- Doctoral Projects in Progress in Theatre Arts, 2015
This is the sixty-third annual report of dissertations in progress in theatre arts in the United States. The entries contained in this report were gathered from those institutions offering a doctoral degree in theatre or related fields. The accuracy of this report depends largely on the cooperation of those faculty members who submitted complete and timely information. By compiling this data, we seek to inform the greater theatre community of the diverse research projects currently underway across various universities and disciplines.
This report lists (in order) the doctoral student’s name, dissertation title, institution, academic department, faculty supervisor, and projected year of completion. Dissertation topics are arranged in two parts: in part 1, topics are listed first geographically, and secondarily by time periods; and part 2 provides additional divisions for those projects that are not easily classified within geographic or historical parameters, but conform to other emerging areas of contemporary research.
A request for submissions for the 2016 edition will be mailed in October 2015. Please contact the 2015–16 editor (andrew.gibb@ttu.edu) if your institution is not already receiving the annual call for submissions.
My associate editors and I are grateful for the effort of all those who have contributed to this annual report. We would like to express our sincere appreciation to the Texas Tech University Department of Theatre and Dance and its chair, Mark Charney, for sponsoring this endeavor. [End Page 383]
Andrew Gibb (andrew.gibb@ttu.edu) is an assistant professor of theatre history, theory, and criticism in the Department of Theatre and Dance at Texas Tech University. He writes about nineteenth-century US theatre and Chicana/o theatre.
James Beekman Bush (1jambush1@gmail.com) holds a PhD in interdisciplinary fine arts and experimental psychology from Texas Tech University. His research interests include creative and artistic personality profiling, the adaption of Viewpoints for survivor therapy, the use of open scenes for director training, and two-dimensional versus three-dimensional learning and retention.
Amanda Espinoza (amanda.espinoza@ttu.edu) is an MFA student in performance and pedagogy at Texas Tech University. Her research interests include voice and movement for the actor, improv, and LGBT studies.
PART I
AFRICA
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BRAZIL
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CHINA
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ENGLAND
General
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Medieval Renaissance
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Eighteenth Century
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