<p> <i>The Terrorist and the Whore</i> is a two-person musical theater composition written as an unfinished yet retrospective performance document of the relationship of Kahlil Sabbagh and Ginger Smith from 2002 to 2015. The purpose of this project is to submit six songs from the musical that challenge two stereotypes, gender stereotyping and ethnic typecasting, while lending insight into the process of creating and telling a story and composing music. The six musical pieces, "Each Other," "Three Little Minutes," "That Crazy Moon," "It's Like," "Side Job," "I Don't like You," are presented through a score and electronically produced soundtrack and are analyzed in both a theoretical sense as well as for background informational purposes. It is through the lens of the characters that they discover, through music, the deep internal dynamics of a relationship.</p>

<p> This thesis discusses the need for and implementation of increased theatrical accommodation for patrons with disabilities. It begins by discussing the requirements of the Americans with Disabilities Act as they relate to theatres. Accommodations that go beyond the bare minimum required by law are discussed, including open and closed captioning, American Sign Language interpretation, audio description, and sensory-friendly performances. </p><p> The thesis gives evidence in the form of an anecdotal analysis of American Sign Language and captioned performances in the CSULB Theatre Arts Department. Each method is then evaluated for potential implementation in the Theatre Arts Department, based on its feasibility and impact given the population served by the Department. Finally, the thesis makes recommendations regarding which methods should be implemented and what the best processes would be for doing so.</p>

<p> This project seeks to identify the impact of donor recognition practices upon acquisition and retention of individual donors within the Southern California theatre industry as a shift occurs in philanthropy trending away from corporate to individual gifts. </p><p> Drawing upon interviews with development professionals, cost and benefit analysis, and investigation of past donations, this project determines the effectiveness of current donor recognition structures that are commonly implemented without constant analysis of their performance. The objective of gathering practical data and understanding how and what motivates the average theatre donor, will determine future donor recognition approaches that can be implemented within the Theatre Arts Department. Additionally, the results of this study will inform the implementation of a donor wall for the CSULB Theatre Arts Department</p>

<p>The following report is on the point of view, conceptualization, and evolution in its final execution of the lighting design by Elisheva S. Siegel for California State University, Long Beach Theatre Department?s 2015 University Player?s production of The Last Days of Judas Iscariot by Stephen Adly Guirgis. It is submitted in partial fulfillment for completion of the Master of Fine Arts degree in Lighting Design. I believe that the core of this story is about challenging what we know is to be true. Furthermore, to physicalize the break down of these philosophical walls throughout the court proceedings against Judas Iscariot, a grid of severe lighting angles was employed. This grid evolved from extreme isolation to a blur as these black and white lines of moral principles becomes grey. Other visual metaphors include personifying Judas? despair, a contrasting atmosphere for the Past, and propelling into another dimension during Pilate?s testimony.

<p> This thesis explores the ways in which the fields of neurobiology and cognitive science impact concepts of performer processes, and how the findings of this research can help actors and actor trainers to examine assumptions that inform how they frame and describe performer practices. Cognitive science research provides a precise understanding of the embodied processes of &ldquo;self&rdquo;, &ldquo;consciousness&rdquo;, &ldquo;emotion&rdquo; and &ldquo;perceiving&rdquo;, and I argue that it is productive to interrogate these terms as they pertain to descriptions of the actor&rsquo;s practice and performer training. </p><p> In this thesis I describe the relevance of cognitive science findings to theatre with respect to concepts commonly advanced in actor training in the United States, namely the &ldquo;self,&rdquo; &ldquo;truth,&rdquo; and &ldquo;authentic.&rdquo; I offer a reconsideration of these concepts through a cognitive science lens that opens up possibilities for emerging dramatic and performance paradigms. I then propose the development of a &ldquo;corporeal intelligence,&rdquo; that enables an actor to propose gestures, movement, vocal strategies, and action</p>

<p> <i>Urinetown: The Musical</i> by Greg Kotis and Mark Hollman was produced by the Department of Theatre and Dance at George Washington University in the Fall of 2014. The show opened on October 30, 2014 at the Dorothy Betts Marvin Theatre, part of the George Washington University in Washington DC. It was directed by Muriel Von Villas along with costume designer Reema Albawardy, lighting designer Carl Gudenius, and set designer Kirk Kristlibas. This thesis explores the costume design process for <i>Urinetown: The Musical</i> and the challenges of working with a large cast and dealing with many quick changes.</p>

<p> Through associations and personal experiences, I settled on the overarching concept that, "The road is closed," for the stage design of <i>As You Like It.</i> Pulling from my surroundings as inspiration, I created a realistic road on the Studio Theatre's stage using found and borrowed objects to enhance the road's authenticity. With a blocked road as a metaphor for the characters' inner journeys to overcome their own prejudices and achieve an enlightened way of thinking, the audience joined the ensemble on their path of self-examination and discovery.</p>

<p> This thesis illustrates the effect of reality television singing competitions on Broadway musical theatre. Chapter 1 examines the current Broadway casting climate prioritizing name recognition. Chapter 2 explores the genesis of musical theatre singing styles. Chapter 3 offers Stanislayski and Uta Hagen's acting techniques as a guide for musical theatre acting, analyzes the Jukebox musical, and investigates the reality TV singing style and its relevance to the musical theatre actor. The chapter then scrutinizes the hypocritical stance taken by reality TV singing shows toward the Broadway singing style. Chapter 4 examines the loss of storytelling on musical theatre and advocates the seeking of mastery in the acting process. Chapter 5 explores the circumstances that allow for Broadway to incorporate pop music. Chapter 6 reinforces storytelling's importance to musical theatre.</p>

Thesis (Ph. D.)--University of New South Wales, 2001. / Also available online.

Thesis (Ph.D.)--University of Maryland, College Park, 2007. / Adviser: Franklin J. Hildy. Includes supplementary digital materials. Includes bibliographical references.