
certain
trait identification.
(personal dispositions).
it
often
This is not to
62
This
of explanation:
identified by sharp
1960, p.
133).
63
Although there
is
1961, p. 362).
to a specific situation,
or to the actual
existence of
What must
operating
is
within an individual:
Take the case of Dr. D.
always neat about his
person and desk, punctilious about lecture notes,
outlines, and files; his personal possessions are
not only in order but
carefully kept under lock
and key.
Dr. D is also in charge of the
departmental library.
In this duty he is careless;
he leaves the library door unlocked, and books are
lost; it does not bother him that dust accumulates.
Does this contradiction in behavior mean that D
lacks personal dispositions? Not at all.
He has
two opposed stylistic dispositions, one of
orderliness and one of di sorder 1 iness
Different
situations arouse different dispositions.
Pursuing
the case further, the duality is at least partly
explained by the fact that D has one cardinal
(motivational) disposition from which these
contrasting styles proceed.
The outstanding fact
about his personality is that he is a sel f -cent er ed
egotist who never acts for other people's
interests, but always for his own.
This cardinal
sel f -centeredness (for which there is abundant
evidence) demands orderliness for himself, but not
for others. (Allport, 1961, p. 363)
,
G4
given individual.
For the
secondary.
a
Cardinal Trait
A cardinal
person's life is
p.
365).
secondary dispositions.
65
1961,
p.
365).
best
clarifications of definitions.
Habits
in expression (Allport,
1961, p. 346).
A child learning to
A number
to develop a trait;
66
At
t i
tudes
sexism an attitude or
Introversion?
is
it
trait?
Is
Patriotism?
particular personality.
two distinctions:
of reference;
Second,
an attitude is
which
Therefore,
in
It
a
involves
200).
is
an
67
attitude or trait,
it
If Jon is
patriotic toward
sexism is judged as
is
an attitude.
however,
If
is
If
Tina's
it
too
introversion
is
probably
trait.
He defined
1961, p.
196).
He also
Contemooranei tv
A theory of motivation must acknowledge the
p.
220).
In
it
may be argued,
68
80).
1961, p.
219).
is
(Allport, p. 203).
always.
It
is
220).
Pluralistic
A theory of motivation must be a pluralistic theory--
p.
221).
is
(5
Neither does
1961,
p.
222).
p.
221).
Cognitive Process
A theory of motivation must acknowledge the
planning and
Allport's requirement of
p.
89).
Thus,
Allport thought
it
1961, p.
222).
70
People can
It
is
more important to
71
Concrete Uniqueness
A theory of motivation must allow for the concrete
uniqueness of motives.
abstract terms.
Concrete:
her home.
Abstract:
Allport felt
it
was a grave
72
Functional Autonomy
In
autonomy."
it
was an
1961,
p.
227).
Motivation
p. 227).
Motive,
is
is not
7 3
has changed.
It
motivation.
Allport demonstrates:
(Allport,
1961, p.
229).
motivation does
(Schultz, p. 208).
74
t.v
He pursued
He
1961, p.
277).
With these
It
is
activities of life.
economic, educational,
284-5).
7 5
individual
is
1961, p.
relationships.
balanced by compassion.
In other words,
1961, p.
Sel
situations.
it
of others or themselves.
(Allport,
1961, p.
288).
288).
Maturity
is not
reflection of
7G
particular IQ score.
Maturity, rather,
is
the ability to be
will be in close
touch with "the real world," they will see objects, people,
and situations for what they are, and they will have
5.
cat ion:
290).
(Allport,
288).
1961, p.
1961, p.
object
cat ion:
objectively.
295).
1961, p.
293).
1961, p.
philosophical in nature.
(Schultz, p.
208).
value-orientation, or value-direction.
Allport performed
77
From his
questions
He built on the
(Allport,
1961, p.
297).
A discussion of the
values follow:
1.
Theoretical.
Economic:
1961, p.
297).
Aesthetic:
artistic experiences.
Social:
1961, p.
298).
78
Political:
5.
relationships.
Religious:
6.
It
p.
life to the
299).
It
is
the
sensual,
the vital,
Behavior
Because of Allport's holistic approach to the study of
the individual, he did extensive research into the area of
behavior.
One important
79
which
is
in
1961,
p.
535-536):
that
is,
muscular activity
534)
It
is
this
Physical
1961, p.
534):
80
p.
1937, p.
530).
expressive
and coping.
