The constant development of new plays is vital for theatre to stay relevant. There is a desire, a yearning, a need to see the issues we face in our lives on stage in current contexts, and to watch characters living with them. The ability, as an Actor, to be an asset to the process of creating new works is invaluable. For my thesis, I discuss the role of the Actor in the process of developing new plays for the stage. I say “discuss” because I venture to guess that this role is constantly evolving. There may be as many ways to approach the process as there are collaborative teams. Therefore, I do not suggest there is one right way in which an Actor can play a part in the process of new play development, nor do I intend this to be a comprehensive look at all the roles an Actor can play. However, I discovered some best practices, which I put into a list and seized this opportunity to cultivate my skills in these areas. My intent was to work and speak with Playwrights and Directors, learning from them what they value in an Actor at the various phases of new play development, and to nurture these skills within myself. I utilized my discoveries in the World Premiere of Triangle Logic by Debbie Lamedman. As theatre is a collaborative art, I learned to shift and adapt my role, depending on the other collaborators. While Triangle Logic was the larger focus of my thesis work, I also sought additional smaller projects, such as the workshop productions of Steven Christopher Yockey’s play, Heavier Than…, part of Orlando Shakespeare Theater’s PlayFest 2010, and Orlando Repertory Theatre’s devised play Writes of Spring, I thinK his NamE Was rick. I applied iii techniques I learned while working on Triangle Logic to the other new projects, where appropriate. I endeavored to evaluate each experience objectively, while recognizing that they were, by nature, subjective experiences.

The purpose of this thesis is to showcase the importance of God-inspired Theatre and to manifest the transformative effects of living in accordance to the Word of God. In order to share my vision for theatre such as this, I will examine the biblical elements in Zora Neale Hurston's short story Sweat (1926). I will write a stage adaptation of the story, while placing emphasis on the biblical lessons that can be used for God-inspired Theatre. When viewing the stage adaptation based on Sweat, the audience members will understand how God-inspired Theatre aims to help members of society utilize their gifts and abilities to assist others in achieving spiritual stability. The members of the audience will also be informed of my vision to use this piece to inspire others to embrace cultural awareness and sensitivity. This is my vision--helping others to walk in their God-ordained destiny. With this in mind, I am using Sweat as a proposed play because it is closely related to the creation account as recorded in the Old Testament Book of Genesis. In this play, Adam and Eve are replaced with the characters Sykes and Delia Jones. The creation account is a very influential testimony because it is known throughout humanity. Its popularity is due to the fact that the Old Testament is the commencement of the Christian Bible. For those of the Jewish faith, the collection encompasses the Torah, the first five books of the bible--the law for everyday living-- as well as the history of God's promise to them. For Christians, the Old Testament is just as sacred, but they view its religious meaning as incomplete without the life, teachings, death, and resurrection of Jesus Christ detailed in the New Testament. Also, Muslims trace their religious roots to some of the figures in the Old Testament although they deny the religious significance of the work as a whole. In essence, the Old Testament is crucial to Western Civilization. This is why Sweat is so powerful. It takes an extremely familiar testimony and shares pertinent messages that help people to become productive members of society. In order to show how effective Sweat is in helping others to live spirit-filled lives, I will use creative staging that will place the characters in the personal space of the audience members. I will achieve this by: having the actors enter and exit from the audience; allowing certain scenes to take place within the audience; and having the actors deliver some lines to various audience members. I feel that by making the audience a part of the production, it will cause them to see that they are not any different from the characters in the play. At some point in their lives, theatergoers have encountered--or been intimate with--an Adam, an Eve, a Sykes or a Delia. This will cause them to not see Sweat as just a play, but as a valuable life lesson, triggering self-examination and initiating renovated thinking that helps people to become culturally aware and spiritually sound. It is imperative that the biblical messages in Sweat are conspicuous. Whereas the narrator normally describes Delia's facial expression or feelings, I plan to write in scenes where her thoughts are audible. Some of her thoughts will include moments when she is praising and worshipping God. This is apparent because she starts to emerge as a woman of strength as the story progresses. Her relationship with God is cultivated on a daily basis. This is why she is able to tolerate her husband's foolishness. Her husband, Sykes, does not commune with God. To demonstrate his lack of communion with God, I will stage him being resistant to her times of worship--as he normally is according to the narrator. Clearly, the marriage is unbalanced. One partner is trying to please God, and the other is trying to please self. This is not how God intended marriage to be. In the New Testament Book First Peter, it states in the third chapter and seventh verse "husbands are to dwell with them in understanding, giving honor to the wife... being heirs together of the grace of life." Showing the burdensome consequences of destructing God's original design will pull on the hearts of audience members because they have encountered or known someone who is presently dealing with the consequences of this disobedient act. I will further reiterate the need for living a spirit-filled life by using costumes, scenic devices, and lighting to convey the godly and ungodly character traits that are embodied within the story. Through the use of colors and patterns, I will project the internal state of the character as in relation to God's instructions. I will work with a lighting designer in order to help convey the moods of the various scenes. The lighting techniques we choose will help to establish the thoughts and personalities of the characters. These feelings will transcend the minds of the audience and cause them to take the biblical messages into very deep consideration. The actors are the final ingredients in making Sweat an awe-inspiring, informative piece. Words are what they are, what one perceives them to be, while on paper. It is the job of the actor to give life to these words, cause them to live in the atmosphere, and to make the character come alive. Until the actor embodies the very heart of a character, the message in God-inspired Theatre will not be able to come forth and propel audience members to have a spiritual awakening. This is why people cannot just read Sweat. They must see the trials and journeys in order to receive life-changing revelations from the testimonies within the play.

