The problem of liquid loading is common for all gas producing wells and should be identified and solved for efficient gas production. Production engineers and operators need to choose the best solution possible, one that is cost effective and also efficient in doing the job. The plunger lift operation is a cost-effective solution to this liquid loading problem and also is efficient in increasing the gas production. However, the current understanding of plunger lift operation has used field experience and some previous models that have restrictive assumptions which might not be applicable for all plunger lift installations. This research proposes a new plunger lift model that overcomes some of the limiting assumptions of earlier models by using additional data available in the form of pressure and temperature from new technology like smart plunger. The model is based on fundamental principles of mass conservation and pressure balance, and uses the smart plunger data as input. The implementation of the model is carried out in user-friendly and easily accessible software like Excel VBA (Visual Basic Applications). The model predicts the plunger velocity, plunger position and annulus liquid level during an upward travel of the plunger in an onshore gas well in East Texas. The results of model implementation in VBA show the importance of fluid properties for the model, apart from indicating that the model is optimized for the given set of input data. The model developed in this research considers only pressure drop due to gravitational effects, and thus provides a scope for improvement in modeling the plunger lift dynamics by adding frictional and acceleration components. This research also provides recommendations for future work that can be carried out on plunger lift modeling using smart plungers.

To be a fully functioning theatre practitioner, the developing student artist becomes equipped with a practical skill set that is ordinarily cultivated through formal training and study. Typically, organized study leads him/her to focus on a specific facet of the business: acting, directing, design, etc. However, students often develop a vast array of talents and skills within the profession and find themselves standing at a crossroads between what "kind" of artist to be; what singular aspect of the arts on which to focus. Why not do it all? For those students who "do it all", there is an additional challenge: the artist who is a student immersed in daytime study and nighttime production obligations has to wear two caps. One is that of the learner and one is that of the employee, the producer, and perhaps even the teacher. When are these caps traded or are they both worn through all processes? This thesis will reveal my creative and practical processes from two productions at the University of Central Florida for which I played on- and offstage roles: I worked as a Sound Designer and featured actor in Sophie Treadwell's Machinal; I was the Vocal Director for Urinetown: The Musical, and also played Penelope Pennywise, a leading role. I will describe the challenges and successes of each project by examining the following evidence: my personal process with each piece, demonstrated through reflection and examples from the work; interviews with those involved in the productions as well as outside reviews and feedback; and research of each play. Research will include production history, intent of authors, and aspects that informed my work both onstage and off. Did multi-tasking sacrifice the quality of my work for any of my delegated tasks? Did I enjoy more success in my progress in time management, the ability to solve problems, and collaboration process with fellow artists, or in the actual on-stage products? What aspects of my training in my graduate program added to the quality of my work on these productions? Does being a multi-tasking artist help or hurt one's career in theatre?