Expressive behavior
one's true personality.
is
so spontaneous that
It
is
it
shows
Coping behavior, on
expressive behavior:
81
ime
"What an individual
the
In order
to perceive the
individuality of expressive
1961, p. 465).
irritable.
crying,
82
or
1961, p. 473).
is
Emotion
Behavior
d.
cultural tradition
regional convention
passing emotional moods
conditions of strain and fatigue
83
e
f
g.
h.
i.
j.
k.
age
sex
consequently, any
479).
it
is,
in this and
(Allport,
84
relatively inexpressive.
Allport asked
if
perhaps
1961, p.
481).
if
it
is
untrained, is
highly
untrained voices
with
fair success;
8 5
485).
1961, p.
investigation's
that is,
static
a
characteristic.
In regards
to gait,
Allport
length of
is
He
easier to
is
86
be the most
He is credited with
As
is
the
human personality.
Allport believed that knowledge of others is
1961, p 407).
This subjectivity
87
Emot ions
perspective into
is
often
subjective perspective.
A person in love
1961, p. 498).
threatening or
p.
498).
Openness
Most people try to keep certain aspects of their
necessarily imply
conscious disclosure.
it
does not
Some people,
in
88
500).
First Impressions
The immediate judgement made concerning another
individual based on first contact often leads to conclusions
p.
501).
Yet
ratings;
procedures.
89
(Allport,
1961, p. 396)
(Allport,
1961, p. 398).
Allport
's
However,
the
social conventions,
behavior
It has been argued that such knowledge of
membership is the best predictor of a person's
future conduct.
To know that he or she is an Arab,
an army engineer, a Salvation Army lassie, an
actor, or even a mother, is to know a good deal
about the probable present and future course of the
life in question. (Allport, p. 400)
Personality
is
The
It
For
90
example,
400).
(Allport,
1961, p.
400).
-apprai sal
invite individuals to
the individual
to others
Self-rating (a comparison
in regards
to
in
91
0.
Variations of all
Conduct Sampling
Conduct sampling is the systematic observation of
Time-sampling or time-
written record
(Allport,
1961, p.
415)
9 2
verbally and
is
more qualities in
p.
418).
He justified his
93
intentionally or unintentionally
p.
including interviews,
order to illustrate
methodological problem:
"Unless we
know how and why the document came into being we cannot
94
(Allport,
1961, p. 403).
He
69).
1947, p.
Special pleading
A writer may outdo himself
to prove that he is more sinned against than
1.
'
95
autobiographical documents.
Judging from
productions under this incentive the quality is
not necessarily compromised.
But whenever cash
fetches forth good documents it is probable that
the authors were attracted to the task for other
reasons as well.
8.
Ass ignment
In college courses students can be
invited to write autobiographies.
(It is bad taste
to require such an assignment, though experience
shows that given their choice of writing a case
study of another person or an autobiography, about
80 percent of students chose to write about
themselves
9
Assisting in therapy
A patient who produces
an autobiography or other personal document for his
therapist does so in order to assist in his own
cure.
Although documents of this type are likely
to be trustworthy, they are tipped toward the side
of disorder than to normal functioning.
10.
Redemption and social reincorporation
The
confessions of the ex-criminal, the spy, the
alcoholic, the dope addict contain implicit pleas
for forgiveness and social reacceptance
They are
generally motivated also by a true conversion and
desire to help others.
Public service
11
Similar are documents
motivated to achieve a social or political reform.
Clifford Beers in A Mind That Found Itself wished
to improve the lot of the insane.
Autobiographies
of some Negroes, settlement house workers,
political crusaders fall into this category.
12.
Desire for imm ortality
Personal documents
often reflect a man's "battle against oblivion."
To be forgotten is to die a second and more
complete death.
This motive, though not rare, is
seldom openly expressed.
13.
Scientific interest
Cultivated individuals,
including students, sometimes offer their diaries
or other documents to psychologists for scientific
study.
While the documents were not prepared for
this reason, they are released with this laudable
intention. (Allport, 1961, p. 402-403)
.
To some psychologists,
seems subscient
p.
410).
Skeptics of personal
96
unconscious self-deception.
object ion:
A point made by nearly all writers is that, in
order to be useful
personal documents need not be
taken at their face value.
Even the production of
a paranoiac, not one word of which may be believed,
can reveal much concerning the writer.
Prejudices,
self-deceptions, wholesome and unwholesome
outlooks, ego ideals, mannerisms, complexes,
aspirations, errors of insight, and the reasons
for persistent failure--all these and many other
characteristics can glimmer or glare through a
document whose accuracy in reporting and selfappraisal is not to be trusted.