The focus of this thesis is my performance in the play The Trial of Ebenezer Scrooge by Mark Brown. I will research and perform the role of The Ghost of Christmas Past, a role which also plays the parts of Fan and Belle from Charles Dickens's A Christmas Carol. I shall perform in The Trial of Ebenezer Scrooge at the Orlando Shakespeare Theatre, in Partnership with UCF in December 2008 as a part of their 2008-2009 Signature Series season. The main focus of this thesis is the exploration of how to create a performance of a classical character for a modern audience. I hope to maintain the integrity of Dickens's characters written in 1843, while performing in a contemporary script written by Mark Brown in 2004. My performance and research question is how to successfully communicate Brown's version of the story and still keep the spirit of the Dickensian characters as they were first written. I aim to discover and address the problems that may arise in combining the two versions of the characters. I will begin with my belief that contemporary humor and storytelling balanced with the essence of the classic characters that audiences may remember from the novel or other versions of this story will give the most effective, rich performance. Playwright Mark Brown strives for this balance in his script and my research for the role will focus on finding elements in my performance that satisfy both elements. My research will include deep examination of Fan, Belle, and the Ghost of Christmas Past, as they appear in both Dickens' novel A Christmas Carol and in The Trial of Ebenezer Scrooge. I will look at different interpretations of the characters in the many stage and film versions of this story that have been created since the original to investigate how others have attempted to update or recreate the roles for their audiences. My research will also include an interview with the playwright for insight about his process of integrating old with new. My written thesis will include the findings of my research and preparation, a detailed rehearsal and performance journal, and extensive analysis of my discoveries, all of which will hopefully lead to a conclusive and useful approach for portraying contemporary characters derived from classical literature.

To be a fully functioning theatre practitioner, the developing student artist becomes equipped with a practical skill set that is ordinarily cultivated through formal training and study. Typically, organized study leads him/her to focus on a specific facet of the business: acting, directing, design, etc. However, students often develop a vast array of talents and skills within the profession and find themselves standing at a crossroads between what "kind" of artist to be; what singular aspect of the arts on which to focus. Why not do it all? For those students who "do it all", there is an additional challenge: the artist who is a student immersed in daytime study and nighttime production obligations has to wear two caps. One is that of the learner and one is that of the employee, the producer, and perhaps even the teacher. When are these caps traded or are they both worn through all processes? This thesis will reveal my creative and practical processes from two productions at the University of Central Florida for which I played on- and offstage roles: I worked as a Sound Designer and featured actor in Sophie Treadwell's Machinal; I was the Vocal Director for Urinetown: The Musical, and also played Penelope Pennywise, a leading role. I will describe the challenges and successes of each project by examining the following evidence: my personal process with each piece, demonstrated through reflection and examples from the work; interviews with those involved in the productions as well as outside reviews and feedback; and research of each play. Research will include production history, intent of authors, and aspects that informed my work both onstage and off. Did multi-tasking sacrifice the quality of my work for any of my delegated tasks? Did I enjoy more success in my progress in time management, the ability to solve problems, and collaboration process with fellow artists, or in the actual on-stage products? What aspects of my training in my graduate program added to the quality of my work on these productions? Does being a multi-tasking artist help or hurt one's career in theatre?

The performance of X: The Rise and Fall of an Asylum Star, in conjunction with my thesis document, investigates the dichotomy of fantasy and reality for a performer. I compare the creative and emotional journey of Augustine, a young woman hospitalized for hysteria, to my own journey as an actress. Augustine was also performer, for her doctors led her in public demonstrations of the symptoms of hysteria. Her "talent" for hysteria earned her notoriety and celebrity. She was coached and directed from her doctors to enhance her demonstrations. As a result, the validity and authenticity of her state was questionable. I compare the performative qualities of hysteria with my own states of drama as a performer and draw parallels between us, looking specifically at states of experience, both imagined and real.

Thesis (M.F.A.)--Boston University

<p>Long-acting injectables (LAI) offer many practical benefits for patients in improving drug adherence to therapies for chronic diseases. LAI, administered either subcutaneously (SC) or intramuscularly (IM), can improve drug bioavailability, and reduce frequency of administration as well as regimen complexity. SC also has additional benefits over IM injections as being safer, less painful, and able to be administered at home. However, development and translation of these products into the clinic is often limited because of physiological complexity at injection site, such that absorption rate mechanisms are not well understood. Common predictive and correlative methods used in oral formulations, such as <em>in vitro-in vivo </em>correlations, are not well suited for SC physiology and are only capable of measuring a few parameters at a time, meaning relationships between parameters cannot be discriminately measured.</p> <p><br></p> <p>This project seeks to address this gap in knowledge by using computation to bridge the gap between suboptimal preclinical testing methods and human pharmacokinetic data. A Multiscale framework was developed by integrating a first-principles Multiphysics model of the SC space to experimental plasma concentration profiles using simulated absorption rates. First, our lab’s previous framework for lymphatic absorption of monoclonal antibodies (mAbs) was converted into small molecule absorption into the capillaries. Drug and formulation critical quality attributes (CQA) were determined for a solution injection of methotrexate, and a nanocrystal formulation of medroxyprogesterone acetate (MPA, Depo-SubQ Provera). Two dissolution models were incorporated to compare the difference between using average particle size (Noyes-Whitney) and particle size distributions (Population Balance Model, PBM) as CQA for nanocrystal LAI specifically. Absorption rates were validated using compartmental pharmacokinetic models, and sensitivity analyses were conducted to determine model parametric sensitivity. Overall, the modeling framework was able to determine the importance of and discriminate the effect of parameters on SC absorption rates. </p>

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