Thesis (doctoral) - Ludwig-Maximilins-Universität, München, 2009. / Includes bibliographical references.

this thesis explores the writings of Anne Morrow Lindbergh and their potential for oral performance. Lindbergh's life and works are examined, theories of interpretation are explored, and a solo performance script is compiled from various writings of Anne Morrow Lingbergh. The script was rehearsed and presented so that its effectiveness in oral performance could be evaluated. Both the performer and the audience members attest to the appeal of Lindbergh's writings as literature to be performed orally.

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<p> This thesis investigates spirituality as a tool to reduce interference in actor training. Interference is defined as anything that inhibits the actor from reaching full potential in performance. Actor training promises to prepare the actor for performance; however, the looming threat of anxiety often debilitates the actor, blocking him/her from reaching full potential. This thesis investigates spirituality as a tool to reduce interference, while exploring the relationship between the actor and fear. This thesis defines spirituality as a metaphysical power used to release habitual tension in the actor, and not as a religious term. Through Eastern practices, sports psychology, and techniques espoused by master teachers Michael Chekhov and Jerzy Grotowski, this thesis argues that harnessing the power of spirituality can be an effective way to reduce interference in performance.</p>

Uncovering the feminine myth has been the topic of numerous studies. In recent years, research has focused on the return of ancient images of the goddess as the primary metaphor for the feminine myth. Utilizing feminine typologies from Jungian archetypalists and feminist scholars, this study summarizes the research on the archetypal feminine in order to analyze Diane di Prima's Loba poems. An analysis of the poems is undertaken and reveals patterns of feminine images which are consistent with other revisionist literature by women. The analysis is then used to frame a production of poems as a ritual celebrating the Loba as goddess. As Christine Downing suggests in The Goddess, women need images of the goddess to recognize the divine in themselves. The adaptation of the Loba poems for performance creates such an image. It also creates a theatre piece with what Sue-Ellen Case calls "woman as subject." As a result of this study, the goals of feminist archetypal theory are advanced as well as the goals of feminist theatre.