It is often more
important to study the beliefs that men betray than
those that they parade. (Allport, 1947, p. 30-31)
,
is not
Allport
When
Self -Decept ion and accuracy are not the only problems
97
It
is
A certain loss
In addition,
Allport points
i 1
ence
p.
78)
letters.
as
document.
bewilderment, desire,
98
1947, p.
77 and 96).
assumption of understanding:
If
405).
p.
Letters,
finding
letters,
series of letters.
99
is
Not
existed.
408)
Allport
1947, p.
xv).
100
p.
31)
For
1947, p.
31).
A psychologist can
Along the
basis
fantasies,
investigator as
p.
64).
is
completely accurate,
101
life.
Mental experimentation
We try to imagine the
life without the presence of some crucial factor,
or without the formative process that we think is
important.
If the "experiment" succeeds, then the
factor or our hypothesis is wrong.
A conceptualization can be right only if we cannot even imagine
the life being what it is without this crucial
3.
interpretation.
Predicative Power
If an interpretation
enables us to make successful predictions about
the life, then it is presumably valid; but we must
beware lest we assume that our theory was
essential for the correct prediction.
(The
ancient Greeks predicted that the sun would rise
tomorrow because Apollo never failed to drive his
4.
char iot )
5.
Social Agreement
If many people, especially
experts, accept an explanation, there is
presumption of its validity. Yet, here are
pitfalls, since there are fashions in concepts, and
prestige-suggestion may play a part. The criterion
is better if investigators have come independently
to the same conclusion.
An extension of this test is to submit the
conceptualization to the subject himself.
If he
(who knows the "inside half") accepts it, the
chance of its being a correct explanation is
enhanced.
6.
Internal consistency
Parts of an
interpretation can be made to confront one
another.
Logical contradictions raise the
suspicion of invalidity. Granted that lives are
not wholly consistent, yet interpretations should
certainly not be more complex than the life itself.
The closer one comes to the "radix" of a life the
.
102
(Allport,
An Example
feelings; consequently,
193).
.
..
103
opinionated
tact 1 ess
mi sogynous
et c
Self-Centered
f ish
jealous
possess i ve
egocent r i c
proud
snobbi sh
martyr complex
sel f -pi tying
over sacrificial
etc
sel
Independent -Autonomous
self-reliant
scrupulous
hardworking
frugal
courageous
reclusive
Drama t ic-Intense
voluble
sel f -drama t i zing
etc
et c
Aesthetic-Artistic
emot ional
rigid
ser ious
temperamental
vigorous
viol ent
Aggress ive
ascendant
intui t i ve
fast idious
indomi tabl
erary
cul tured
appreciat ive
expressive
poet i c
lover of nature
etc
domineer ing
self -assert ive
autocrat i c
forceful
Cvni ca -Morbi d
pess imi s t i c
sarcast i c
dis i 1 lus ioned
humor less
despondent
frustrated
insecure
hypochondr iacal
fixation on death
etc
Sent imental
1 i
recal
etc
rant
retrospect ive
loyal
affect ionate
dweller in the past
mat ernal
et c
(Allport,
1965, p.
193-194)
104
the similarities in
A single cardinal
trait was
Although direct
1965,
p.
195).
p.
197).
The
We
105
Both
intuitive impression of
1965, p.
201).
An
(Allport,
1965, p.
204).
emotional security;
cat ion:
unifying philosophy of
106
life)
analysis
Summary
His theories
human personality:
17)
CHAPTER IV
A COMPARISON OF ALLPORT
S THEORIES TO
CURRENTLY TAUGHT ACTING THEORIES
In this
'
This
It
will also be
ideas of acting.
is
Charles Marowitz.
He continues:
108
Character
A character,
109
is
Choi ce
Choices
Drama t
Ac
on
it
is
p.
is
it
to the actor,
is
It is
DRAMATIC ACTION is THAT WHICH ACTORS ACT.
It is WHAT
the WHAT and WHY.
It is the SUBTEXT.
HAPPENS in the play.
It is the SLAPPING of the
face, the CLOSING of a shutter, the SPILLING of
milk.
DRAMATIC ACTION IS CONFLICT, DECISION AND
CHANGE. (Brandt, p. 1)
110
Personality Defined
Personality has been defined by Allport as "the dynamic
organization within the individual of those psychophysical
systems that determine his characteristic behavior and
thought" (Allport,
1961,
p.
Allport's definition as
the individual
is unique.
p.
7).
