The Death of Beowulf: Exploring the Conception, Process, and Lessons of an Original Solo Performance Based on a Classic is the exploration of a performer's journey understanding how their own identity and aesthetic has been defined by other works of art and how it affects their creative expression. The author examines the nature of classics as culturally and personally formative texts, and how the artist's experiences and interpretation can potentially deliver fresh understandings of a familiar text. Then, by applying this to his own process of devising a script based on the epic poem Beowulf, he grapples with the challenges of encountering and freeing the authentic self to create art that reflects an honest refraction of the artist's experiences and interpretations. How does one adapt a classic text based on one's interpretation? What value does one's personal voice have in a centuries-old conversation about a classic? What challenges does solo performance present to the performance of a fictional work? How does one implement an identity-driven lens to craft a fictional character based on source material without sacrificing the exposure of self? By utilizing the techniques of Jerzy Grotowski and Michael Chekov's concept of creative individuality through the process of retelling a classic story, the author frames the necessary value of one's own personal aesthetic, interiority, and authenticity in creating personal and potent works of art.

Power dynamics between teacher/director and student/actors in an educational theatre setting are inevitable and directly impact the way consent is viewed and given, specifically with youth performers. In response to the #MeToo movement within theatre and film, the role of intimacy choreographer emerged with the goal of creating a consent-based rehearsal process that ensured the mental, emotional, and physical safety of the actor (Pace 25) while conveying the intimacy required to effectively support the script. The use of intimacy choreographers is almost exclusively used in professional film and theatre settings. Applying the pedagogies created and taught by leading intimacy organizations Intimacy Directors and Coordinators (IDC) and Theatrical Intimacy Education (TIE), this thesis is an exploration of the implementation of intimacy best practices during a rehearsal process in educational theatre. Furthermore, I will hypothesize additional applications beyond the rehearsal room into the classroom. Examining the following questions: How does the application of IDC's and TIE's best practices affect the rehearsal process? What are the effects of a consent-based practice in a rehearsal space? How can these best practices be applied to educational theatre outside the rehearsal space?

Satire is having a unique cultural moment. Conversations about what constitutes satire, why it should be performed, and how can it be done ethically are abundant in American popular culture. As with many forms of art and entertainment, satire has become a major subject of discussion in the great American Culture Wars: the conflict between the highly stratified ideological poles of right and left over the dominance of each's closely held social values, political ideals, and aesthetic sensibilities. Divides, real and imagined, in the American public have given popular discourse a sharp and biting edge, driven by growing political polarization and rampant misinformation, spurred by completely new forms of online communication, and exacerbated by a publicly ineffectual government. The use of art as political propaganda is nothing new; what is unique is the degree to which taste culture and artistic preference are now markers of identity and allegiance. The stakes of the discourse surrounding nearly all art and entertainment feel considerably higher than in other recent periods in America's history. Satire's strengths lie in its ability to wound its target and reveal truth to its audience. Thus, is the form an answer to our collective crisis of national dividedness? A means of dispelling the fog of fraudulence and holding to account those responsible for its existence? Or is satire kindling for the Culture Wars' blaze: an accelerant to America's growing mean-spirited, bad faith, point scoring political actors? Through utilization of several modern and historical theoretical perspectives on the form in performance, as well as a personal reflection on my own work producing and acting in a reading of C.J. Hopkins play The Extremists, I seek to probe satire: our understanding of what it is, how it works, and if it is useful.

Systems of power in traditional theatrical and educational models may lead to controlled, efficient classrooms, but they do not help us facilitate creative, collaborative spaces. These power structures privilege some people over others and all people over environmental concerns. Eco-theatre artists emphasize the agency of more-than-human materials and encourage us to see our environment as a collaborator. Using eco-theatre theories in a synthesized methodology, this thesis explores how facilitators might interact differently with students and surroundings to disrupt power structures and lead to more inclusive collaborations. What tools and practices help students embrace challenges and work through tensions on their own? How might students complicate their understanding of identity to see the world from new perspectives? The educator's role is examined and discussed in two projects: "Sprouting Imaginations," an outdoor storytelling class for elementary school children, and The Grumpiest Boy in the World, a show for young audiences, performed by adults, and produced at Maples Repertory Theatre.

Acting is a discipline that changes over time not only for the audience, but for the actors who create it. Not only is their craft shaped through study, practice, and repetition that we as individuals have towards the art form, but it is strongly influenced by our environment and personal histories. As actors, we have to bear in mind what we are presenting, when we are presenting it, and why. These choices are a collaborative effort made through the discussion of various artists including, actor, director, writer, etc. For my thesis, I would like to show you what my journey and shortcomings have been one year after an acting intensive internship, and two years out of academia at the University of Central Florida. Through my rehearsal process and performance of George Banks in Mary Poppins at the Hale Centre Theatre in Sandy, Utah, I will analyze my unique experience being double cast, how my personal experience colored my understanding and choices while creating a character, and the pros and cons of being in a professional theatre in the beginning of the Covid-19 pandemic

As a performer, I am still challenged with thoughts of anxiety, fear, and premeditated responses. This anxiety often prevents me from exploring choices in the rehearsal room and impedes my character's given circumstances during a performance. It has become imperative for me to explore a new way to approach a role psychologically, emotionally, and physically. I hope to eliminate the persistent problem that occurs in my process; the common gap between mind and body that prevents me from creating a dynamic, holistic performance. This document will examine two vital stages of the development and application of my new process. As I create the roles of Jessie in Lynn Nottage's Pulitzer Prize-winning drama Sweat and Lucetta in Aphra Behn's Restoration comedy, The Rover, I will experiment with various techniques that promote mindfulness and awareness. The second stage will solidify the process through the creation of self-recorded monologues.

