Theatre and Performance Studies Commons^™

Harvey (July 17-18, 24-25, 2009), Mary Chase

Student Theatre Programs

Program for Harvey (July 17-18, 24-25, 2009).

Spring Dance Concert (April 16-18, 2009), Lindenwood University

Student Dance Programs & Brochures

Program for the Spring Dance Concert (April 16-18, 2009).

Proof (April 16-18, 2009), Comic Potential (April 23-25, 2009), David Auburn

Student Theatre Programs

Program for Proof (April 16-18, 2009) and Comic Potential (April 23-25, 2009).

Student Directed One Acts (March 18-21, 2009), Lindenwood University

Student Theatre Programs

Program for Student Directed One Acts (March 18-21, 2009).

The Wizard Of Oz (February 20-21, 27-28, 2009), L. Frank Baum

Student Theatre Programs

Program for The Wizard of Oz (February 20-21, 27-28, 2009).

The Diviners (February 5-7, 13-14, 2009), Jim Leonard Jr.

Student Theatre Programs

Program from The Diviners (February 5-7, 13-14, 2009).

To view the photos from this production of The Diviners, please click here.

A Journey Up Scotland Road, Jason Cannon

Theses

Not available.

Scrooge: The Musical (December 4-7, 2008), Leslie Bricusse

Student Theatre Programs

Program for Scrooge: The Musical (December 4-7, 2008).

To view the photos from this production of Scrooge: The Musical, please click here.

Fall Dance Concert (November 7-8, 2008), Lindenwood University

Student Dance Programs & Brochures

Program for the Fall Dance Concert (November 7-8, 2008).

Student Directed One Acts (November 19-22, 2008), Lindenwood University

Student Theatre Programs

Program for Student Directed One Acts (November 19-22, 2008).

Lady Day At Emerson's Bar & Grill (October 16-18, 2008), Lanie Robertson

Student Theatre Programs

Program for Lady Day at Emerson's Bar & Grill (October 16-18, 2008).

To view the photos from this production of Lady Day at Emerson's Bar & Grill, please click here.

Les Liaisons Dangereuses (October 2-5, 2008), Christopher Hampton

Student Theatre Programs

Program for Les Liaisons Dangereuses (October 2-5, 2008).

To view the photos from this production of Les Liaisons Dangereuses, please click here.

J. Scheidegger Center For The Arts, 2008-2009 Season Program, Lindenwood University

J. Scheidegger Center for the Arts

J. Scheidegger Center for the Arts, 2008-2009 Season Program

Enmasking Beckett: The Use Of The Commedia Dell'arte In Waiting For Godot, Shaun Sheley

Theses

In Enmasking Beckett: The Use of the Commedia dell'Arte in Waiting for Godot, Shaun Sheley explores how the traditional Italian theatrical form of Commedia dell'Arte can inform and enhance character development and physical expression in Samuel Beckett’s seminal play Waiting for Godot. Drawing on his experience directing a 2007 university production, Sheley demonstrates how the fixed archetypes and physical vocabulary of Commedia dell'Arte can be applied to Beckett’s characters—Vladimir, Estragon, Pozzo, and Lucky—to support their stylized, non-naturalistic portrayal and Beckett’s own directive for the play to be performed "balletically."

The thesis contextualizes Waiting for Godot within Beckett’s broader …

Scotland Road (November 15-17, 2007), Jeffrey Hatcher

Student Theatre Programs

Program for Scotland Road (November 15-17, 2007).

Shakespeare's Richard Iii: One Actor's Path, Jerry Vogel

Theses

There are a few roles in theatre that are considered a Mount Everest of acting. It's no surprise that Shakespeare created several of these steep and treacherous climbs. Richard ill, as created by Shakespeare, provides all the stage death-defying challenges an actor could ever hope for, if the ultimate goal is to push one's ability to the maximum. There is a rich history of past productions, some of them legendary, to intimidate the actor from the start. There are the obligatory deformities to contend with, sending some actors to a chiropractor's table for the remainder of their lives. There is …

Primordial Prophecy: Mingling The Basic Traits Of Theater, Modern Dance, Ballet, And Folk Dance To Create A Diversified Performance, Luana Ely

Theses

No abstract provided.

