This thesis is a narrative of a project called the James River Anthology. The project was an experiment in "process theater" for the all-boy student population of Seven Hills School in Richmond, Virginia. Students were asked to write their own monologues and create masks inspired by the James River in the 2004-2005 school year. The performance was held on April 28th, 2005 at the Lewis Ginter Recreation Center. A grant from Partners in the Arts was awarded for this project to fund visiting artist, Heather Hogg, author of this thesis.

In this thesis, the author explores a vocal phenomenon called “vocal fry” and why this dysphonia has emerged as one of the primary means of communication for the population referred to as “Generation Y.” The first chapter defines what vocal fry is and why it is of modest value to the stage actor. The second chapter defines the physiological means by which the human body creates sound, what good sound is and how vocal fry is created. The third and fourth chapters define several generations as well as what defines Gen Y, and the communication physiologies associated with those generations. The last chapter discusses the rise of narcissism within Gen Y and how this may relate to the arrival of vocal fry as a default register for theatre students. The conclusion outlines several solutions that may alleviate the problems associated with this dysphonia.

An overwhelming number of contemporary adolescents struggle with difficult issues. Many of these problems are socially related whereas others can be directly related to the degradation of the family unit. Among the most damaging of issues is distorted body image, which infect youth, often causing them to communicate aggressively, and even landing them in compromising situations. I have sought to challenge my students to redefine themselves through expressive movement and the creation of abstract rhythmic sounds. In teaching these techniques, I have given my former students the means to combat negative thoughts and actions, as well as an excellent tool for self-discovery. In leading a number of workshops targeted to specific populations, I have taught an innovative technique of movement expression that replaces the spoken word, thereby allowing an individual to unlock the previously undiscovered power of his/her body.

Physically, vocally, and physiologically something happens to the actor in rehearsal and performance that can impact the actor’s everyday life. Practitioners have described this as boundary blurring, emotional hangover, and post-dramatic stress. Even acting as a profession can breed stressful situations for the actor. Actors can combat the blurring, the hangover, and the stress through awareness and process. As a part of process, actors warm-up to prepare their bodies and voices and to transition from real life to stage life. An often ignored aspect of process, but no less significant than the warm-up, is the cool down. After researching the acting experience and the cool down, I introduced several student actors to the cool down during two productions and a workshop. Through these practical experiences, this research, and numerous interviews, I have compiled exercises to facilitate the transition between the acting experience and everyday life.

A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University.

This thesis explores whether Augusto Boal’s Theatre of the Oppressed (TO) can help anomic communities, affected by deindustrialization and globalization, in the U.S. Midwest, specifically looking at Saginaw, MI. After presenting a paper at the American Symposium for Theatre Research (ASTR) conference in 2009, the author attended a Theatre of the Oppressed facilitator training in Port Townsend, WA under the direction of Marc Weinblatt. She then conducted her own Theatre of the Oppressed workshop in Saginaw, MI to analyze the abilities of Theatre of the Oppressed in an anomic community. Each experience is detailed and followed by the author’s conclusions and hopes for Theatre of the Oppressed in the Midwest.

Video games are becoming the fastest growing and most lucrative form of entertainment across the globe. The goal of this project was to take gaming to the next level; to the theatre. I have devised an original piece of theatre using the CIC’s of video gaming: Creativity, Interaction, and Community and put on a production from members of the VCU community. Aside from the project, I have detailed why video games are growing in popularity at an alarming rate and why they belong in the category of ‘Art.’ With new technology and new stories being told, the gaming industry is now an entertainment force to be counted. The project was exposed to the VCU community involving gamers from many different areas of study through theatre as our medium allowing us to convey our thoughts, emotions, and message to an audience. This experimental project is an exploration into bridging the world of gaming into the laps of an awaiting audience.

The world around us has changed so much, socio-economically, that musical theatre departments around the country are facing budget shortfalls, staff attrition and even vertical cuts leading to full departmental closings. This paper attempts to divert these measures, as well as address the new role of student as consumer, by way of proposing a new musical theatre curricular model to satisfy the needs of both student and university alike. Topics such as fiscal responsibility in academe, departmental expectations, current employment statistics in the musical theatre field and current student learning outcomes are covered. The current student learning outcomes are then joined by two newly proposed outcomes and serve as a lens through which the curricular redesign is possible.

One of the top television reality shows today is So You Think You Can Dance? This show showcases many talents of top choreographers, including Ms. Mia Michaels. But what makes her stand out from the other choreographers in her field? With this thesis I explore why I believe Mia Michaels to be the best emotional storytelling choreographer of the twenty-first century. Analyzing examples from the show, four from Michaels and four from other choreographers and using a movement scoring method, I find why her work stands out. I will also explain how Michaels got her start in choreography, her philosophy and creative process along with why story is even important in dance. By learning more about how her uses personal vulnerability and emotional struggles in storylines that connect to a larger community in her choreographed movement, other choreographers can use her tools to further their own individual work.

This thesis presents the unique designs for four productions: Ain’t Misbehavin’, Is He Dead?, Dead Man’s Cell Phone, and Legacy of Light. Presented here are the research images, conversations, situations and their resulting designs represented in my renderings and photographs of the fully realized production. Throughout, I will state my objectives in bettering the quality of interaction with each director and my reflections on the ongoing process of creating a trusting and balanced collaborative process, one that expertly serves the production.