Empathy is often heralded as a vital part of the theatrical experience. Generally understood as the experience of feeling what another person is feeling, it is believed to help actors create more honest performances and to help audiences better understand viewpoints different from their own. These empathic experiences are complicated, however, when applied to stories about characters who commit unforgivably evil acts and may lead people to feel manipulated into justifying or sharing the immoral beliefs of these characters. This thesis argues that for theatre practitioners telling stories about morally reprehensible characters, compassion, involving feelings of care and concern for another person and a desire for their well-being, is a more useful goal. Using the research of Paul Bloom and Tania Singer as well as the theoretical writings of Michael Chekhov and others, the author details several techniques in the fields of playwriting, acting, and dramaturgy to help tailor theatrical works to elicit compassionate reactions instead of empathic ones. Through compassion, theatre practitioners will be better equipped to use theatre to affect positive social change in their communities.

Actors are frequently required to be emotionally available on the spot, in situations ranging from an early morning acting class, to filming a scene well past midnight after a full day on set. In theatre, there is the expectation to deliver the right emotion every performance, and in film, when the camera and crew are ready, the actor is expected to produce the emotion at that moment. This demand to give emotionally compelling performances can cause an actor to stress under the pressure to deliver. Acting for stage and film have similarities and differences, and an actor needs to learn how to adjust for the emotional nuances of each. This thesis explores an actresses' practice-as-research experience with emotional availability on various films (independent and student feature, short, and industrial films), and an outdoor amphitheater production of A Midsummer Night's Dream. The techniques used, and each situation's circumstances, are analyzed to find what helped or hindered access to emotional availability. With what is learned from this practice-as-research, the actress decides the next steps in her journey to increase her emotional availability.

As theatre graduates walk across the stage and receive their diplomas, the message they hold close to their hearts is "Go forth and act." The next day, week, or month the question becomes very clear, "HOW?" This thesis focuses on a practical problem facing theatre graduates whose goals are pursuing the field of acting professionally. Theatre students are given the basic tools for honing their skills but are unequipped to create a viable, sustainable career in the field. The objectives in this paper are to outline problems actors encounter when attempting to build a career and offer practical advice for starting, building, and maintaining a career in the performing arts. The methodology I used was primarily qualitative. The examples and data were collected primarily through personal experience. In addition, I gathered advice and personal examples from professionals who have been faced with the daunting task of pursuing a career in theatre and the solutions they offer when navigating the field. This methodology was the best choice in light of the fact that those faced with the uncertainty of how to begin and maintain a career know best the problems young actors will face. Practical suggestions do not come in the form of numbers. This paper reveals the problems faced with this difficult task and gives actors the tools necessary to pursue a career as well as adjust to the ever-changing requirements of a theatre career. Actors may then use this advice as it applies to their individual careers. Using the tools given during academic training, the actor must build the foundation and structure of a career, and then begin marketing that career. The primary focus of the foundation in this thesis is creating a strong audition package. Through my research, the problems involved in creating this package were delineated and practical solutions were offered. The structure of the career focused primarily on the rehearsal and performance process. Emphasis was placed on not only performance excellence, but the communication skills and etiquette needed to build a reputation in the theatre community. Finally, marketing the career gives practical advice for demo reels, headshots, resumes, websites, and financial concerns. No path to an acting career is the same for every actor. Success can never be guaranteed, but a viable, sustainable career in theatre is possible. Actors need to understand the problems they will face, and this thesis gives practical approaches to be used to overcome the many obstacles they face.

In the fall of 2020, I began one of my most demanding graduate career courses, Audition Techniques. We explored Michael Shurtleff's book, Auditions, to learn about his auditioning techniques. I found early on in this journey that I lacked a consistent approach to auditions. This thesis represents the process of auditioning and will serve as a tool for actors transitioning from the educational theater, seeking to improve confidence in auditioning. In a regional theater audition for the Orlando Shakes, I will evaluate my ability to apply techniques learned in educational theater training, such as Shurtleff's 12 guideposts and ways to approach Shakespeare's text. I will document my audition process for the open call and callbacks of A Midsummer Night's Dream at the Orlando Shakespeare Theatre. I am searching for ways to personalize my characters by implementing Shurtleff's 12 guideposts and techniques to approach Shakespeare, such as paraphrasing, defining, scanning, playing actions, and grammatical breath. This study concluded that the method mentioned above empowered me as an actor and strengthened the way I prepared for auditions.