| Author | Title | Year |
|---|---|---|
| Durell Cooper | Socially Distant: An Ethnographic Exploration on the Role of Hip-Hop Culture as a Way of Knowing in a 21st Century Culturally Responsive Arts Education Framework | 2021 |
| Carmen Meyers | Divided We Stand: An Interview-Based Theatre Exploration of the Political Polarization of Women in the Age of Donald Trump | 2020 |
| Nicholas Linnehan | Finding the Ability in Disability | 2019 |
| Melissa Gawlowski Pratt | "I Am What I Am Not Yet": Investigating the Pedagogical Journeys of the First Modern Teaching Artists | 2019 |
| Micaela Blei | Listening to Many Voices: Teachers Exploring Identity, Art and Narrative in a Personal Storytelling Workshop | 2018 |
| Laurence Brenner | Playing with Dragons: Using Role-Playing Games to Support Academic Objectives | 2018 |
| James DeVivo | Taking Them Seriously: A Study of the Long-Term Impact in the New Jersey Young Playwrights Festival | 2018 |
| Gina Grandi | "I'm Gonna Use It to Tell You:" Exploring Narratives of Adolescent Identity Through Theatre | 2018 |
| Chelsea Hackett | Nuestro tejido diario / ri q'ak'aslemal / Our Daily Weaving: Theatre as a Tool for Intercultural Education for Maya Girls in Guatemala | 2018 |
| Clare Hammoor | Theatre of Children: Absurd Agencies in the Anthropocene | 2018 |
| Alex R. Siriani | Fear Thy Neighbor: Using Theatre of the Oppressed to Deconstruct Community Violence and the Experiences of Preadolescent South Bronx Youth | 2018 |
| Rachel Tuggle Whorton | The Phenomenon of the Acting Bug: Interrogations of Identity Formation and Career Decision-Making Processes of Professional Actors | 2018 |
| Peter Michael Yurchak | A Matter of Life and Breath: The Fitzmaurice Voicework Teacher's Connection to Audience and Subject Matter | 2018 |
| Andrew Gaines | Multimodal Creative Aging: Examining Perspectives on Teaching Artistry and Quality of Life in a Metropolitan Senior Center | 2017 |
| Ashley Hamilton | Toward Rehabilitation: Devised Theatre as Liminal Transformer in a Women's Maximum Security Prison | 2017 |
| Daphnie Sicre | American Sangre: An Exploration of Afro-Latin@ Representation in the Play Platanos y Collard Greens | 2017 |
| Soohyun Ma | Unveil the Invisible: Addressing Stigma Towards Unwed Mothers in Korea Through an Ethnodrama | 2016 |
| James Webb | Last Sunday: Using Collaborative Playbuilding to Understand Why Some African Americans Leave the Black Church and Choose not to Return | 2016 |
| Selena Burns | What Does it Mean to be Human? How Third Graders' Response to a Philosophical Question Changes Through Process Drama | 2015 |
| Jonathan P. Jones | Drama Integration: Training Teachers to Use Process Drama in English Language Arts, Social Studies, and World Languages | 2014 |
| Victoria Rhoades | Gender, Relationship and Embodied Voice in the Teaching of Shakespeare: An Associative Approach | 2013 |
| Sara Simons | It Gets Under Your Skin: Using Process Drama to Explore Race and Privilege with Undergraduate Students | 2013 |
| Jennifer Holmes Socas | Enhancing self presentation through drama at a community college: rehearsing for the job interview | 2013 |
| John Socas | Performing Through Layers: Reading the World Through Theatre in Zanzibar | 2013 |
| Claire Naomi Hatamiya | Acting Up: Five elementary teachers explore classroom management through dramatic play | 2012 |
| Manos Pantelidis | An Examination of Lowell Swortzell’s Contribution to Educational Theatre | 2012 |
| Teresa Fisher | Every body has a story: Exploring the experience of obesity for women through Theatre for Change | 2012 |
| Desiree Friedmann | Using puppets: An investigation of children’s self-reports of their temperaments. | 2011 |
| Dana Edell | “Say it how it is”: Urban teenage girls challenge and perpetuate cultural narratives through writing and performing theatre. | 2010 |
| Kevin Bott | A Ritual for Return: Investigating the Process of Creating an Original Rite of Passage with Formerly Incarcerated Men | 2010 |
| Amy Cordileone | Remarkable Disruptions: Dialogues on Teaching and Learning through Drama in Northern Uganda | 2010 |
| Rebecca Hollander | What students say about drama: Exploring the experiences of seventh graders in a Communications and Theatre classroom. | 2009 |
| Dani Snyder | The Rules That Rule Their Worlds: Urban Youth Deconstruct Their Antagonists Through Theatre of the Oppressed | 2008 |
| Robin Levenson | Acting in Translation: A Comparative Study of Language and Acting Praxis in the Last Four Plays of Anton Chekhov | 2007 |
| Ann McCormack | Nellie McCaslin: An American Leader in Creative Drama and Theatre for Young Audiences | 2007 |
| John Newman | Spotlight on Process: New Play Development at the Bonderman Youth Playwriting Symposium | 2007 |
| Jeffrey Kennedy | The Artistic Life of the Provincetown Playhouse, 1918 - 1922 | 2007 |
