Call number: LD2668 .T4 1958 Z85

Call number: LD2668 .T4 1964 B16 / Master of Science

LD2668 .T4 1966 C37 / Master of Science

LD2668 .T4 1966 W752 / Master of Science

Call number: LD2668 .T4 1966 N853 / Master of Science

No description available.

This study examines the process of theatrical direction as a communication system. Its components are described in terms of their function as elements of a communication process. The communication activities within the theatrical process are analyzed by means of four categories of theatrical communication networks: conceptual, aesthetic, observational, and social. Theories of communication have been surveyed and then applied to the theatrical process. Particular attention is paid to role functions of the director within the social and the aesthetic networks. The conclusion reached in the study is that the effectiveness of the communication networks used in theatrical directing is determined by the functional roles and the leadership styles adopted by the director as he participates in these networks.

This thesis records and details my journey of bringing to the stage Fire and Cloud, a short story by one of America's most respected and controversial writers, Richard Wright. It chronicles what I learned about him as a writer and the value of his work for the stage. In producing Fire and Cloud the director endeavored to assemble of group of actors who were willing to take risks while creating an environment for them in which they could function effectively as an ensemble.

This thesis examines the production process for "Camp, Vamp and Femme Fatale," performed at the University of North Texas in April of 1997. The first chapter applies Henry Jenkins's theory of textual poaching to the authors' and cast's reappropriation of cultural narratives about female vampires. The chapter goes on to survey the narrative, cinematic and critical work on women as vampires. As many of the texts were developed as part of the fantasy role-playing game Vampire: The Masquerade, this chapter also surveys how fantasy role-playing develops unpublished texts that can make fruitful ground for performance studies. The second chapter examines the rehearsal and production process in comparison to the work of Glenda Dickerson and other feminist directors.

Gestalt Work for the Actor is a documentary about Dr. Renee Vincent's Gestalt acting exercise. Students are trained to recall powerful emotions and then employ the conjured passions into performance. This documentary examines the Gestalt acting exercise and what benefits it affords actors. The accompanying production book explains the production processes: preproduction, production, and postproduction, as well as the theoretical approaches used in the documentary.