Thesis (M.F.A.)--Baylor University, 2009. / Includes bibliographical references (p. 163-170).

Thesis--Giessen. / Vita. Includes bibliographical references.

Thesis advisor: Scott Cummings / This thesis is a series of short essays centered around the Theatre Department's Workshop Production of Sarah Ruhl's "Eurydice" presented in February as a part of the 2016-2017 season. The essays -- based on the "micro essay" structure used by Sarah Ruhl in her book, "100 Essays I Don't Have Time to Write" -- cover the directorial process from the beginning of dramaturgical research to the closing performance. Written over the course of a year, these essays come from different moments and mindsets to represent a short glimpse into a distinct moment in time, much like the structure of the play. / Thesis (BA) — Boston College, 2017. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Arts and Sciences Honors Program. / Discipline: Theater.

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vii, 130 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Pulitzer Prize winning playwright Paula Vogel, playwright and educator, has blazed a trail in American theatre, opening new avenues for female playwrights. In 2005 Vogel's student Sarah Ruhl burst onto the scene with her play The Clean House. As one of the most produced playwrights of 2005, Ruhl has been celebrated as the new voice of American theatre. There are similarities, as might be expected between teacher and former student, but some of the similarities suggest something more: a dynamic shared between Vogel's and Ruhl's plays which suggests an ongoing theatrical conversation and may suggest directions for future American drama. / Committee in Charge: Dr. John Schmor, Chair; Dr. Jennifer Schlueter

This thesis outlines my research and creative process of how to direct modern theatre under the structure of the Ancient Greek chorus, specifically through movement. I include a brief history of how the chorus functioned in Ancient Greek theatre; how movement shaped the chorus’ role as well as the story for the audience. Using the parameters of the chorus, I directed two theatrical productions, Jason Robert Brown’s Parade, and Sarah Ruhl’s adaptation of Virginia Woolf’s Orlando. Through exploration and analysis I conclude that using Ancient Greek choral movement in modern theatre helps to create a more specific story through gesture and space, bridges the gap between the audience and action onstage, and should be the foundation of how directing is taught in academic settings.