This thesis documents the play development process of When Coquis Sing, an original play for young people that introduces the death of a parent on stage. Through the analysis of research from leading child psychologists and practical instruction from the Dougy Center, the National Center for grieving children and their families, this research defines important terms and demystifies language surrounding death to aid caregivers in having clear and concise conversations with children about death. The purpose of this document is to counter the American cultural perception of death as a taboo topic for children. Hosting open conversations about death leads to healthier child development, which can help children cope with the loss that everyone will inevitably face in life. Theatre has been proven to work as a catalyst for conversations and create empathy for young audiences. Themes of death can be seen in all forms of storytelling for children , but this study implores the use of theatre to not only reflect experiences of grieving children on stage, but also create preemptive dialogue on the topic, so when tragedy strikes, children can have a tangible example to point back to. The arguments in this document thwart misconceptions of using Piaget's stages of cognitive development and Kubler-Ross's five stages of grief as measurements of how all human beings should grieve. Instead of placing grieving children in stages and age groups that exclude important variables, this study focuses on the individual stories that are shared through reflective journals on the investigator's experiences and conversations as a grief facilitator, tutor, and artist in the field of Theatre for Young Audiences. The original play, When Coquis Sing, has been designed to induce conversations on death through the telling of a young protagonist's story of loss, grief, and victory.

Sexual misconduct is currently a very hot topic in the media. Not only has the #MeToo Movement encouraged many women to come out with their stories of sexual assault, but it has also given women of many different backgrounds an opportunity to band together in support. I will be exploring the role of Theresa Bedell in Boy Gets Girl, by Rebecca Gilman. I will use the given character relationships to build an honest portrayal of the struggles Theresa faces as a woman in the world. I will touch on the mindset behind as well as the effects of victim blaming, the importance of having more women in the world of media, the current #MeToo Movement, and how these topics effect my thesis role.

As we transition into a more goal-oriented society, our ability to nurture and cultivate individual growth in emotional, spiritual, and mental awareness in the performing arts has been stifled by the desire to get ahead in our modern-day race for success. This fierce struggle brings with it a risk of subconscious deterioration in mental, spiritual and emotional health. As actors in an aggressive industry, we are often faced with the monumental task of preserving our artistry while competing in the industry, and we often find ourselves overwhelmed by the inescapable pressures in the business of acting. In "Mindful Acting", I will synthesize a metaphysical approach to actor-training centered around the concept of mindfulness, meditation and the self. The goal of my thesis is to refine and integrate pre-existing actor training methods with practices in mindfulness and meditation to reclaim the actor's artistry in life and in performance.

Children today are increasingly being introduced to tablets and other personal electronic devices at very young ages. Due in part to this, the entertainment industry now has a near ubiquitous presence in America compared to cultural arts. Its influence on the development of children is almost impossible to ignore. My thesis will study an approach to engaging young people by way of location-based projects that synthesize two or more art forms (e.g. theatre arts, literary arts, visual arts) in order to provide a unified effort for cultural arts and also provide balance to the influences of entertainment. Incorporating research, interviews with people instrumental in the creation of this approach, and analysis of the data, I intend to answer several essential research questions: • What are the pros and cons of creating and/or operating these collaborative cultural arts facilities? • Are recently created collaborative cultural arts centers, nationally and internationally (e.g. ImaginOn in Charlotte, NC) successfully addressing the imbalance of cultural influence and if so, in what way? • What are the conditions and steps required to create a collaborative cultural arts facility and replicate a model similar to Charlotte's ImaginOn in other cities in the United States?

Peak performance is defined as an “episode of superior functioning” where an individual performs up to (and sometimes exceeds) their full potential (Privette, 1983, p. 1361). Most individuals do not consistently experience episodes of peak performance. After accounting for biological factors, motivation, and external constraints, the inability to achieve peak performance consistently is due to the challenge of successfully selecting and accessing knowledge and skills on demand while under pressure (Brown, 2009). This thesis describes the psychology of peak performance and skill training for peak performance. A peak performance training program is designed specifically for business professionals. The program was delivered to business professionals and a focus group was conducted to gather data on how to improve the training program. Grounded theory was used as the method of inquiry during data analysis. Results indicated that participants reacted favorably to the training content, training design, variety of training activities, and the training’s applicability, but had unfavorable reactions to the training duration, comprehension of concepts, training materials, utility, and training conclusions.

