I have for as long as I can remember been interested and fascinated by theatre performances and their ability to create meaning, significance and understanding towards their audience. This has later on turned into a growing interest and curiosity for the rehearsal process, as it is within the rehearsals the meaning-making aspects of a performance are both created and produced. Moreover has this curiosity generated to be a somewhat basis for this research.  Through a lens of dramaturgy is this study seeking to investigate how meaning, significance and narrative are created and established within a rehearsal process, namely the rehearsal process of Mellanförskapet at Unga Dramaten. Explore the in-between-ness of the rehearsal process in relation to the upcoming theatrical event and moreover focus on the dramaturgical strategies within the rehearsal. By engaging with autoethnographic methods for observing the rehearsals, is the aim of this study to investigate how meaning making practices within the theatre can be understood in the eye of an observer. Semi-structured interviews with the creative team have further on contributed to additional knowledge and valuable information about the rehearsal process in general. Moreover serves the concept of making meaning as a basis for the theoretical framework, discussed in relation to meaning making practices within the theatre, namely dramaturgy and performative actions. Since Mellanförskapet aims toward teenagers as its primary audience, are aspects of theatre for a younger audience [TYA] discussed in relation to dramaturgical strategies within the rehearsal process. Moreover are themes and topics raised within Mellanförskapet such as intercultural identity, racism and bullying discussed in regards to TYA as well as dramaturgical strategies within the rehearsal process.

Theatre is a place where all can come together and have an experience regardless of ethnicity, gender, sexuality, or ability. As a theatre maker and teaching artist, how do I create inclusion and augment social awareness by designing and implementing theatrical experiences for a specific audience? In this personal exploration of inclusive theatre practices (Sensory Friendly Theatre, Inclusive Arts Integration, and Multi-Sensory Theatre) I will examine my experience of creating and adapting theatre with and for students with Autism Spectrum Disorder. My process has a three-pronged approach: adapting an established production using a Sensory Friendly model; adapting an arts integration facilitation in an inclusive elementary classroom; and collaboratively creating a sensory-based theatrical experience with other artists and students with cognitive disabilities. Through these experiences, I strive to uncover how developing theatre for this specific audience has challenged me to grow as an artist and activist.

This research explores the application of Viewpoints and Composition training with a cast of high school students to measure changes in the social cognitive development (SCD) of individuals and the collective group. The research centers on the writing of Michael F. Mascolo and Deborah Margolis, which takes a coactive approach to the relationship between one's social cognitive development and how it is manifested in his or her actions within a social group. Using this framework, the researcher assesses the personality types within the cast and analyzes how utilizing Viewpoints training creates shifts within these personalities. The researcher approaches this study from both a theoretical standpoint as a student during a two-week intensive training course for adults with SITI Company, and a practical standpoint in the direction of a fully mounted production with high school actors. The objective of the research is to propose a method to implement advanced Viewpoints training within a high school ensemble in order to cultivate ensemble and ultimately aid the social cognitive development of the individual actors.

This thesis will illustrate how pretend play can be used in the home for educational purposes. The major emphasis of the work will be emergent literacy, however, application principles can be applied in all subject areas. Parents who desire to expand their child's literacy skills while exposing the child to an arts enriched home environment need ideas and tools developed with supportive research to strengthen and focus their efforts. These tools will greatly expand parental resources by offering several principles as a guide for adapting existing classroom materials for home use. The following Seven Components form the core foundation for adapting pretend play materials to aid the home learning environment curricula: (1) Child as Active Participant (Vygotsky; Piaget). (2) Parent as Role Model for Dramatic Play and Literacy, serves as Facilitator, and Co-player (Haight and Miller; Vygotsky). (3) Physical environment could be anywhere: car, office, or bedroom. (4) Resource material: should be able to use common found objects in home, with limited preparations or expense. (5) Play Content needed to provide elements of literacy: cognitive learning, symbol representation, oral language, self-expression, listening and comprehension (Goodman). (6) Promote creative and fun learning experience with a relaxed, informal atmosphere. (7) Play should be process and discovery oriented, and not for performance (Brown and Pleydell; Tuge). This thesis will also examine the preliminary results of a study for parents and children who applied a curriculum developed with the core components and explored the participants' interest level in such activities. Recommendations for further research will also be made.