Source: Dissertation Abstracts International, Volume: 15-12, page: 2599. / Thesis (Ph.D.)--The Florida State University, 1955.

Source: Dissertation Abstracts International, Volume: 17-12, page: 3127. / Thesis (Ph.D.)--The Florida State University, 1957.

Source: Dissertation Abstracts International, Volume: 14-10, page: 1842. / Thesis (Ph.D.)--The Florida State University, 1954.

Source: Dissertation Abstracts International, Volume: 14-10, page: 1850. / Thesis (Ph.D.)--The Florida State University, 1954.

Source: Dissertation Abstracts International, Volume: 19-03, page: 0597. / Thesis (Ph.D.)--The Florida State University, 1958.

Source: Dissertation Abstracts International, Volume: 19-03, page: 0598. / Thesis (Ph.D.)--The Florida State University, 1958.

Source: Dissertation Abstracts International, Volume: 25-12, page: 7420. / Thesis (Ph.D.)--The Florida State University, 1964.

This dissertation examines the background, production history, and outreach projects of the New WORLD Theater (NWT) in terms of the NWT's usefulness as a model for diversifying theatre programs and, more importantly, for utilizing the work of theatre programs to address issues of access and equity in higher education for at-risk and students of color. Determining how theatre might be used as a tool to encourage young people to participate in society and eventually matriculate to higher education is integral to the motivation behind this study. The researcher's extensive experience in both theatre and higher education, and awareness of equity and access issues among both students and faculty informs the goals for this study as well. Chapter two's literature review concentrates on research related to diversity, access, and equity. Additionally, the review covers critical educational theory and its relation to theatre and praxis. The production history and background presented in Chapter Three provides the context through which the NWT outreach projects were developed. Chapter Four describes the outreach projects of the NWT, beginning with the Latino Theatre Project and the Asian Theatre Project, two projects that set the stage for the Looking In/To the Future project. Chapter four also provides a detailed description of the Looking In/To the Future/Project 2050, as well as an in-depth account of the activities of and changes to the outreach program over a three-year period. Finally, Chapter Five considers the applicability of the NWT's outreach projects to the national issue of student and faculty recruitment and retention, and the usefulness of the NWT as a model for expanding diversity in theatre programs at institutions of higher education. This study finds that the NWT's Looking In/To The Future/Project 2050 is consistent with current national issues related to diversity, access, and equity in higher education institutions. By bringing together marginalized artists and scholars of color, the NWT has provided a site for continued discourse. The work of the project seeks to politicize the discourse of at-risk and youth of color, and, as such, is situated in the politics of performance. / A Dissertation submitted to the School of Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Summer Semester, 2004. / Date of Defense: December 8, 2003. / Production history / Includes bibliographical references. / Jean Graham-Jones, Professor Directing Dissertation; Donna Nudd, Outside Committee Member; Stuart Baker, Committee Member; Carrie Sandahl, Committee Member.

This research examines the movement of the 1960's to develop a genuine Egyptian theatre which would be recognized on the international level; this movement is herein termed the "movement to Egyptian theatre." The title itself points up the dependency, since its inception in the late nineteenth century, of the Egyptian theatre on Western models. / This thesis argues that the movement could not bring a divorce from Western influences, that the movement instead represented a new phase in the apprenticeship of Egyptian theatre wherein the playwrights departed from realism and turned to the different types of the avant-garde drama of the post-World War II era, which are here termed "metatheatre." / The core of this argument is that it was not possible for Egyptian playwrights to satisfy the long quest for a national theatre rooted in Egypt's indigenous theatrical practices because these practices were rudimentary and formless, and were in fact parallels to forms from different eras of Western theatre which had already been used by contemporary Western metadramatists as sources for structural elements and technical and theatrical devices. / This study includes, in addition to the historical background and survey of the different stages of the movement, a study of selected literature of the movement: three theoretical documents and eleven plays. Also, a detailed analysis of the concept of metatheatre is presented--in justification of the use of this term to label the major school which displaced realism as the major trend of contemporary Western drama. / Although I conclude that in its purpose to develop a truly Egyptian drama the movement failed, it is credited with (1) promoting the assimilation rather than the imitation of the Western theatrical model, (2) initiating the use of folkloric themes and old theatrical forms--which may not have created a new form, but certainly added native flavor to the plays of the movement, (3) exploring new ground and introducing the self-conscious dramatic form to Egyptian theatre, and (4) promoting the concept of "spectacle." / Source: Dissertation Abstracts International, Volume: 47-01, Section: A, page: 0022. / Thesis (Ph.D.)--The Florida State University, 1985.

This study was concerned with predicting loudspeaker directivity in theatre sound systems. / The experimental question was "How is a loudspeaker's directivity affected by the absorptivity of the walls adjacent to the loudspeaker?" The initial experimental hypothesis was "The directivity will increase as absorption is added to the walls." But although the initial experimental hypothesis proved false, the experimental data suggested a simple formula by which the directivity of a loudspeaker may be predicted from data provided by the manufacturer. / The method consisted of measuring the output of a loudspeaker to determine its "Q", or directivity. The Altec A-7 loudspeaker was first placed against a reflective surface and measured for Q. Then sound absorbing material was placed against the reflective surface, and the measurements were repeated. Measurements were taken in three boundary situations: against one wall, at the intersection of two walls, and in a corner. Measurements were also taken in free air (no walls adjacent to the loudspeaker) to determine the loudspeaker's free air Q. / It was determined that for any of the tested values of Q, and for any level of absorptivity, the directivity of a loudspeaker could be determined mathematically by simply multiplying the "Q" of the loudspeaker in free air by a constant derived from the volume of air into which a loudspeaker placed against one or more walls necessarily operates. The "Q" of a loudspeaker placed against one wall is increased by a factor of two; at the intersection of two walls, four, and in a corner, eight. This constant seems to be valid for any free air "Q" and any level of absorption, within the tolerance of the measurements. / Source: Dissertation Abstracts International, Volume: 48-12, Section: A, page: 3011. / Thesis (Ph.D.)--The Florida State University, 1987.