Thesis (M.F.A.)--West Virginia University, 2002. / Title from document title page. Document formatted into pages; contains iii, 23 p. Includes abstract. Includes bibliographical references (p. 23).

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 380-388). Also available on the Internet.

Thesis (Ph. D.)--University of Oregon, 2005. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 198-203). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 380-388). Also available on the Internet.

Society is relying more and more on computer-generated information due to the online abilities provided by current information and telecommunication technologies in a variety of ways such as social networks, learning systems, shopping, quality-of-life improvements. Multimodal Learning Analytics (MMLA) is a method in learning analytics research that makes it possible to capture large amounts of data on human activity. This study aims to provide a deeper understanding of physical movement challenges for training performers in open-ended, practice based learning settings. Moreover, it discusses how multi-modal analytics systems can provide support for performers. This study identifies ten important requirements that a prototype should have in order to fulfill the performer’s needs. These requirements are implemented in a low fidelity prototype that provides modeling movement followed by Laban Movement Analysis theory, capture user data with MMLA tools, and provide personalized feedback. The results indicated there is a potential within the usage of a multi-modal system to support and improve the motor skill learning process through personalized help and feedback.

This thesis explains the acting method used by Caleigh Keith while portraying the role of Nancy Shedman in Romulus Linney’s Holy Ghosts. Included are chapters of historical research, character analysis, and a production report, which includes a scored script, rehearsal and performance journal, and a self-evaluation of the actor’s work. Holy Ghosts was produced by Theater UNO at the University of New Orleans in the Robert E. Nims Thrust Theater of the Performing Arts Center. It opened Tuesday, February seventh, and ran through Sunday, February twelfth, two thousand and twelve. Evening performances were at seven-thirty and Sunday’s matinee was at two o’clock in the afternoon.