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.

The following research project is the result of comparing and contextualizing the original non-musical and musical drafts of the original 1961 Broadway production of How to Succeed in Business without Really Trying. The intention is to detail the process of musically adapting a non-musical source, specifically the 1952 satirical text How to Succeed in Business without Really Trying: The Dastard's Guide to Fame and Fortune by businessman-turned-satirist Shepherd Mead. Research was predominantly completed through analysis of the non-musical draft written by television writers Jack Weinstock and Willie Gilbert in the 1950s and acquired from the Billy Rose Theatre Division of the New York Public Library. This was supplemented through acquisition of the eventual musical draft by Broadway book writer and director Abe Burrows from the same institution. The research found that adapting non-musical satire for the Broadway stage can prove challenging and equally beneficial when mounting an American musical. The study additionally foregrounded the struggle to perceive How to Succeed... as "satirical" in the modern era against its implied sexist undertones evident in all iterations of How to Succeed.... The overall findings intend to provide scholarship offering an in-depth examination of the two principal adaptations of a landmark Broadway musical considered part of the revered Broadway canon. Doing so will provide a richer context to its legacy and, simultaneously, provide a necessary discourse on determining the individuals responsible for its conception.

Actors have ingrained vocal, physical, and mental habits they unknowingly use on stage in the form of physical movements, vocalization, and character choices which can inadvertently communicate information to the audience. Rarely, however, are actors asked to play themselves and if their own habits are unconsciously being merged with their intentional character choices, then the audience's perception of the actor's portrayal may be shaped by unintentional behavior. "The Actor and the Iceberg" will be a synthesis of awareness building and control techniques for the mind and body, specifically: meditation, mindfulness, the Feldenkrais Method, and the Alexander Technique. The goal of combining these techniques is that they will enable the actor to gain awareness and control of their habits, thus providing them the ability to create a character with inherently genuine choices unblemished by actor tendencies. These ideas will be incorporated through the portrayals of Don Pedro and Wilmore in The Rover. The success of the process will be measured by a biweekly self-examination of habit recognition and control coinciding with a bi weekly examination via movement professor and stage combat instructor.

This thesis is an exploration of best practices in regards to creating a safe space within the theatre for artists to feel comfortable creating without risk to their emotional or physical safety. These safe spaces are particularly needed around shows which call for onstage racial violence or racist language. Methodology for these best practices includes theatrical intimacy, safe space creation as utilized by various advocacy groups, Theatre of the Oppressed, and drama therapy. In addition to these best practices that apply to the entire production, ideas for individual practice are explored. As a case study, Theatre UCF's production of Sweat by Lynn Nottage is examined; the successes and areas for potential growth within the work to create a safe space.

Theatre for Young Audiences companies in the United States rely heavily on recognized titles to bring in audiences. As a result, most of their productions are adapted from recognizable titles, including films, television series, and popular literature. These adaptations draw audiences in that may not otherwise go to the theatre, which is especially important within the world of TYA where the target audience (children) only gains access to a theatre through adult caregivers. Additionally, most children go to the theatre as part of school field trips, further encouraging season selections that will fill educational needs in addition to providing theatrical experience. The intersection between theatres, the adapted works they produce, and the educational responsibilities of these theatres were the inspiration for this thesis. How can theatres help audiences move away from simple compare and contrast between a book and a play? How can theatres promote more meaningful interaction with the artistic process? This thesis seeks to provide a pathway for practitioners seeking to foster more meaningful audience engagement. It begins with a history of how Theatre for Young Audiences, dramaturgy, and adaptation theory evolved in the United States. That context provides a foundation on which to explore how the intersectionality of each of these domains can be harnessed to engage audiences in purposeful critical thinking about the art they see and drive them toward becoming thoughtful creators on their own.

An overview of the lighting design processes for two main stage productions produced by the University of Massachusetts Amherst Department of Theater, EVERYBODY by Branden Jacobs Jenkins, and DANCE NATION by Clare Barron, with specific emphasis on the emotional, logistical, and pedagogical challenges of producing live theater in an educational setting after a year of isolation due to the covid pandemic. This thesis documents my design process for each production including text analysis, preproduction process, collaboration with the assistant Lighting Designer Hyejung Kang and the production electrician Michael Dubin, and includes reflections on my experiences teaching and mentoring students throughout the collaborative and production processes.