As an active director of productions featuring youth actors, I find myself debating the same questions continuously: Are there clear and demonstrated differences between working with young people and adults when directing a youth theatre production? Are there approaches and methods of working with young people that differs greatly from working with adults? Are these methods supported and utilized by those working professionally in the field? Is there an ideal format for a theatre producing only productions with youth? I believe that directing young actors tends to require a shift in focus due to the pliability, sensitivity, and inexperience of the actors. I feel the director must take into account the emotional, developmental, and educational needs of the young people and at the same time remain focused on the creation of a product with artistic integrity and clear storytelling. Due to the didactic nature of Youth Theatre, directing young people often requires an awareness of process over product despite the similar end goal of directing adults. Since little research or literature exists about the differences between working with adults versus young people, I will pursue information by interviewing several recognized professionals in the field of Theatre by and for Youth. I will examine their multiple methods, techniques, and practices of working with young people. In addition, I will use my personal experience working with youth at the Orlando Repertory Theatre in Florida and Coterie Theatre in Missouri. Through an investigation into the emerging field of Youth iv Theatre coupled with my education, I plan to develop a workable and effective youth theatre company based upon these findings with the hope it might inspire others working in this field

...In this thesis I will attempt to demonstrate the enduring power of Brecht's proletarian vision by reference to a production of THE GOOD WOMAN OF SETZUAN that I directed at Virginia Tech, Blacksburg, Virginia, in December, 1981. In this introductory chapter I will outline and discuss the theoretical writings that I used to prepare for an analysis of the play. An exhaustive survey of either Marxist theory or of the works of Carl Jung as they relate to Brechtian production are clearly outside the scope of this thesis: there are sufficient studies available for further research by the reader. I will examine only those sources which contributed to the development of a production concept for THE GOOD WOMAN OF SETZUAN... / Master of Fine Arts

Although the duties of Artistic Directors of not-for-profit regional theatres in the United States are similar, the job description varies according to the management structure, mission of the theatre, and personal style of the individual holding the job. This thesis serves as a report and a subjective overview of an observership with Fred Chappell, Artistic Director of The Alliance Theatre Company/Atlanta Children's Theatre; David Head, Artistic Director of the Theatrical Outfit; and Frank Wittow, Artistic Director of The Academy Theatre. Each chapter contains: (1) a brief history and description of each theatre company; (2) the mission statement of each theatre; (3) biographical information regarding each Artistic Director; and (4) a subjective overview of the observation at each theatre. Complete transcripts of the interviews are included in Appendices A, B, and C of this thesis. / Master of Fine Arts

The Arkansaw Bear, a children's play by Aurand Harris, was first performed on March 20-29, 1980, by The University of Texas at Austin. On October 23-25, 1981, the play was produced at Virginia Polytechnic Institute and State University in Blacksburg, Virginia under the direction of Marie Wendt Zirkenbach. The author describes this production with a script analysis and a narrative of how the production evolved. A diary on the actual directing process used, an annotated prompt script, evaluation, production photos, production ground plans, and various relevant materials are included. The thesis also contains a narrative on how production choices were made. / Master of Fine Arts

Directing texts are inadequate in their various approaches to teaching the concepts of stage-composition. The goal of this thesis was to show that, for an approach to stage composition to be judged adequate, it must systematically provide the student of directing with a firm grounding in design and compositional principles as they relate to the total stage picture. Nineteen texts were studied and their presentations of compositional principles were analyzed. Eight texts are included in an in-depth structural analysis. The texts analyzed are Fundamentals of Play Directing by Alexander Dean, The Art of Play Production by John Dolman, Play Direction by John Deitrich, Principles of Theatre Art by H. D. Albright, W. P. Halstead, and Lee Mitchell, Directing Methods by Albert and Bertha Johnson, Play Directing by Francis Hodge, Creating Theatre by August Staub and Creative Play Directing by Robert Cohen and John Harrop. The analysis of these texts includes a detailed comparison of terminology· and approaches to the presentation of compositional principles. Of the nineteen texts included in this investigation, only one, Creating Theatre by August Staub, presented a systematic approach to design fundamentals and compositional principals as they relate to the director's function. Also included in this thesis are the writer's criteria for judging the adequacy of approaches to composition in any directing text. The conclusion reached by the writer is that the authors of texts on directing, as well as the schools that offer programs in theatre arts, need to emphasize design fundamentals as an essential element in any theatre student's training.

It was the purpose of this thesis to write an original script especially designed for Readers Theatre and to direct and produce that script for public performance. The thesis consists of an introduction which includes background material, a review of the literature concerning Readers Theatre, and the problems of writing an original script. The thesis includes the script as well as an evaluation of the attendant problems concerning the direction and production.

The purpose of this project was to prepare a group interpretation script based upon the life of Sinclair Lewis and to direct a production of the script. Major sources for the script are Mark Schorer, Sinclair Lewis: An American Life; Grace Hegger Lewis, With Love From Gracie; and Vincent Sheean, Dorothy and Red. The script employs five readers and has a performance time of approximately fifty-five minutes. The thesis includes a biography of Lewis, a justification for the project, the purpose and procedures followed, as well as discussions of the production concept, adapting material for group interpretation, direction, rehearsal procedures, and evaluations of the script and the performance. The complete script is also included in the thesis.

Call number: LD2668 .T4 1958 Z85

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

LD2668 .T4 1966 C37 / Master of Science