Thesis (M.F.A.)--West Virginia University, 2002. / Title from document title page. Document formatted into pages; contains iii, 23 p. Includes abstract. Includes bibliographical references (p. 23).

Thesis (Ph. D.)--New York University, 1982. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. [158]-165).

M. Tech. Drama / The focus of this research is in the area of Improvisational Theatre and Discourse Analysis. The purpose of this study is to use the selected tools from Improvisational theory and Discourse Analysis (with specific reference to the sub-category known as 'Conversational Analysis') as a way to assess the effectiveness of improvisation in theory, but then, by extension, to explore ways in which these very tools might be used to enhance theatrical improvisation.

Thesis (Ph. D.)--New York University, 1982. / Includes bibliographical references (p. [158]-165). Also issued in print.

Thesis (PhD) -- AUT University, 2007. / Includes bibliographical references. Also held in print (553 p. ; 30 cm.) in the Archive at the City Campus (T 616.891523 DAY)

Thesis (Ph. D.)--Florida State University, 2004. / Advisor: Dr. Mary Karen Dahl, Florida State University, School of Theatre. Title and description from dissertation home page (viewed Jan. 13, 2005). Includes bibliographical references.

Enjoining improvisation as chrysalis for dissertation creation, I draw upon immediate responses, surprise, familiarity, and diverse knowers. Being engaged with improvisation as topic and methodology reveals my assumptions and vitality. What matters is my decision not to primarily describe experience as much as express from experiencing. And I acclaim my readers, valuing others' felt experiencing. Along with shaped expressions of my present-time improvisations, improvisation as variously conceived in education, culture, and other meaning-making is reviewed. Throughout this text, intertwining in my ongoing awareness, are feminist, nonlinear systems, hermeneutic, and postmodern theories. Improvisation—approached intentionally—is not reducible to knowledge acquisition nor learned accomplishment. Shaping expression improvisationally activates unbidden responses, events, and textual artifacts. Generative structures include creative dialogue, impressionistic writing, explication, poetry, and letter-writing, along with spatial design and invitations for participation. Improvisational structures and possibilities invite the protean manifestations of themes. Improvisation calls discipline into play, requires paying attention to what is happening with possibilities. Discipline abides with freedom. Constraints—what's a river without banks?—are associated with shaping expression while freely generating movement, sound, concepts, or concrete forms. Improvisation :? Motions for Living Texts is organized in four sections. The first section considers kinesthetic, or movement, improvisation and related awareness, or felt life. The creative work and pedagogy of Barbara Mettler and Viola Spolin are introduced along with Eugene Gendlin's philosophy of experience. The second section elaborates my transition from moving to writing as an improviser. In the third section, meaning becomes expressly engaged and associated further with Gendlin and with diverse proponents of improvisation. In the final section perspectives on language intersect articulation of “living in situations,” where knowing remains in motion. Overall this improvisational discourse valorizes experience as well as knowledge, participation as well as accomplishment. / Graduate

Thesis (M. Phil.)--University of Sydney, 2007. / Title from title screen (viewed 28 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Philosophy to the School of Social Work and Policy Studies, Faculty of Education and Social Work. Degree awarded 2007; thesis submitted 2006. Includes bibliographical references. Also available in print form.

Thesis (M.F.A.)--University of Central Florida, 2008. / Adviser: Megan Alrutz. Includes bibliographical references (p. 79-81).

Improvisational theater can tell us much about the driving social and cultural forces behind collaboration and collective constructions of reality, as well as the sorts of behaviors and practices that bolster their efficacy. The collaboration of the performers on generating a comedic piece of theater spontaneously from audience suggestions in a long improvisation creates a sense of what Victor Turner called communitas for the performers. That phenomenon can create a larger sense of socio-emotional unity between the audience and performers. Turning an anthropological lens on comedy theater, this presentation explores the performer-audience dynamic and its impact on the success of an improvised comedic performance. Research was conducted through an ethnography of improvisational acting troupes and their audiences in Rochester, New York, and presents a series of unique situated references that help delineate a social bond between the audience and performers, or a "micro" version of what Gary Allan Fine and Michaela DeSoucey term a "joking culture."