This thesis research and practical application focuses on rediscovering the playfulness of the actor's process and evaluating how that translates into an actor's performance. An actor's confidence can be found in their willingness to play with vocal placement, physical tensions, and emotional and mental patterns and depth. As an actor, my definition of play theory is the act of choosing to be spontaneous, creative, and explorative in the process of storytelling to ultimately lead to stronger choices that develop rich connections. Through the lens of play theory, I demonstrate how play affects our mind, emotions, body, and voice. This thesis presents research on how play affects humanity from childhood to adulthood. I offer practical applications that actors can bring into their individual exploration, audition room, rehearsal process, and performances with the hope that the actor and the audience experiences their storytelling with a deeper level of connection to the text and to their scene partners. I argue that by choosing to approach a story as a means of play, actors can find freedom in their work.

Music direction for musical theatre is not a topic that has been widely theorized, defined, or researched; there are a handful of resources available to the inclined reader, and a scant few universities that offer a degree in Music Direction for Musical Theatre. Due to this, many music directors, myself included, have had to piece together our educations á la carte, researching each aspect of the job individually. Thus, I have created a practical "how to" guide that can be used to advance you, the reader, through a production as the music director from booking the gig to closing night. In Chapter One, I defined the role and common responsibilities of a music director and accompanist for musical theatre. I acknowledged common methodologies, discussed how a music director should prepare for rehearsals, talked through teaching the material and the importance of communicating with the theatre company, director, choreographer, and fellow band members. Chapter Two provides my personal philosophies on the most important ways to train, and the skill sets and personality traits I believe are the most important. I examined several personal experiences as music director, sub, and accompanist, and discussed what I learned from each, including the importance of sight reading, adaptability, collaboration, the impact of dramatic timing, acting, basic conducting, vamps and safeties, and how overcome common obstacles. As stated, my aim was to research and reflect in order to craft a comprehensive guide that can be referenced in a number of circumstances for both the novice and accomplished music director and/or accompanist. Not every tactic will fit every person, though with a combination of research, honest and transparent anecdotal support, and "With a Little Bit of Luck," I am confident every person can discover some bit of value from this project.

Learning to act is a difficult process, particularly for a young adult who is still discovering the wide variety of human experiences that make up much of dramatic literature. As an actor in training, I have struggled to play characters whose experiences and given circumstances differ from my own. I am not resistant to this idea, I have, however, come to realize that my own personal habits continue to get in the way of making a full transformation into the inner life of the character. As a result, my characters are often similar to one another, even if these characters exist in different time periods, styles, or genres. This thesis will explore a personally concocted methodology that will lead me to depart from my typical process of character development. To begin developing my methodology, I will employ various techniques, some gained from my graduate training and some I'm researching independently for the first time, as I prepare for the role of Belvile in The Rover by Aphra Behn. Belvile is a banished English Colonel in 1600s Naples, which is very different from my own life as an American actor in 2000s Florida. It is an important developmental stage in my training to utilize a transformative methodology to build the life of this character. The techniques will focus on opening my senses and inner life to a new perspective: the Belvile perspective. The physical senses will be developed through stretches and warm-ups all through the lens of Viewpoints. My inner life will be expanded through the creation of different supplemental paintings from the perspective of Belvile. These paintings will be done in the expressionist style outlined by Die Bru¨cke and their expressionist manifesto. The results of these experiences will be logged in a journal to inform my future processes.

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.