This thesis is a picture of my journey as an educator. I taught at the University level from Fall 2001 – Summer 2006 before I became a graduate student at Virginia Commonwealth University in Theatre Pedagogy where I continued to teach until 2008. My education and real life experiences over the last seven plus years have contributed to my teaching methodology which is ever evolving. There were several trials and tribulations as I progressed as an educator and this is an exploration of my experience teaching in the BA and BFA curriculums.

I am wandering wonderingly through the unplanned material atmosphere shaped by differences in temperature and moisture. The chaotic nature of weather phenomena is the catalyst for visual exploration of the subterranean catacombs of reality. The work is metaphor of nature and its creation of form and substance. Observing art and nature: I am allowing nature to be the instigator of art.

Create a place for learning Develop an interior system that addresses the under utilized spaces in existing higher education schools directed towards distance learning Design a place for one and a place for few, within a place for many Traditional classroom/school environments were developed around a specific program that addresses the needs of a teacher-class environment. Distance learning programs are introducing a new approach to higher education and require a new approach to learning environments. The goal of this project is to understand the development of the traditional classroom environment in order to assess the changes that need to be made in order to design a space that addresses the needs of a new learning environment. The study of the technical challenges, as well as the flow and circulation of distance learning classrooms will create a platform for change. Efficiency and effectiveness are the key ideas in developing this new program. Classrooms that are used for a variety of purposes need to be considered in a new way. By studying the daily functions of these new learning environments we will find ways to re-invent existing spaces that can adapt to the students, their needs, and the financial benefits for the administration that take advantage of the available resources.

In my thesis, I plan to explore the realms of academic, professional and community theatre through the eyes of a director and choreographer. Highlighted themes will consist of the varying approaches to the script, music and choreography. This thesis will also include specific teaching and or non-existent teaching methods for professional, academic and community theatre. Included will be three definitive case studies which will consist of one musical production per academic, community and professional theatrical setting. I will focus on the director/choreographer’s overall approach to the research, rehearsal and final performance processes for the Pioneer Theatre Company’s production of My Fair Lady, Virginia Commonwealth University’s production of Chicago and St. Michael’s Catholic Church production of Starting Here, Starting Now.

Pietro Perugino's oeuvre is characterized by the reappearance of figures and motifs replicated through the reuse of cartoons. Perugino's deliberate self-plagiarism, despite being rooted in quattrocento compositional methods, exhibits an exploitation of the reproductive nature of the cartoon. While this practice allowed him to develop an efficient design process, the results of this imitation endowed Perugino's work with a formulaic quality, as was first noted by Giorgio Vasari in his Lives of the Most Eminent Painters, Sculptors and Architects (1568). Significantly, in the sixteenth century, theorists revised the concept of imitation to incorporate not only the notion of replication, but emulation as well. An examination of Perugino's reproductive practices alongside this revised view of imitation elucidates the nature of Vasari's criticism, ultimately revealing why the critic placed him among artists of the quattrocento, rather than that of the cinquecento.

This book documents a design study and creative project undertaken toward the fulfillment of a Masters of Fine Arts Degree in Interior Environments at Virginia Commonwealth University in Richmond, Virginia. This book documents a year long accumulation of study and research done toward the development of an early intervention, therapy and research center for children with autism. This creative project demonstrates how an environment can be a catalyst for social interaction, way finding, therapy, and intervention. The goal was to design a space that would be multi-functional and also benefit the surrounding community. This design study will explain how colors and materials can affect children with autism and what colors and materials are detrimental to their functional abilities.

A director, just like a pastry chef, must be delicate. Actors are fragile, fearful human beings. And just like a pie crust requires the perfect balance of water and flour, an actor requires a similar balance in both comfort and companionship. Eryn Snyder worked for three months to create a space where her actors could live freely in the world of the characters. With a cast of four, rehearsals were intimate, demanding, and playful. Theatre requires a director to lay down the sort of soil that encourages growth. It nurtures, it listens, it plays, and it asks questions. A director’s job is to fall in love with a story and cultivate the safest space for discovery. When achieved, the words don’t matter. There is a life unlike any other between a group of courageous human beings. Strung together with letters and love, here is a story of some extraordinary planting.

The transparent qualities of glass lend to the creation of elements that suggest presence and absence. I often use glass as a surrogate for lost time or space in an object, comparable to the human prosthetic and the notion of a phantom limb. Recent objects of exploration have included broken bottles, fallen tree limbs, and a human skull. The practical knowledge I gained while working in a conservation lab has directly influenced the methodology for treating these objects of disrepair. My primary impetus is a desire to construct what has been lost during an objects existence and reveal sublime qualities. Looking for the spaces in-between things, I create sculpture and installations that transcend static objects beyond their corporeal existence, engage in the process of entropy, and negate it.

Cathexellanea is a portmanteau word blending "cathexis," a psychoanalytical term meaning an investment of mental or emotional energy on a person, object or idea; and "miscellanea," a collection of objects or writings. One theme running through these stories concerns characters attempt to define themselves through their desires. "Bottomless" explores the idea of emotional and physical fulfillment. "Croquembouche" revolves around self-loathing and corruptibility. In "Destripado," the protagonist discovers that one way to dispel fear is to become the thing that causes it. "Ghosts" asks whether it is a past lover the protagonist longs for, or her phantoms. "Versions" deals with the impossibility of an authentic version of a life. "Interior" explores the possibility of love over an impassable distance. "Blood" is about a girl's strange ability to feel, and even steal, her brother's pain-and his pleasure.

Contemporary Tibetan art has been internationally exhibited since the year 2000, and it continues to receive increasing recognition among international galleries and collectors. This thesis focuses on three major contributing factors that have affected the rising success of the contemporary Tibetan artists. The factors include ways in which popular stereotypes have influenced Western museum exhibitions of Tibetan art; dealers have marketed the artworks; and artists have created works that are both conceptually and aesthetically appealing to an international audience. Drawing from exhibition catalogs, interviews and art historical scholarship, this thesis looks at how the history of these factors has affected the beginning of the contemporary Tibetan art movement.