I work on a lighting design for a dance performance to be on tour. A lighting design adapted forthree different conditions was made:- One comprehensive where I allow myself a great deal of creative freedom, adapted for thestages with major technical conditions.- One smaller version for stages with less equipment and with less time for preparation onsite.- One design for very simple conditions.I also examine the specific differences between typical theatrical lighting design and typical dancelighting design, and the best way to prepare for the hands-on stage design phase.

Basing on drama theory, social learning theory and activation theory of information exposure among others, this thesis set out to explore the effectiveness of live drama as a communication tool for raising young people’s awareness about HIV/AIDS and to draw conclusions in terms of strength and weakness. This thesis used a case study of DramAidE organization in KwaZulu Natal province of South Africa which has since 1992 been using participatory drama and other interactive educational methodologies to control the spread of the HIV/AIDS epidemic in especially KwaZulu Natal province which has the highest HIV prevalence rate in the country. Data collection methods ranging from in-depth interviews, focus group discussions, E-mail interviews, real life case studies, direct observations to desk reviews were employed to collect data. The findings depicted live drama as a creative, interactive and fun way to raise young people’s awareness about HIV/AIDS. It was found out that Live Drama is participatory, uses both word and emotion and combines entertainment to educate and communicate highly sensitive information. This makes it an ideal communication tool that easily attracts the young people’s attention, helps them to personalize the risk of HIV/AIDS and participate in finding their solutions to this problem. On the other hand, it was discovered that though live drama is highly effective in raising young people’s awareness about HIV/AIDS, it is disadvantageous because its performance might be limited due to the facilities, bad weather and the environment. Development of drama and preparation of performance takes long time, it is expensive to buy costumes and live drama might cause the audience to try to practice some of the bad ideas they watch.

A monograph on the musical composition How We Saved the World, a multimedia musical drama written by the author, describes in detail the history of the writing of the piece, its context within his development as a composer, its context within our times, the writing and structure of the libretto, the characters and character types within the piece, their relationships with one another, the music of the piece and its construction. The two hour long composition requires 44 performers to stage: 14 singers, 8 dancers, and a conducted 21 piece orchestra. In addition to traditional acoustic instruments (winds, brass, percussion, strings) the orchestra includes electric guitars, drum set, and audio and video laptop performers. How We Saved the World is situated in a future time and begins with the premise that the world has been saved. Human beings have found a way to live in peace and harmony with one another and with the ecology of our planet Earth. We, the participants in the performance are sharing among ourselves the story of how human culture changed from the destructive, unsustainable practices and consciousness of the past. The libretto is included as an appendix. The score and all of the audio files needed to perform the piece are included as supplementary material. / Music Composition / Accompanied by one .pdf score and one compressed file.

This monograph explores the integration of improvisation and orchestral music. It consists of two closely related large-scale compositions, Amphion and Zethos, and an accompanying essay. Amphion, for orchestra, is in three movements and includes frequent references to styles and genres of the Baroque era, specifically the French dance suite. Zethos, for five improvisers and chamber orchestra, includes the three movements of Amphion, in toto, plus five additional concertato sections with improvisation. These sections have multiple player configurations and were composed for specific players with distinct improvisational skills. These sections also fulfill specific functions in relation to the three fully notated movements of Amphion: as introductions, codas, transitions, and development. The accompanying essay considers issues relevant to Amphion's and Zethos's rehearsal and performance, and examines their form and melodic/harmonic language. It also discusses the historical precedent and aesthetic rationale for improvisation in orchestral music, and the notation of improvisation in Zethos. / Music Composition / Accompanied by two .pdf scores: 1) Amphion.pdf. 2) Zethos.pdf.

This thesis examines, details, and evaluates the process used while executing the costume design for Temple University's 2013 production of The Liar by David Ives. I will discuss each part of the design process from pre to post production and reflect on the process and choices made. / Theater

This thesis examines, details, and evaluates the process used while executing the scenic design for a production of Spring Awakening, produced by Temple University's Department of Theater. I will discuss each part of the design process as well as the technical rehearsal process and evaluate the choices made. / Theater

The purpose of this thesis is to recount the creative process used when designing the costumes for Temple University’s Spring 2018 production of Romeo and Juliet. This process begins with a thorough reading of the play and moves through the phases of research, planning, and implementation of the author’s designs. Subjects discussed include historical fashion of the early Italian Renaissance, the challenges of working with costume rental companies, and the collaborative nature of costume construction. The author will reflect on the struggles and successes of her contribution to the production. / Theater

The purpose of this thesis is to recount the creative process used when designing the costumes for Temple University’s Fall 2018 production of Side Show. The process is chronicled from the first assignment of the production, to reading the play, then through the process of gathering research, the initial design process and subsequent revisions, the final renderings, and into the process of building and implementing the author’s designs into a fully realized production. Subjects include the historical life of the Hilton Twins, the realities of side show performers, the changing fashions of the 1920s and 1930s, the process of creating unique, unconventional costumes, and the process of collaborating with costume shop staff. The author will reflect on the successes and difficulties of mounting a large, unique musical. / Theater

This thesis paper will explain my set design process for Temple University's 2014 production of Macbeth. I will cover the steps from receiving the assignment to opening night and evaluate its purpose in my education toward a Master's of Fine Arts. / Theater

RENT: A Director's Process describes the process a director undergoes in the creation of a piece of theater. It uses as its example Temple Theaters' 2010 production of RENT, and it examines how an MFA thesis production encapsulates the material garnered over three years' intensive study in a conservatory setting of the art and craft of directing. It explores the methodologies behind the pre-production process, including concept, approach, design, and casting, and continues into the production process, including rehearsal and performance. This thesis suggests a method of directing that is based on a formal approach, and shows this method to be as applicable to populist styles, such as musical theater, as it is to more experimental forms. / Theater