Thesis (Ph. D.)--Ohio State University, 2003. / Includes abstract and vita.

Inaug.-diss.--Göttingen. / Lebenslauf. "Literatur": p. 9-12.

Issued also as thesis, Freie Universität, Berlin. / Bibliography: p. 179-190.

Inaug.-diss.--Munich. / Lebenslauf. "Anmerkungen" (p. 79-92) include bibliographical notes.

<p> The following paper is a summary of my personal process as an actor. My process, as any process is in a constant state of flux. I discuss my current approach to a role from the callback portion of an audition to performance.</p>

The popularity of politically engaged and autobiographical theatrical solo performance grew at the end of the twentieth century in the United States. Why? Using performance texts, videos, live performance and interviews, as well as sociological texts, categories of solo performance were created, revealing commonalities among performers. As expected, it was discovered that there is no single reason for the surge in the art form. The rise of technology, the empowerment movements of the sixties and seventies, an increased emphasis on self-actualization, a decrease in communal activities and postmodernism in art were significant contributors. Economic pressures contribute to why artists choose to go alone, but solo performance is also a means of political discourse and dissent. The relationship between audience and performer mirrors the ritual of witnessing, allowing audiences to empathize with the socio-political experiences of others. Solo performance becomes a form of democratic participation when seen from this perspective.

This thesis examines contemporary British productions of medieval mystery plays, specifically questioning how cultural mentality affects such productions. Because of the distance between the medieval and contemporary British mentalities, a cultural gap exists between original texts and contemporary productions. This gap creates, for audiences, a "double vision," a perception of both the medieval mentality that informed the original text and the contemporary mentality that performs it. Contemporary productions tend to attempt to diminish this inherent "double vision" in a variety of ways, including making the production authentic to medieval practice or by adapting the medieval texts. This thesis analyzes two contemporary productions of medieval mystery plays, the 1998 revival of the York Mysteries, directed by Jane Oakshott, and The Mysteries, a contemporary adaptation of several medieval cycles, written by Tony Harrison and directed by Bill Bryden, exploring the methods used by both to tackle the mentality gap.

<p> This paper is presented in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre Lighting Design. This paper examines the lighting design of <i>Ajax in Iraq</i>. This gives the point of view of the production, the approach taken and self-evaluation of the success and failures therein.</p>

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