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This is the thorough examination of Allyson Malandra's process of becoming a character, and the many different challenges and triumphs she has faced throughout the past three years of developing her craft. It also aims to bring into focus where the work will be headed throughout the many years to come. The goal of this process paper is to examine the many different details and intricacies that go into a role, and also how to troubleshoot problems that may arise throughout the journey. Our process is how we, as actors, attempt to create life on stage, and discover and unfold the underlying truth that connects all human beings. It is understood that each role for an actor will present a different set of chges, and therefore it is important to understand a baseline process that gets at the core of the actor's work. Through examination of this process, previous and current chges in the work will be discussed, as well as ways to move through these issues. Ideas on what is valuable in acting will be discussed, as a way of staying centered and focused, and also retaining quality in the craft. The examination will also explore three main pillars of the work--breathe, listen, and play--and how these anchor Allyson's artistry. The ultimate goals of this examination are to create a support for the process, to chge her work in the future, and to help her continue to grow and expand, both as an artist and as a person.

This is a sampling of costume and lighting design work for theatre as presented at the University of Iowa.

The purpose of this project was to broaden my skill set and responsibilities within a well-established theatre company by transitioning from performer to director. I would accomplish this goal by using my extensive knowledge of the inner-workings of the Redlands Theatre Festival, while applying my own set of techniques, philosophies, and judgments. The project was based around the Redlands Theatre Festival’s (RTF) production of The Hot L Baltimore, written by Lanford Wilson, performed by resident actors and the acting company of RTF. I was given the opportunity to direct the play under the supervision of the Artistic Producing Director and founder of the then 40-year-old theatre company. The assignment had one main component: directing a successful production in an already-established company of experienced theatre artists. This main task was riddled with myriad complications in its production methodology. Contributing factors to the success of this project included thorough research of the period and material, a strong background in acting, creativity and the willing suspension of disbelief amongst performers and audience, trial and error, and the drive to share my passion of theatre. Many opinions and critiques were available upon the opening of the production and I am confident that this project was a success, in many ways. The play was well-received by audiences, as well as a positive and educational experience for the performers. Upon the completion of the project, I have a deeper understanding of the specialized techniques that are required, and necessary, for me to amass future successes in similar endeavors with the Redlands Theatre Festival.

The south African playwright Athol Fugard of ten explores the problems which apartheid has created within his society -problems ranging from the racial and societal to the spiritual. He seems to communicate his thoughts about these issues through many direct references to space. This study investigates the meanings these spaces communicate. Four plays were chosen as representative of Fugard's subject matter (covering both white and non-white society) and career: Blood Knot (1963), People are Living There (1970), The Road to Mecca (1985), and My Children, My Africa (1990). Then three steps were carefully followed. First, each reference to space was identified and categorized using Keir Elam's and Susanne Langer's definition of "virtual space" as guide to the establishment of categories. Three categories were established: virtual space (that which is immediately visible to the audience), extended-virtual space (the off stage world which is real to the characters but unseen by the audience), and imaginary space (that which the characters project on or into the world around them). second, patterns and relationships among the spaces were identified (using Kenneth Burke's and Mary McCarthy's methodology of image clusters and dramatic alignments). Third and finally, the meaning of these patterns was explored, often using Edward Hall's science of proxemics to facilitate understanding. There is considerable similarity and continuity from play to play in the use of space. Fugard often employs references to extended-virtual space to communicate the many ills which have arisen in South African society. He also typically includes a virtual space or spaces which provide a safe haven from those ills. In addition, be almost always uses reference to imaginary space or spaces to communicate the hope for the future of freedom for all of South Africa's people. Ideally, the recognition of the spaces in Fugard's work should be actively, and knowingly, articulated in any production of his plays. This study provides a methodology for exploring these spaces and an indication of what many of the spaces mean.

This thesis presents a workbook for creating a course that combines researching both theatre for young audiences and devised theatre to create a touring production and company. Devised theatre is a form of theatre where the script originates from collaborative creation, improvisation, and physical movement. This course explored the past, present and future of theatre for young audiences both domestically and abroad. Students worked in a collaborative effort devising and producing a TYA piece based on Hans Christian Anderson’s The Snow Queen and studied the child audience through reading assignments and practical experience. This thesis is intended to showcase the value of teaching college undergraduate how to perform TYA productions as well as to show how devised theatre can help foster the actor’s creativity and help to reach a whole new generation.

Theater programs that focus solely on the influence of the Stanislavski system are neglecting students’ opportunity to experience additional approaches to performance study that focus more readily on the sensations of the human body and the practices of improvisation to prepare actors to be able to stay present and respond truthfully within any moment. The pedagogical work of Jacques Copeau and Jacques Lecoq, which relies on improvisation, paired with more recent stylings of improv teachers such as Viola Spolin, Keith Johnstone, and Del Close reignite a modern sensation of play, found uninhibited in the world of nature, such as the expressive freedoms found in infants. These techniques bring out a truthful style of performance that is tailored to the individual, instead of tailoring the individual to the style. Not only are these performance methodologies useful to the performance artist, but they also hold proven in communities outside of the arts, helping people understand different perspectives, and improve their compacity for empathy and communication.

This thesis explores and describes key factors in the design process leading to production of The Three Musketeers by Catherine Bush. The document encompasses the justification and discussion of the choices made during the research, design, and production stages of developing the play for the stage, as well as impressions gained throughout the process to use in future design projects.

This document will chronicle the theatrical design work of Josh Christoffersen at the University of Iowa from August of 2012 through the spring of 2015. The bulk of the images included will be production photos of realized productions--both large-scale mainstage and smaller independent productions--as well as draftings, paint elevations, and sketches to illuminate the process of the artist. The intent is that this document will stand as a record of the various techniques and tactics used throughout my graduate career to tell a story through design

A comprehensive portfolio by Cassandra Malmquist with a focus in Lighting Design in theatre and dance at the University of Iowa.