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Scholastic texts on theater move from the Greeks and Romans to the theater of Shakespeare's time with little or no acknowledgment of the Middle Ages. From the late thirteenth century until the reformation an active community theater known as the mystery plays existed throughout much of Europe. The York Corpus Christi Cycle was part of that movement. The play was produced by the guilds of York under the supervision of the chamber of commerce with the Church monitoring the theology and morals. Performed yearly on the Feast Day of Corpus Christi, the subject of the play was the salvation of man from the creation through the last judgment. This thesis examines in depth the language and characters of four pageants of the forty-eight pageants of the York Cycle Play and draws connections to the writings and teachings of Bishop Thoresby. While many scholars understand the Cycle Play as a municipal production, this thesis argues that the plays were in fact created by the Church as a means to bring their teachings to the Medieval masses.

Education has become a revolutionary field in which constant change and diversification of students in the classroom has sought for much differentiation in lessons and instructions. One of the popular forms for differentiation is that of drama or theatre techniques. Theatre has been used in many forms for fostering education. One of the elements from ESL teacher's experience is using theatre in the English as a Second Language classroom or EL class to aid students in learning English. The study focused on the influence theatre arts components have on students learning English as a second language. I proposed to present a detailed look at the influence of taking a theatre course for the EL students, as well as, using Theatre in the Language Arts classroom. I intended to incorporate observations and evaluations throughout the process to measure the level of English. Data from the evaluations was used for the analyzing of improvement or lack thereof English.

This thesis examines the portrayal of multiple roles in a production of Camelot, written by Alan Jay Lerner and Frederick Loewe. Performance and content analysis identifies and explores the difficulties and challenges in portraying multiple roles in this production, including the understudying of the leading role of Guenevere. A detailed historical analysis provides background into origin of the Arthurian legend and an examination of its historical development. A social analysis provides information on the role of women in medieval society with a discussion of the customs and laws that applied to them. Furthermore, a structural analysis of the script examines the plot and play structure. In addition, in individual sections is formal scene-by-scene analysis of the role of Nimue, Lady Anne, and Guenevere. A comprehensive rehearsal and performance journal also addresses the rehearsal and script development process and challenges faced as well as discoveries, adjustments, and choices made in performance from April 14 to May 30, 2004 at the Orlando Broadway Dinner Theatre. Specific entries include discussion of the challenges of playing minor roles while understudying the role of Guenevere, eventually played in one performance. Belinda Boyd and Christopher Niess, my thesis committee, have each provided a performance analysis of my portrayal of Nimue and Lady Anne. J.J. Ruscella, another committee member, has provided a performance analysis of my performance as Guenevere.

Anita Endsley will portray the role of Sister Mary Hubert in the musical Nunsense at Seaside Music Theatre in Daytona Beach, Florida from October 28 through November 14, 2005. This parody of convent life in crisis written by Dan Goggin provides a breadth of material for analysis of the genre as well as character analysis. Dissecting the comedy will be the foundation for characteer development. The popularity of this musical among Catholic and non-Catholic audiences have created a market that inspired the writer to extend this theme through five sequels. The commercial success of these musicals suggest a strong connection between the demands of the Catholic doctrine and the foundation for comic relief. A vast amount of research can be incorporated to assist in the analysis of comedy written into Nunsense.

Constantin Stanislavski developed a method for actors in bringing to life characters for the stage. Even though Stanislavski developed his theories in response to the stage climate of the late nineteenth and early twentieth centuries, many of his ideas remain relevant today. In this study, parts of his system were applied to the roles performed in Moises Kaufman's The Laramie Project. Those roles were Moises Kaufman, Jonas Slonaker, Doug Laws, Anonymous, Detective Rob Debree, Governor Jim Geringer, Reverend Fred Phelps and Dennis Shepard. The purpose of this exploration was to create unique, believable characters and develop solutions for personal acting problems. Through this study, it was concluded that this method empowered me as I sought ways to personalize with the reality of the characters.

My thesis focuses on how true-life events resulting from hate crimes have been theatricalized for the stage. My research discusses hate crimes that have occurred throughout history. My primary research centers on Ragtime (1897-1918), The Diary of Anne Frank (1939-1945) and The Laramie Project (2002), which deal with racism, antiSemitism and homophobia, respectively. My intention is to highlight how theatre impacts the ideas and thoughts of audiences and transforms thinking and points of view forever, as well as impacting cultures and our world. In addition, I discuss the historical measures that led to these events and progression in modern times. Music, art and theater are known as "performing arts" which enrich our lives and leave us feeling complete. They also have the power to influence people and open minds and hearts to different ways of thinking about the world and its people

Communication is a pivotal element in creating theatre with other artists, with audiences, and with the outside world. Theatre artists are required to collaborate at nearly every step of the process. Despite the necessity of highly developed collaboration skills, communication in the creation of theatre is an often-underdeveloped curriculum area. As a Director and Teaching Artist I am particularly interested in how to find new ways of collaborating so I may model and pass these skills to my students. Through a qualitative research survey of communication used in collaborative devising, this research analyzes environments that improve communication and allow for maximum creativity in an effort to develop critical communication pedagogy. This study examines my approach in working through a devising process as the Coordinator of a collaborative group of adults creating an original play. I examine our process and make connections as to how devising influenced my future work as a Director and Teaching Artist. By examining the theatres that make extensive use of ensemble devising as a tool for creating theatre, I gained insight into more collaborative ways of working. This research found support through examination of group communication theories and methods in which they promote collaborative spirit. Finally, critical pedagogy offered a lens through which I can impart these discoveries to young artists. I discovered ways to use the model of devising to open the possibilities for my students to take ownership over their processes and the art they create. I also gained insight into the role of facilitator in order to develop ways of modeling and teaching these communications. Communication pedagogy in the theatre allows me the tools to identify, question, and transform my experiences in creating theatre as a director and teaching artist.

The writings of this thesis will expose the recent account of an actor's journey while working as a writer, director, & actress. Historical facts, journal entries, personal cast photos, an excerpt of the WDQ script, highlights of the first excerpt premiere of Winners Don't Quit, and so much more are just a few features this thesis uncovers while relating to the actress process as she discovers her artistic voice. Instead of finding an acting opportunity she's created one for herself, and other aspiring artists. The scope of the research was done on a local and national level featuring a collection of material in support to the main thesis.

This master's thesis project focuses on the life and music of Liza Minnelli, the research of which culminated in the development of a one-woman performance piece and monograph. Using song, dance, and dramatic dialogue, this presentation reveals the many aspects of Liza's heart and soul, her relationship with her famous mother, and her own personal struggles. Through the eyes of Liza, this piece will explore the duality of her life--the underlining turmoil that fluctuated between her personal life and professional career. My methodology includes studying biographies, articles, and interviews written about Liza Minnelli, as well as watching films and performances of her work. The performance piece is a compilation of my research. I will also explore the relationship and influence that Liza's famous mother had on her, and see if other adversaries in her personal life affected her choices as a singer, actress, and entertainer. People have often told me I look like Liza Minnelli. Walking down Lexington and 47th Street was one of the many times; I was approached by excited Liza Minnelli fans wanting an autograph and snapshot of me. The reaction I received in letting them know I was in the same business was just a precursor to daydreaming of one day portraying Liza on stage. I always loved Judy Garland's and Liza's musicals and movies. They inspired me at a young age. Never once did I try to emulate Liza's style or copy her personality, because like her, I am determined to be my own "me." Ultimately, I would like this to be the beginning of something that I can continue to develop and workshop with the intent to produce for other professional theaters.