Radio Plays are a form of classic American Theatre that relies on dialogue, music and sound effects to audibly enhance a story with no visual component. While these types of plays are no longer at the forefront of modern day theatrical experience, I believe these popular plays of the mid-20th century are derivative of an oral storytelling tradition and significant to American entertainment culture. This thesis will discuss the aspects of radio plays that viscerally captured audiences. While this concept can be applied to many popular America radio shows of the time, this thesis will focus on one form ; the black radio play or black situation comedy series. I will deconstruct different genres of radio shows and identify the elements of sound effect, imagery and patterns in speech. This thesis will apply these elements to programs about white family life, (Fibber McGee and The Lone Ranger ) as well as family comedies about black cultural life, (Amos n' Andy, The Martin Lone and Beulah Show and Aunt Jemima). In addition, it will also reveal the business of employing white male actors to voice the parts of black characters and the physical mechanics used to create a “black sound”. As the thesis reveals, black actors gain work and are hired to voice black characters. The focus is on the vocal challenges of staying consistent with the Uncle Remus-style dialect used by their white contemporaries. Part two of this thesis is an analysis of my role as writer in an original radio play/situation comedy set in a black community in the 1950's. Included in this process I will introduce a reflective journal documenting my writing and rehearsal process. Character research will chronicle each character’s relationship to the play, as well as the vocal choices explored.

The smallest display while indistinguishable from the larger three displays in the 3000 ms condition has significant accuracy diminution in the 700 ms and 300 ms conditions when compared to the three larger displays. Understanding the effects of the visual display size of a task on human performance has long been a goal of research in the United States Military. The present work is a series of three studies which focus on distinguishing which specific aspects of display size each affect performance response capacity. The three sequential studies represented here manipulated viewing conditions and task type. These studies were derived from a code substitution cognitive battery using four display sizes and three viewing conditions. The first viewing condition is controlled distance to the display. The second viewing condition allowed the participants to choose their own viewing distance. Free movement, the second viewing condition, provided the data for the third viewing condition where the participant was held to a constant visual angle and changing distance. In summary the three sequential experiments are free movement to and from the display, controlled distance to the display, and controlled visual angle while changing display distance. The four display sizes were in part selected in association with SME's from UCF and the United States Army (PDA--320x280, Tablet--800x600, Small - LCD 1280x1024, Large LCD--1600x1200). These four displays are representative of the four display sizes widely used by our armed forces. Three workload levels were manipulated by restricting the viewing time to 300ms on target at the shortest interval through 700ms on target, to finally 3000ms on target. The 3000ms represents the standard amount of time used in a code substitution task, while 700ms and 300ms are present as a result of the pilot studies and thus representing higher workloads. Results indicate all displays sizes suffered performance diminution in the 700 ms and 300 ms condition. The three largest displays had indistinguishable performance results.

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Synaesthetics is a new philosophy of the arts. Expanding on its predecessors, aesthetics and its many branches of thought, Synaesthetics bridges the long-standing explanatory gap across the disciplines of science, spirituality, and art. The arts become the vehicle of exploring new ways to synthesize and study their cognitive effects and implications on aesthetes, be they audience or creators. The examination of a synthesis in color and sound, inspired by research in synaesthesia, is a model for explaining the new philosophy, as well as investigating its impact. Theatre is introduced as the most valuable art form with which to engage this area of thought, due to its inclusive nature of all sister artforms. Pulling from a strong philosophical background, quantum physics, psychology, neuroscience, and esotericism are compounded to create this new lens, with which to interpret, study, and evolve in a dialectical manner. The hypothesis posits a spiritually significant evolution, utilizing these elements of science and a framework of the arts; the methodological accomplishment ultimately reached through Synaesthetics.

This thesis examines the application of psychophysical techniques of Konstantin Stanislavski's System, coupled with use of Michael Chekhov's Psychological Gesture, to prepare for multiple roles of intersectional characters in the production of Paula Vogel's Indecent, directed by Dr. Julia Listengarten at the University of Central Florida, January 25th through February 7th, 2022. Vogel's Indecent revisits the events surrounding the production of Sholem Asch's God of Vengeance on Broadway in 1923, which featured a lesbian relationship. The show's cast and producers were arrested for depicting scenes of obscenity, which reflected the intolerance of immigrant, Jewish, and queer communities in the 1920s and exemplified the pervasive political censorship on the American stage. The complexity of Indecent provides a rich case study with which to explore the multi-faceted dimensions of fully and authentically representing marginalized characters on stage. Using both Stanislavski's System and techniques from M. Chekhov's Psychological Gesture provided a framework for effectively representing these characters as well as navigating Vogel's complex dramatic structure, its non-linear narrative that disrupts a consecutive arc of character development, and its metatheatrical nature as a play about a play.