Just as
is
of utmost
Ill
In addition,
Actors
to the role,
In doing so,
interpretation is added
is
fresh,
true,
and
58)
change.
second
According to
it
is
creation of
ing--both in
The
112
action of
in
to
for example.
play.
this capacity:
is
it
is
113
personality.
1937, p. 48).
is
constantly changing
There
is
theatre.
structure itself.
It
There
is
however.
the events
of any individual
traits to be revealed:
Thus, the actual progression for the audience,
what interests each spectator in the play, is
114
the progressive unfolding of character traits
that finally accumulate with clarity and force
at the major climax, when all the previous
character revelations come together in the
major action and the discovery of the
character. What will he be like when he stands
fully revealed, when we can see what really
is the audience's
makes him work?
anticipation. (Hodge, p. 42)
It
is
The
In actuality,
similar concepts.
It
is
debate of semantics.
Allport
instead
it
Hodge
it
"change."
115
at
giver in Bent
Salesman
character:
"The
'
character can be
teachings.
He encouraged his
59)
116
psychophysical.
Allport
tani slavski
1936, p.
14).
physical realm.
"psychological gesture."
is
the
117
to acting:
skills.
teaching methods.
intuitive,
Consequently, Benedetti
important to the
personality:
thought" (Allport,
1955, p.
17).
Allport's explanation of
activity
is
to adjust
to
the environment.
This includes
personality
is
it
DOES.
The
it
it
is
118
The urge to act upon the environment pulls the actor and
The personality of
character
is
revealed
lack thereof,
environment.
to a play,
"sense of immediacy"
This sense
252).
because
it
80).
p.
Trai ts
In Allport's
He developed a
himself?
character
is
traits.
fundamental
character? (Kahan,
p.
p.
93).
The answers to
119
the trait approach to character analysis,
and simultaneously
its differences.
would be approached.
performed in such
or
to emphasize their
individuality.
or Bernard
The
the presidents,
120
Madwoman of Chaillot
or
group as
p.
43).
These
into
The
character
Trait Characteristics
The elusive quality of the theatre is both frustrating
and intriguing for those who work within its world.
work
is
The
dependent on
Allport's approach
121
to
characteristics.
character.
character.
is
personality.
terms of traits.
It
is no
longer
Instead,
the
is
122
traits.
All
Smiley, p. 89).
According to
123
that
these traits are derived from the script and the inner
p.
The study of
These
183)
biological, physical,
84).
124
p.
86-88).
it
organized differently.
Similar to Allport's Cardinal Trait is Stanislavski
'
character:
just as
125
idea that motivation may begin in the past but takes the
241).
p.
The
It
physicalize
is
in terms of
through-line, however,
myriad of
is
Allport's approach to
126
realized that one trait name would not necessarily mean the
same to different people (or different interpreters).
Instead,
it
is
often difficult
distinguish between
weaker.
motivation to cry?"
that."
"I
"What
"What is my
127
of a character are
and playwright.
(or an individual)
is
character
whole.
Requirements of Motivation
A major obstacle with character research is the
actors to know more about the character than they are able
to portray,
but
In reality,
the
Inactive
theory of motivation
128
Contemporanei
t.v
was in actuality a
bastard son.
it
Feeling
Contemporaneity
(Allport,
Plurast ici sm
1961, p.
255)
the
129
Theatre
is
based on
86),
Miss Jul
is
Conscious choices
fact,
Smiley argues
130
character.
character forward.
is
What
the future?
Concrete Uniqueness
An acting weakness is
131
character
motivational theory.
The result is
matured motive
The
their parents.
As
132
motivating factor
is
matured.
Even when
theory--contemporanei ty
The
Maturity
Allport discussed six aspects of
normal adult's
develop
sense of humor;
life philosophy.
to
133
(Hodge, p. 44)
cardinal
trait.
character is
it
touches every
134
Hodge's
full
Values
motivates
same token,
By the
is
He
season,
time of day);
economic
135
form
live);
22-23).
degree.
clarity.
Behavior
136
communication.
creative intuition:
is an accepted idea that speech is the
beginning, that it is, in fact, the everything
of acting, the only way to convey meaning,
emotion and character.
This is to ignore
completely the richness of the body's physical
expression and the fact that this physical
expression can often convey much more than
speech. Movement gestureis an elementary,
direct means of expression, our immediate
reactions are almost always physical. (SaintDenis p 146
It
The
to
His acting
137
As a result,
For example,
the spirit
(emotion) of the
This coaxing of
that
gesture.
