The Sanford Meisner Technique is among the most mysterious and misunderstood approaches to the craft of acting. Very often, it is taught poorly, incompletely, or even dangerously. Through the exploration of Meisner’s private life, as well as a detailed analysis of his system, this work aims to dispel some of the common misconceptions which plague the Technique and its most fervent supporters. After being made privy to his biography, readers will be taken through Meisner’s foundational exercises, beginning at the first phase of Repetition and ending with the introduction of text. In addition to the descriptions of student responsibilities, the conduct required of a Meisner teacher, both in a studio and in a university setting, will be discussed at length. Finally, to complete this comprehensive view of the Meisner Technique, there will be an analysis of its application to Longform Improvisation.

Within this thesis is a mapping out of the processes, concepts, and influences, behind the sculptural practice of Brian Caverly. From Complex Adaptive Systems to the world of order of Michel Foucault to the reexamination of the Modernist movement by Yve Alain Bois and Rosalind Krauss, a rhizomatic path of connections and lines form and cross over, weaving together into a swarming mayhem of over population. Out of this chaos and order grow complex installations and constructions that are inherently bound by the system of their making, yet attempt at every turn to escape conformity.

Photography conveys informative data, aesthetic value, and a conceptual message very much like graphic design. In the hands of the photographer, the viewfinder of a camera becomes an editing tool. Editing by point of view, use of color and cropping determines a great deal about the communication made by imagery. In my creative project, I will explore photography as a means to generate form, concept, and content. As a result of this exploration, I expect to find new ways of approaching graphic design problems. My goal is to develop themes that combine aspects of photography and graphic design. Themes could derive from broad issues like social statements, cultural phenomena, or mechanical effects, through the use of the capabilities of the camera, timing, lighting, or framing. Methods of editing photography such as, cropping, retouching, and splitting provide opportunities to experiment with making messages that rely on images alone. Another level of experimentation will be using typography in response to images.

Under the Reich Ministry of Propaganda and Popular Enlightenment functioned the Winterhilfswerk des deutschen Volkes (the “WHW”), or Winter Assistance Program of the German people. Initially designated in 1933 to assist the unemployed, the WHW expanded its reach by disseminating propaganda in the form of an annual edition of the Ewiges Deutschland:Ein deutsches Hausbuch household book from 1939 through 1943, intended to entertain and politically educate German family members throughout the year. Decidedly more comprehensible than Mein Kampf, another widely popularly disseminated book in Nazi Germany for weddings, Ewiges Deutschland likely enjoyed a more satisfied audience of readers. A study of all five original volumes published totaling approximately 1,800 pages of primary source material, together with secondary supporting resources, suggests a dynamic relationship between the political intentions and propaganda value of the material published and the existing popular political culture. The Propaganda Ministry clearly understood this relationship and attempted to exploit and manipulate it. This relationship however was not static, and the explicit propaganda, its message, and associated literature changed over the course of the years studied according to the context of current events. This study illuminates our understanding of what daily life, culture, and many widely held beliefs were, and what they were intended to be, during the Third Reich. It concludes that popular political culture was less ideologically Nazified and radicalized than generally assumed.

As new media become more ubiquitous, our emotional experiences in digital space are increasing exponentially as well. While there is much talk of “affective” computing and “affective” new media art, a disconnect exists between networked emotions and the popular media that they inhabit. This research presents a theoretical framework for assessing “digital emotions”—a term that describes the feedback process between digital technologies and the body with respect to short, networked inscriptions of emotion and the (re)experience of those inscriptions within the body and through digital space. Digital emotions display five basic characteristics that can be applied to a variety of media environments: (1) They describe a process of feedback that link short, emotive inscriptions in digital environments to users and their (re)experiences of those inscriptions; (2) This feedback process includes, but is not limited to, the inscriber, the medium, and the receiver and the emotive experience fuels the initial connectivity and any further connectivity; (3) The emotional value varies depending on the media, the community of users, and the aesthetic experience of the digital emotion; (4) Digital emotions influence our emotional repertoire by normalizing our paradigm scenarios; and (5) They are highly malleable based on changes in technologies and their ability to both expand and contract emotional experiences in real time. The core characteristics of digital emotions are applied to three broad and overlapping categories: technology, community, and aesthetic experience. Each of these aspects of digital emotions work together, yet they exist along the massive spectrum of our online, emotional experiences—from our casual click of the “like” button to digital community artworks. Applied to digital spaces along this spectrum, digital emotions illuminate the feedback process that occurs between the media, the network, and the environment. The framework ultimately suggests that the process of digital emotions explicates emotions experiences that could only occur in digital space and are therefore unique to digital culture.