This Is The Past Speaking To You: Genre And The Use Of History And Verbatim Quotes To Create Theatre, Lee Patton Chiles

Theses

Unavailable.

Lighting The Spirit World, Stephanie E. Robinson

Theses

Stephanie E. Robinson's Master's thesis, Lighting the Spirit World, explores the lighting design process for a production of Blithe Spirit at Lindenwood University. As part of her MFA in Theatre with a focus on lighting design, Robinson details her approach to creating a lighting scheme that enhances the play’s supernatural themes. She examines historical and modern lighting techniques, analyzing how lighting technology evolved from the 1940s to contemporary methods.

The thesis discusses the practical challenges faced during the production, including budget limitations that prevented the use of advanced lighting equipment. Robinson adapted by creatively utilizing existing stage lighting fixtures, …

Madrigal Holiday Feast (December 9-10, 2006), Lindenwood University

Student Theatre Programs

Program for Madrigal Holiday Feast (December 9-10, 2006).

American Rosies (August 28-30, September 6-7, 2006), L. Patton Chilies

Student Theatre Programs

Program for American Rosies (August 28-30, September 6-7, 2006).

Cabaret (March 9-11, 16-18, 2006), Joe Masteroff

Student Theatre Programs

Program for Cabaret (March 9-11, 16-18, 2006).

To view the photos from this production of Cabaret, please click here.

The Lynching Of The African-American Male Through The Eyes Of African-American Female Playwrights, Kathryn A. Bentley

Theses

By comparing the works of five African-American female playwrights from the 20th century, I will highlight the similarities of the portrayal of the African-American male in each of these dramas. This comparison will explore the lynching of the Black male and how this theme is evident in all five of the works. This study will examine both literal and figurative lynching. The plays of interest are: Rachel by Angelina Weld Grimke, Blue-Eyed Black Boy by Georgia Douglas Johnson, A Raisin in the Sun by Lorraine Hansberry, Blood on the Seats by PJ. Gibson and In the Blood by Suzan-Lori Parks. …

Blood Wedding (May 5-7, 2005), Federico Garcia Lorca

Student Theatre Programs

Event program for Blood Wedding (May 5-7, 2005), Lindenwood University.

The Importance Of The Chorus In Blood Wedding, Myrna Julia Castro Rios

Theses

This Master in Fine Arts thesis, authored by Myrna Julia Castro Rios, explores the significance of the chorus in Federico García Lorca's Blood Wedding, focusing on its role within the play and its relationship to Greek drama traditions. The study delves into Lorca’s biography, his poetic style, and the symbolic imagery that infuses his work, particularly in the depiction of the chorus. Drawing parallels to the chorus of Greek tragedies, the thesis highlights how Lorca adapted its narrative and symbolic functions to create a unique element in Blood Wedding.

Castro recounts her directorial process, from pre-production research and …

Designing For Two Young Lovers In "All My Sons", Li-Hui Liu

Theses

Unavailable.

Abraham Lincoln; John Wilkes Booth. A Shared Time -- A Shared Tragedy, Patrick Neal Mccreary

Theses

Unavailable.

A Critique Of The Role Of Women In Shakespeare's Plays As Interpreted In The Production Of Shakespeare's Women, Yu-Hsing Lin

Theses

No abstract provided.

Moon Over Buffalo (October 10-12, 17-19, 2002), Ken Ludwig

Student Theatre Programs

Program for Moon Over Buffalo (October 10-12, 17-19, 2002).

Dancing For The Actor: A Proposal For Actor Training, Anne Marie Gay-Baradic

Theses

Many college and universities across the United States offer programs in theater and dance. Training often exists to facilitate the actor or the dancer in becoming separate participants in a similar art. For the college actor, movement training typically incorporates traditional approaches as developed by Matthias Alexander, Tadashi Suzuki, or Sanford Meisener. Although these lessons in movement training hold merit, alternative strategies exist. The development of the Dancing/or the Actor program utilizes the principles of dance as the primary tools in actor movement training. By experiencing the components, theories, and techniques of dance, the college actor will focus on physical …