138
It
will
Behavior as
Allport
tool
He uses the
physically create
is
139
concrete
which
Expressive behavior
is
140
A man is hungry,
it
is
This behavior is
a
particular goal
and so he eats.
performed in such
It
is
lies at
actor
not only the main actions of the script, but through the
The expressive
understanding of a moment,
motive,
life of the
character
141
It
is
There
is
still unconsciously
spontaneity in life.
The actor,
which
is
Stanislavski explains:
I
do not know what science says on this
subject.
I
can only share with you what I have
felt and observed in myself.
After prolonged
investigation I can now assert that in ordinary
life I do not find any conscious adjustment
without some element, however slight, of the
subconscious in it. On the stage, on the other
hand, where one would suppose that subconscious
intuitive adjustments preponderate, I am
constantly finding completely conscious
adaptations. (Stanislavski, 1936, p. 223)
It
is
paradox:
it
is not
spontaneous.
In other words,
coping
expressive behavior.
it
it
is
it
is
the
142
character.
If
it
is not
object.
in order
to reveal
to the
characterizations.
He defines characterizations
character
A typical movement, a characteristic manner of
speech, a recurrent habit, a certain way of
laughing, walking or wearing a suit, an odd way
of holding the hands, or a singular inclination
of the head, and so forth. (Chekhov, p. 91)
143
though,
whole and not from the need of the actor to draw attention.
He gives examples of possible mannerisms:
An idle man,
preparing
negative reply.
Characterizations or mannerisms
actor.
When the
is
judged as insincere:
144
If
whatever
The
character within
moment.
Allport,
important to
145
is
play or look at
others might.
to
The artist,
is
"It
is
easier to
happened than
(Allport,
it
1947,
is
p.
164).
In
single
195-196).
traits
14G
Jenny's personality.
One cannot help but relate the various interpretations
It
is
All
singular conclusion or
right decision.
His
theatre detective.
147
of
conclusions of who
But these
is
text,
This
foundation for
Tennessee William's A
the theatre.
147
148
Nomothetic or Idiographic
be considered as a distinct
Cardinal Trai
Central Traits
force?
C.
If
the
common traits.
If
the character
is
Secondary Traits
temporary in nature,
149
1 1
Maturity:
matured or
Determine
adult.
complex
if
if
thought out
economics,
character
is
personally involved in an
is
able to decenter
150
285).
1961, p.
Emotional Security
Mature
1961, p.
288).
Evaluate the character's ability to realistically perceive the world, problem solve
sincere
is
Mature
p.
290).
toward self.
151
Philosophy of Life
ability to develop
which are
p.
293).
practical, spiritual or
Despite the
philosophy of life
Values:
Evaluate the
Theoret i cal
Economi c
is
1961, p.
297).
1961, p.
297).
152
3.
Aesthet ic
This value
is not
Social
p.
298).
Pol
ical
1961, p.
298).
p.
299).
6.
Rel jgious
whole.
It
strives
p.
299).
III.
Behav ior
A.
Coping Behavior
In general
terms,
identify the
153
B.
1.
Cultural tradition
2.
Regional convention
3.
4.
5.
Age
6.
Sex
7.
8.
9.
10.
Special training
11.
Expressive Behavior
In general
terms,
identify
character
in order
to communicate to the
154
Summary
It
is
means for
Allport's
creat i ve artist.
CHAPTER V
AN APPLICATION OF THE THEORIES OF GORDON W ALLPORT
TO THE PROCESS OF CHARACTER ANALYSIS
.
Traits
The character of Blanche Dubois should be approached
to rest.
is
to find
family members,
seems to bring.
seeks to rest.
Blanche:
"I
want to rest
p.
She
want to breathe
81).
New Orleans in hopes that Stella can open her home and
provide
safe environment.
156
It
is
She has
Blanche
is
is
in the simplest
She
and she is
Blanche
seductive woman.
is
is
breakdown.
and painful
of her husband,
Survival
is
Blanche ignores
Blanche ignores
157
attacks.
to confront.
She is its
victim.
Blanche
is
both
She
approach to life.
"secret" alcoholic,
Through
it
all,
She
Blanche desires.
Blanche
naked bulb.
it
Blanche
is no
longer beautiful--
158
physically or spiritually.
She is
is
First,
striving to portray.
Second,
it
is
representative of
Blanche lives in
wrong, or it is right;
it
is up,
or
it
is
It
is
either
down.
159
Blanche struggles
She
conflict
Blanche's
trait:
the struggle.
