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Graduate Program: Theatre and Performance Studies

Masters Theses


"'Am I Not A Woman and A Sister?' Performance as Political Discourse in African American Women's Literary Societies" (Jenny Herron)

"Staging as Youth Culture in Colonial-Modern Shanghai: Student Theatre from the 1890s-1920s" (Yizhou Huang)


"'Of Thee We Sing:' Microhistories of the Northeastern United States through the Lens of American Folkloric Opera" (Christian Krenek)

"Spectrums of Truth: Transcribing Reality in the Documentary Musical" (Reza Mirsajadi)


"Hell's Belles: The Adaptive Treatment of Lizzie Borden, Ruth Snyder, and Aileen Wuornos as a Process of Female Demonization" (Mary Robinson)

"Peril or Possibility? The Performance of Risk in Aerial Circus Arts and Acrobatic Theatre" (Amy Meyer)

"Spin: Goddard Lieberson and the Development of the American Musical Cast Recording" (Patrick King)


"The Socialist Construction of the Moscow Theatre Festivals 1933-37" (Michael Morris)

"Turning a Cognitive Eye toward Cohan: Theatre Scholarship at the Intersection of Cognitive Science" (Carl Wolff)


"The Nontraditional Dickens: Exploring New Methods of Adapting Dickens's Novel to the Contemporary Stage and Screen" (Michelle Kritselis)

"Henry Wikoff and the Development of Theatrical Publicity in America" (Michael Lueger)

"The Early Modern Machine: Post-Humanism and Contemporary Performance Practice" (Paul Masters)


"Discourse of Divide: Queering Biblical Narratives from the Fall of 1998" (Tom Fish)

"Limitations and Empathy: Crises of Representation and Their Possible Solutions in Theatrical and Cinematic Portrayals of the Rwandan Genocide" (Amber Karlins)

"The Making of a Modern Woman: Feminist Constructs in Twenty-First Century Adaptations of Hedda Gabler" (Megan Stahl)


"Renting a Queer Space: The Commodification of Queerness in Jonathan Larson's Rent" (Helen Deborah Lewis)


"An Equal Blend of Help and Delight! Case Studies of Three Contemporary Educational Theater Programs" (Kristen E. Baker)

"Trend and Aftermath: The Iconography and Rhetoric of the Neo-Burlesque" (Rachel E. Mansfield)