<p> David Mamet's book of essays <i>True and False: Heresy and Common Sense for the Actor</i> boldly claims that formal training, particularly of the academic variety, is of no use to aspiring theater artists. This thesis argues for the importance and validity of such training. It is a defense of both formal training and ofStanislavski--the father of almost all contemporary training systems and a figure particularly irksome to Mamet. The thesis is supported by examples gleaned from my own formal education in theater and from insights gained directing student actors on my final project for my MFA, Kira Obelensky's play <i>Lobster Alice</i>.</p>

<p> Actors create blocks based in fear, over-intellectualization of acting concepts, and the limiting assumptions they often make from any given theatrical text. Mask work can release the actor out of fear and into a non-intellectualized flow of freedom, expressivity and character transformation. Exploration with the various pedagogies and styles of Mask work can open doors for the actor that other contemporary training methods cannot, and therefore should be considered an essential component of the actor's training process. </p>

<p> This study examines the use of performance ethnography as an advocacy tool for students with non-apparent disabilities at Mills College, a four-year institution in Oakland, California. The focus was on the sometimes challenging relationships between these students and their instructors. The methods in this study included analysis of a script that was created and performed by four women students with non-apparent disabilities and a series of interviews held pre-performance and then conducted at one and six months post-performance. The four student writer/performers were interviewed, as well as four faculty members who agreed to participate in the project. After analyzing the data I concluded that performance ethnography or ethnotheatre was a meaningful advocacy tool that deepened understanding and raised awareness and had the potential to improve student/faculty relationships. I recommend that such projects are encouraged in student social justice organizations and receive support from college administrations. For example, after a student performance such as <i>We Are Here to be Heard,</i> scheduling follow-up student/faculty workshops would enhance the learning experience for all concerned. Practitioners in disability services and student life who want to work with marginalized students would be well served to read some of the references cited in this study, and such practical guides for doing this kind of work such as Saldana's Ethnotheatre (2005). Based on my experience, staff considering this type of advocacy work with students with disabilities, apparent or non-apparent, also need to be mindful that embodied work may release strong emotions and topics such as stigma and identity threat may trigger painful memories. It is important that there is sufficient support to contain feelings that may arise, that boundaries are very clear and finally, the creative space needs to be a place of safety and security for all.</p>