Secondary traits
It
It
it
is
is
is
though, Blanche
[Stella
said stand up!
I
You hear me?
You messy child,
complies reluctantly]
you, you've spilt something on the pretty
About your hair--you
white lace collar!
ought to have it cut in a feather bob
Stella you
with your dainty features.
do have a maid, don't you? (Williams, p.
22).
She includes
It
is
160
of providing a safe haven for Stella.
Blanche:
p.
Blanche
is
68).
intuitive.
that Stanley,
He hates me.
Or why would he insult me?
The first time I laid eyes on him I
thought to myself, that man is my
executioner!
That man will destroy me,
unl ess--(Wi 1 1 i ams
p. 93).
Blanche:
Blanche
is
it
However,
probably more
is
Blanche:
act i on
Mitch:
Blanche:
pretty
161
Habi
specific stimuli.
The specific
Blanche's habits
nip more."
162
I
feel so good after my long, hot
bath, I feel so good and cool and-rested!
Oh,
Do
Yes, I do,
Blanche [brushing her hair vigorously]:
[She tinkles her highball
so refreshed!
glass.]
A hot bath and a long, cold
drink always give me a brand new outlook
on life! (Williams, p. 105).
old.
She
is no
She
Blanche:
want magic!
I
don't want realism.
I
I
try to give that to
Yes, yes, magic!
people.
misrepresent things to them.
I
don't
I
tell truth, I tell what ought to
be truth.
And if that is sinful, then
let me be damned for it!-- Don't turn the
(Williams, p. 117)
light on!
Blanche performs.
hide her true self from the world through her performances.
She presents what she feels
appropr i at e
what
When she is
desired seductress.
is
a date,
she
163
These performances do
to be.
not represent who Blanche really is, but the many aspects of
trunk filled with props which she must check before each
performance.
in a mirror.
Blanche smokes.
her stress.
life.
These are
her.
unrefined.
164
unacceptable.
he is
Blanche:
I
thought he had a sort of sensitive look
(Williams, p. 49).
is
confused.
She is torn
contradiction:
She believes
if
want they may no longer want the person from which they got
it.
passion.
Blanche:
165
or
She speaks
behavior.
leave something.
Sex
.
I
had many intimacies with
After the death of Allan-strangers.
intimacies with strangers was all I
seemed able to fill my empty heart with.
I
think it was panic, just panic
that drove me from one to another,
hunting for some protection here and
there, in the most--unl ikely places
(Williams, p. 118).
Yes,
or
take something.
Blanche:
those who
Men are
Blanche
mutual relationship.
166
is
She does
Blanche:
"I
79).
or poet,
or soldier,
or
fighter.
armor.
appropriately:
her prince.
young homosexual,
husband,
in some aspect,
Her
are
They are
men who she perceives to know less about the pain and
167
is
Since
changed or matured:
Mitch
is
Mitch
is
an adult.
Mitch
is no
match for
job.
with her.
Stanley.
Mitch has
Blanche:
Mitch
life.
118).
destructive tendencies.
job;
1G8
it
exists.
response to her
in the air.
She
creating
These motivations
into successes.
Blanche
is not
motivated by functional
autonomy.
ability to function as
mature adult.
individuality,
in at
169
concern:
economic,
She
recreational activities.
living.
Blanche did
Blanche
Closer analysis of
true
involvement.
activities.
She
way to
170
According to Allport,
Blanche
self.
is
short periods:
lasting relationships.
pattern of
"Sick people
54),
it
is
hard to
Neither
is
it
171
lifestyles.
would
it
young husband.
him.
"All
love with
in
was
It
experience (Williams,
p.
95).
it
102).
seems Allen
feelings.
the cure,
Not surprisingly,
For all of
It
the
Blanche's description of
Blanche:
There was something different about the
boy, a nervousness, a softness and tenderness which
wasn't like a man's, although he wasn't the least
bit effeminate looking--st i 1 l--that thing was
didn't know
I
there. ... He came to me for help.
that.
I
didn't find out anything till after our
marriage when we'd run away and come back and all I
knew was I'd failed him in some mysterious way and
wasn't able to give the help he needed but couldn't
He was in the quicksands and clutching
speak of!
at me--but I wasn't holding him out, I was slipping
I
didn't know
I
didn't know that.
in with him!
172
96).
She
They
Under these
rather
In choosing
Blanche and
therefore,
173
she
This is the
Blanche
is not
able to
of Blanche.
Mitch
is
it
is,
to Mitch the
intimate part
short lived.
with Stella.