Published from 1985 to 1986, DC Comics’ Crisis on Infinite Earths created the expectation that each crossover will result in numerous deaths and alter the structure or history of the DC Universe. Since many of these changes, such as the death of a popular or iconic character, cannot be sustained long term, the success and influence of Crisis on Infinite Earths led to the erosion of the very elements that made it shocking. Entire worlds can be destroyed, but superreaders eventually suspect that no change is ever permanent and, as more iconic characters are revived or rebooted, death is no longer meaningful.

Technological growth has changed our relationships and interactions within society and theatre artists are calling into question the future of our art form. Are we still essential? And if so, how do we renovate our form in order to relate to our changing society? In my experience, I’ve found that all renovations of our art have one thing in common: the empowering nature of story. Story helps us to understand our experiences in life. It is not the self, the cause, or the goal that is behind the wheel, but the story itself. This thesis explores three instances of the empowering nature of story during my graduate studies.

The thesis traces the history of colonial Virginia in an attempt to uncover the origins of several peculiarities in Virginia death-ways. Elite Virginians buried at home more often than not (where they could protect the dead from animal desecration), while avoided death’s heads, reapers, and bone based tomb and mourning jewelry iconography even though such was popular throughout the British Atlantic. Research done for this thesis reveals a fear on the part of elite Virginias regarding questions of both corpse desecration and natural putrefaction. The cause of this cultural obsession lie in two facts: The blackening of the early colony’s reputation by warfare with Native Americans and the cannibalism associated with the Starving Times, and later the casual violence inherent in the slave system. Virginia’s elite disregarded images of decay and death and embraced symbols of stability both the legitimize Virginia as a place for Europeans to settle, and to disguise the barbarity of their economic system.

Urban educational environments struggle to offer green space and natural light to their students. Studies have shown that exposure to natural elements, such as natural light, ventilation and vegetation improves student performance and concentration. The Waldorf School understands a child's innate need for natural learning; making it a natural choice when studying design options that integrating nature into the educational environment. The emphasis on nature based learning in the curriculum leads Waldorf to be the perfect school to test the boundaries of what is possible in urban educational environments. The project integrates nature into an urban adaptive re-use school environment, through use of natural lighting, access to green areas, and sustainable materials. The site is a total of 30,000 square feet, evenly separated between two floors and a roof garden. The site was built in 1923, as an automobile storage facility and straddles the boundary between an industrial neighborhood and a historic residential neighborhood. Through use of the Waldorf principles and architecture, an educational environment infused with natural rhythms and access to nature will be realized. Through the research conducted on various site, program and process case studies, investigation of architectural options and a thorough understanding of the needs of a Waldorf school, the project develops a prototype to be used in other urban schools.The work considers the possibilities in urban educational environments to integrate natural elements in the architecture for the benefit of students and teachers; creating a design example for both Waldorf and public educational environments.

My thesis work is about imagination. I use the collaborative efforts of the viewer's mind and my sculptures, or specimens, to make associations of real life animals. I feel this engages the viewer and in turn invites them to inspect the work on closer level. This is my ultimate goal in the work, to take hold of the viewer's curiosity and have them examine the work on a closer level.