From its inception, the direction of The Fantasticks has been a fascinating and wonderful educational experience. When I first submitted my proposal to do the show, I had not intended for it to be my problem in lieu of a thesis, but rather a beginning directing project. I had no idea that the submission would meet with such opposition. I figured this was a lesson in "real life," for it is a widely recognized fact that getting a show produced requires much salesmanship and determination. When informed that I would be able to use this production for my master's thesis project, I was both delighted and frightened. After all, I had never directed a show before; and I wasn't really sure what I was getting myself into. In addition, I would be going about this project backwards. Usually, when such a project is contemplated, the thesis research is done first; and the direction of the show done after the completion of the written work. Although I did do my homework before directing The Fantasticks; because of time constraints, I was unable to delve as deeply into the subject as I would have liked. I have often stated that this, in some ways, was probably a blessing in disguise. If I had really known what I was about to embark upon, I might have been too intimidated to tackle it. I learned how important it is to surround yourself with a staff of good, trustworthy people. I learned how important organizational skills are; and, most importantly, I learned to respect the hard work and dedication it takes to be a director - as well as all of the other creative and administrative positions involved in the theatre. Heretofore, I had only looked at the process through the eyes of a performer.
This work examines the author's experience in teaching A Doll House by Henrik Ibsen to students in the course Play Analysis, THEA 2440, at the University of North Texas in the Fall 2003 and Spring 2004 semesters. Descriptions of the preparations, presentations, student responses, and the author's self-evaluations and observations are included. Included as appendices are a history of Henrik Ibsen to the beginning of his work on A Doll House, a description of Laura Kieler, the young woman on whose life Ibsen based the lead character, and an analysis outline form that the students completed for the play as a requirement for the class.
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