They both
degree.
well,
of growing old,
marrying her.
174
But Stella,
trying to say.
Mature relationships
is
Blanche strives
involved.
She is not
Stanley:
changed.
being
is
important to Blanche.
sexual i ty
is
herself.
To be
175
yourself.
to yourself.
yourself.
love
Emotional security
self.
Alcohol, promiscuity,
convictions and
She does
176
views on others.
A mature person can identify situations as temporary;
She cannot
temporary.
sense of proportion.
in Blanche's approach to
life.
Every situation is
This sense of
By
permanent problems.
melodramatic.
Blanche
is
sel
-destruct i ve and
177
In view of
these facts,
A mature
objective observations.
life.
It
possess.
very difficult
It
is
in a
fantasy world
is
Instead of
around her,
it
it
real
st ical ly--and
is
it
exists.
in
order to avoid the reality of her life and who she is.
178
it.
Blanche
is
successful, to a point,
in her objective
skills.
drama.
for a while,
able,
She flirts,
She is
teases,
She sees
Stanl ey
became
writers.
Blanche
is
179
Allport
script.
stable.
As she sits
sister to arrive,
is not
emotionally
is
Her ability to
fading beauty:
Blanche:
I
was never hard or self-sufficient
enough.
When people are soft--soft
people have got to shimmer and glow-they've got to put on soft colors, the
colors of butterfly wings, and put a-paper lantern over the light. ... It
isn't enough to be soft.
You've got to
be soft and attractive.
And I--I'm
fading now!
I
don't know how much
longer I can turn the trick (Williams, p.
79).
180
Even though she seeks to deceive others about her life, she
is
terms her plan to deceive Mitch and the reasons which lie
real
Stella:
age!
distorted
117).
There
is
is not
no doubt
181
facts.
at
least in part,
Stella is true.
my nerves
Blanche
is
need for
a
For a moment,
the
be alone.
She cannot
She is frightened.
a hotel,
Stella:
It
is
182
Now the
Blanche demonstrates
herself.
Philosophy of life
mature
it
Blanche
exists or not.
Unfortunately,
Her philosophy
does not provide peace for her life; her philosophy creates
her turmoi
183
life,
are dominant.
Theoret i cal
Blanche
is not
approaches.
As previously discussed,
this
life, whether
it
exists or not.
Economic.
non-existent.
failure.
deteriorated.
practical.
magi cal
Aesthet i c
beauty is
Although Blanche
the cultured,
the educated,
the artistic in
184
in powerful
and
uncontrolled forces:
He acts like an animal, has an animal's habits!
There's even something--sub-human--something not
Yes,
quite to the stage of humanity yet!
something--ape- 1 ike about him, like one of those
pictures I've seen in--anthropologi cal studies!
Thousands and thousands of years have passed him
right by, and there he is--Stanley Kowalski-Bearing the raw meat
survivor of the stone age!
home for the kill in the jungle! (Williams, p. 72).
Maybe he'll
And you--you here--wai t ing for him!
That is,
strike you or maybe grunt and kiss you!
Night falls and
if kisses have been discover yet!
There in the front of the
the other apes gather!
cave, all grunting like him, and swilling and
His power night!--you call
gnawing and hulking!
Somebody growls some
it--this party of apes!
creature snatches at somethingthe fight is on!
(Williams, p. 72).
Blanche's definition of beautiful is based on her
Social
of love.
is
Love is the
185
Blanche's drive to
She strives to
In her personal
life,
cal
to gain power;
for
is
survival places her at odds with other forces and tests her
abilities.
The most
it
is
Blanche's deterioration.
with Blanche with a game:
shot?"
(Williams, p. 30).
186
Has
life.
territory.
formed
plan of defense.
sense fear.
describes
it
She
She openly
to Stella:
Oh,
is
In Scene Nine
187
Stanley.
She can
she is afraid of
and attacks:
Blanche:
Stanley:
Get by me!
Sure.
Go ahead.
back a pace in the doorway.]
Blanche:
{He moves
Stanley:
But
In the
struggle between Stanley's world and her own, she was right.
Cooing Behavior
Allport defines coping behavior as physical behavior
engaged to alter the environment in some way.
terms, Blanche seeks to alter her environment.
In general
She copes
it
188
When
accepted.
it
She
let
tradition
it
will.
within Blanche.
