This thesis seeks to discover the ways that Constantin Stanislavski's Method of Physical Action works together with David Mamet's practice of verbal action like music and lyrics, respectively. In today's world, listeners are more likely to respond to music with lyrics than without lyrics. Likewise, combining the music and lyrics of action generates more impact for audiences than by using them separately.

My MFA thesis project investigates the evolution of my acting process during my three years of graduate school. Specifically, it examines how I have developed a truthful and specific characterization by using the Michael Chekhov Technique coupled with Stanislavski's Method of Physical Actions. Prior to beginning the MFA Acting program at Kent State University, my training as an actor was a mixture of various Stanislavski-based methods. My personal process, which was somewhat general, used the technique of analyzing the script with action verbs and using my voice and body to create a character as truthful as possible. I used this approach when working on my first thesis role, Goldie Smith in The Diviners. During my second year of graduate training, I started to learn the Michael Chekhov Technique. This approach taught me the importance of incorporating the concepts of Archetype, Action and Quality, Psychological Gesture, Imaginary Body, and Rhythm into my process. I used this technique when working on my second thesis role, Penelope Pennywise in Urinetown: The Musical. Creating a strong character based in the archetype of Femme-Fatale and incorporating Psychological Gesture helped me to realize fully the melodramatic style of the musical. I pushed the limits of these gestures to create dynamic physical tableaus and strong comedic moments. As I apply the Chekhov technique to my third and final thesis role of Olga Prozorov in Anton Chekhov's Three Sisters, an understanding of Michael Chekhov's methods is synthesizing into a solid acting technique for me. For example, the technique of Imaginary Body has enabled me to create a character vastly different than myself. Olga embodies the archetype of Mother, and her overall physical score and vocal presence are much softer than the characters I normally portray on stage. Through this creative work and my documentation of it, I will continue to use these tools in a myriad of ways as I audition and work as a professional act (open full item for complete abstract)

There are many acting techniques that teach a physical approach to adult actors, but how can these principles be adapted for high school students? This thesis serves as a guide on how to teach acting to secondary school students using a physical approach. Beginning with a basic history of the system of physical actions, as conceived by Konstantin Stanislavski and further developed by Jerzy Grotowski and others, this guide defines the basic principles of physical acting, including physical actions, mental action, mind and body, interaction, tempo-rhythm, verbal action, physical characterization, and total action.