This thesis includes a full length play and a separate section describing the creation of this play. The play depicts family members struggling with the direct and indirect ramifications of alcoholism, depression, and suicide. The play is composed of two acts; act one contains eight scenes, and act two contains six scenes. It is set in the 1950s and 1960s and takes place in various areas of the family home, at a wedding reception, and at a funeral. The essay section includes a description of the process, a record of changes in the play's direction, notations of personal discoveries, and a self evaluation of the strengths and weaknesses of the play.
This project in lieu of thesis identifies successful methods of fundraising utilized by a sampling of three secondary theater arts programs from North Texas. Programs were evaluated on their ability to fund their programs and provide a quality arts education for their students. Guidelines for fundraising were developed that allow secondary theater programs to flourish without placing an additional burden on already overextended tax system. Findings were framed in a Marxist socio-economic context, seeking to find some relation between supply-side economics and the failure of certain communities to offer quality arts programs. Marxist philosophy, emphasizing the values of community and shared wealth, served to frame findings in the context of arts programs serving and enhancing their own communities.
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.
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 feminist study examines women's use of improvisation in discovering, creating, and articulating various self-identities. To create a theory of identity formation, two feminist theoretical position, essentialism and poststructuralism, are analyzed and merged. This hybrid theory addresses the interplay between the self and society that women must recognize in order to form satisfying identities. Improvisational practices, involving bodily awareness and movement, are demonstrated to have the potential for helping women to actualize themselves in these various identities. For this study, the writer uses her experience as an improviser and interviews three women who use improvisation in their choreographic processes. She also discusses performers whom she has seen and performers about whom feminist performance critics have written. This study examines improvisation in dance and performance art from a feminist perspective. I clarify what improvisation entails and, by doing so, illustrate how improvisational movement in dance and performance art can enhance the lives of women as viewers and performers. Through exploring improvisation from this feminist perspective, I demonstrate the psychological insights I have gained from practicing improvisation and document performances that have been improvisationally inspired by women who feel dissatisfied with the manner in which this society shapes and limits their identities.
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