In reality,
deterioration which
is
is
Her
189
By
is
Blanche suffers, to
is
also serving to
Blanche is an
Age/sex
psychologically. She
is
beautiful.
the softer,
Consequently,
it
is not
times.
the gentler,
the more
Although
190
Southern women
Blanche has
two diseases:
in response to stress,
correlates with
197).
response to
stress.
moral deterioration,
Blanche
197).
Blanche
is
is
an alcoholic.
hate.
well as emotionally.
196-
is
destructive to
is
191
Special training
society.
Blanche
is
southern woman of
womanly wiles as
She moves
femininity
is
The
be exciting or frightening.
Its moral
It
can
code is different
The heat will affect how Blanche moves, what she wears, and
it
is
New Orleans.
sister's apartment.
It
is
New
192
privacy.
It
is
The
The
Expressive Behavior
He describes, often in
This expressive
Her
Her expression is one of shocked disbelief.
She is
appearance is incongruous to this setting.
daintily dressed in a white suit with a fluffy
bodice, necklace and earrings of pearl, white
gloves and hate, looking as if she were arriving at
a summer tea or cocktail party in the garden
She is about five years older than
district.
Her delicate beauty must avoid a strong
Stella.
There is something about her uncertain
light.
manner, as well as her white clothes, that suggests
a moth (Williams, p. 15).
There is
Like
moth she
193
Their
It
is
Blanche
is
Finally,
it
This
it
to
Blanche
is
moth-like in this
destructive action.
In Scene One, Williams describes Blanche as sitting
194
It
is
as
if her
intimacy of
In the
intrusion.
She does
Instead she
safe retreat.
southern lady.
to drink alone,
Drinking alone
It
also
is
Stanley:
Hah!
195
Blanche:
Why,
Stanley:
Blanche:
Blanche dabs her face and temples with cologne when reality
handkerchief
is
illusion.
She can
description of Blanche:
embrace.
Blanche! [For a
Stella [calling out joyfully]:
Then
moment they stare at each other.
Blanche springs up and runs to her with a
wild cry
.
Blanche:
Stella for
Stella, oh, Stella, Stella!
Star!
[She begins to speak with feverish
vivacity as if she feared for either of
They catch each
them to stop and think.
other in
spasmodic embrace.]
196
Blanche possesses
She is a performer,
dramatic flair.
if not
feeler,
person
swayed by emotions.
Blanche:
Blanche
is
still
to know the
location
feminine behavior.
contradiction
itself.
is
true.
is
is
frightened.
She has
197
it
is
The
Blanche
is
comfortable in
comfortable in
Blanche is most
world that
is
Blanche
is
most
Blanche
198
pretentious.
victim of reality.
She is
men,
to sex,
As a result her
thus coloring
She
chooses men who are weaker then herself so they cannot hurt
her;
her.
motivated by
Except on
warm relationships:
to extend herself
to others
as well
as her
inability to
melodramatic,
199
permanent problems.
Blanche
is
able to function at
commitment:
understand self:
minimal amount
the final
life that
beautiful.
it
functioning as
mature adult.
It
unstable individual.
Blanche does not seem concerned with theoretical values
(the pursuit of truth),
the world).
an interest
is
in political
forced into
her destiny.
(the pursuit
200
of
but
love)
is
values.
in
life,
her own.
is
the
is
the goals.
environment.
an emotionally unstable
emotional
This
it
alone can
offer Blanche the retreat for which she has been looking.
Summary
colleagues.
201
fear of approaching a
research of psychologists.
Emotions and
personality.
the arts,
field to
exists as
still
is
risk is in the
202
of methods and theories
emerged.
them.
is
The
Marowitz advises:
methodically.
Allport's
character.
203
far reaching effect
terms.
if
and his
It
is
respect for
271)
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BIOGRAPHICAL SKETCH
Rebecca Joy Tomlinson was born January 16, 1961, in
California, under the auspicious sign of the Capricorn.
Her
years were spent in south Louisiana, from which her love for
spicy food, cajun dialects, and New Orleans can be traced.
Another ten years were spent in north Louisiana for which her
In August of
Natchitoches, Louisiana.
in Monroe,
210
Louisiana.
She also
211
business college.
University of Florida.
Ph.D.
at
the
Gainesville,
local business
college in Gainesville.
U.Bs
UjdAjm^J
Hern an Vera
Associate Professor of
Soc ol ogy
i
it ,AJA:
V
__~-A_T
Kenneth J A Gerhardt
Assosioart Professor of
Communication Processes and
Disorders
May 1990
Dean. Graduate School
UNIVERSITY OF FLORIDA
3 1262
08554 1869