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Anxiety increase drive level and will at first lead to an increased level of performance and then, as drive level continues to rise, to a decrease in performance. There seems to be an optimal level condition for best performance. On either side of this point, performance is relatively impaired. However, nothing has been done to explore directly its relationship to critical thinking ability. The purpose of this study was to investigate that relationship.

It was the position of this study that the Hullian theoretical concept of anxiety as a drive is inappropriate in relation to an understanding of the effects of anxiety on the complexities of college performance. The present study also viewed performance in the college setting as differing from most of the related variables presented in the literature to which anxiety was connected.

The problems relevant to this study are concerned with the effect of specific performance criteria on the MAS. The purpose of this study is to determine if MAS scores are related to the following: (1) a subject's inability to swim, (2) a subject's performance on a pursuit rotor task, (3) the effects of an interaction of these criteria.

Although the significance of anxiety has long been recognized and explored within the framework of psychoanalysis, it was not until after World War II that it began to influence research in psychology. The manipulation of anxiety as a research variable has taken place both within and without the framework of psychoanalytic theory. The primary purpose of the present study was to determine the relationship between test anxiety, as determined by scores on the TASC, and performance on the Wechsler Intelliaence Scale for Children. TASC scores were compared to Verbal Scale, Performance Scale, Full Scale, and individual subtest scores on the WISC.

Preference assessments are used in clinical settings to identify stimuli with reinforcing potential. The progressive-ratio schedule has shown to be useful in clinical assessments in identifying stimuli with stronger reinforcer efficacy that corresponds to formalized assessments.The current study utilized a progressive-ratio schedule to compare videos of high and low preference assessed by verbal reports of preference with college students. Results indicated breakpoints were higher for high preferred videos than low preferred videos for three out of five participants, but preference was not indicative of performance.

A playwright is confronted with a barrage of problems each time he attempts to write a playscript. As each problem is either solved, eliminated, or worked out on its own, the play grows closer to its life upon the stage. In writing The Invalid, I was spared not one of the many problems a playwright faces when he writes a play. am certain that I not only encountered, but solved many of the same problems that other writers encounter, in a manner not unlike their own. In fact, in this introduction, I present a few thoughts by other playwrights who have inspired much of my own work in the theatre. The problem I discovered to be central in the creation of The Invalid is that of creating character.

A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre at Virginia Commonwealth University.

In order to design a costume for a period show, a costumer must unify the personality of the character in the appropriate historical style with the director's concept for the production. My study endeavors to aid the costumer in search of the historical clothes of the Medieval and Renaissance court Fool. Lack of time to do extensive research often imposes limitations on a designer's creativity. Through extensive research. into Medieval and Renaissance art, with the aid of Robert Armin's jest book, and descriptions of the household accounts of the period, I have compiled a document that will save a harried designer time and leg work. There are several books available on the personality of the court Fool as presented in drama, and studies are available about the history of the court Fool. However, no one, to my knowledge, has collected and presented a study solely dedicated to the clothes of the court Fool. Costume book authors either ignore the Fool or present only one illustration. Many of the most interesting illustrations are in books printed in the 1800's; and, therefore, they are not available to most researchers. Als·o several of the books are written in French; and, therefore, they must be translated before the text can become valuable to most American designers. Some writers have concentrated on various special characters such. as servants or royalty; other writers have specialized in costume piece.s or special periods of clothing. The plan followed in this study was first to carefully view the art of the Medieval and Renaissance courts. I studied paintings and etchings and searched for the court Fool in the background. Then I would sketch or xerox the Fool and isolate him from the rest of the picture. His clothing was analyzed by breaking it down into four categories: hood, bauble, coat, shoes. Note was taken of any other accessories such as swords or jewelry. The Fool's wardrobe is distinguished by several recurring traits. To be included in this study, traditional Fool's clothing must have ass's ears, bells, cockscomb, or some type of a tail. The Fool may carry one of several types of baubles or marottes. The basic garment may be either a tunic of varying length or a body suit. The shoes may be long and pointed, or they may reflect the contemporary fashion. My second approach was to read source books containing documents pertaining to the household accounts of the period and literature providing references to the court Fools. From these. I gleaned such. information as money allotted for the Fool's clothes, descriptions of the clothing, insights into the social position of the Fool, and the function of the court Fool in the noble household. In order to provide a study encompassing all the design possibilities, my third approach. was to scour costume books, assembling a series of costumes that prominent costume writers advocated for the court Fool. I included secondary sources because my purpose was to compile a document containing all the costume possibilities available for a designer. The secondary sources provided adaptations of the historical garments and stylized designs based on the writer's historical research. Since there are. numerous fool characters in the plays of Shakespeare, children's· drama, and musicals like Once Upon A Mattress, my goal is to fill a void by providing a fingertip reference for a costume designer. My hope is that with the aid of the study a costume designer can quickly scan the various costume possibilities. Therefore, a designer could create designs for the court Fool of greater variety that would combine the personality of the character and the director's vision.

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