| Kristy Messer | Teaching Television Through Drama: A Reflective Practitioner Study with 4th Graders | 2007 |
| Diane McGovern | Case Study: The Mock Trial Based on Literature as a Transitional Drama Technique in the English Language Arts Classroom | 2007 |
| Braden Bell | Exploring the Drama-Lives of Adolescent Boys | 2007 |
| Brad Vincent | The Silence at School : Creating an Ethnodrama for Educators About the Elementary, Middle, and High School Memories of Gay Boys | 2006 |
| David Montgomery | Living an Arts Partnership: The Experience of Three Middle School Teachers in a Drama Residency | 2006 |
| William Heller | Teaching Shakespeare in the Inner-City Fifth-Grade Classroom Using Drama-In-Education, Theatrical Production, and Technology Integration: An Action Research-Based Case Study | 2005 |
| Kathleen Ruen | Artists Talk about Teaching: Three Artists’ Experience at the Same Elementary School | 2005 |
| Byoungjoo Kim | A Long Journey Into Drama: A Descriptive Case Study of a Drama Mentoring Residency at an Early Childhood Education Setting | 2005 |
| Margaret Schaeffer | Bridging the Divide: Integrating Drama Techniques into the study of Shakespeare in a High School Class | 2005 |
| Manuel A. Moran Martinez | The Development of Teatro Escolar, The Theatre Program of the Public Education System in Puerto Rico: From 1960 to 1990 | 2005 |
| Edie Demas | Identifying the Role of the New Victory Theater's Education Department | 2005 |
| James Pecora | Drama and the Holocaust : A Qualitative Study of Student and Teacher Experience in a High School Social Studies Classroom | 2005 |
| Melissa Swick | Exploring Adolescent Construction of Gender Roles through Playwrighting | 2004 |
| Lee Chasen | Linking Emotional Intelligence and Literacy Development through Educational Drama for a Group of First and Second Graders | 2003 |
| Jeremy Fenn-Smith | Staging Intersubjectivity: Queer Theory, Queer Theatre, Tony Kushner and Angels in America | 2003 |
| Peter Lubrecht | Creating a New Social Reality for Shakespeare: A Directorial Method for Youth Theatre Using Patrick Tucker’s Acting Cues | 2003 |
| Kimberly Poppiti | Pure Air and Fire: Horses and Dramatic Representations of the Horse on the American Theatrical Stage | 2003 |
| Mariko Yoshida | Using Drama to Teach American Literature in Japanese Colleges | 2003 |
| Jean Burgess | A History of the Young People’s Theatre at Center Stage, Baltimore, Maryland: 1963-1984 | 2002 |
| Jeff Dailey | The Successful Failure: Arthur Sullivan’s Ivanhoe | 2002 |
| Rodney Douglas | The Concept and Practice of Mixed Racial Casting in New York Theatres and Other Regions 1960-1990 | 2002 |
| Rebecca Hale | Le Petit Theatre du Vieux Carre of New Orleans, Louisiana: 1968 - 2001 | 2002 |
| Helen Miller | Macbeth in Performance in the Twentieth Century: A Promptbook Examination of Stagings by Four Directors Over Half a Century—Orson Welles, Glen Byam Shaw, Trevor Nunn and Richard Jordon | 2002 |
| Nancy Smithner | Directing the Acting Ensemble: Meredith Monk, Elizabeth Lecompte and Anne Bogart | 2002 |
| Andrew Burnstine | A History of Costume Design for the Big Apple Circus from 1985 to 1998 | 2001 |
| Laura Hanson | Elements of Modernism in the Musicals of Stephen Sondheim | 2001 |
| Lois Kivesto | The Theatre of James Lapine: Playwright, Librettist, Director | 2001 |
| Frances McGarry | A History of the Young Playwrights Festival: The First Decade (1981-1991) | 2001 |
| Richard Spencer | Inferring Augusto Boal’s Early Conceptualizations About the Elements of Drama for Forum Theatre | 2001 |
| John Foster | The Concept of Black Theology in the Plays of August Wilson | 2000 |
| Gene Frank | The Real Relationship Between Myth and Historical Fact in Writing Plays About the American West: Two Examples of Original Scripts | 2000 |
| Wendy Lement | Susanna Rowson (1762-1824): Early American Dramatist, Actress and Educator | 2000 |
| Brian Maxwell | The Bloomsburg Theatre Ensemble, 1978 – 1998: Searching for a Community’s Voice | 2000 |
| Carol Bouzoukis | Fairy Tales in the Treatment of Chronically-Ill Children | 1999 |
| Mallika Henry | The Player and the Playing: An Interpretative Study of Richard Courtney’s Texts on Learning Through Drama | 1999 |
| Ivy Hua | The Theme of Prejudice in Selected Plays from American Children’s Theatre, 1956 – 1995 | 1999 |
| Yuntae Kim | History of Children’s Theatre in Korea: From the Beginning to the Present Time; 1920 – 1998 | 1999 |
| Chiang Kuo | The Images of Masculinity in Contemporary American Drama: Albee, Shepard, Mamet and Kushner | 1999 |
| Scott Miller | Starting Where the Teachers Are: Teachers and their Program Leader Experience; A Drama Staff Development Program | 1999 |
| Vanita Vactor | A History of the Chicago Federal Theatre Project Negro Unit: 1935 – 1939 | 1999 |
| Oak-Joo Yap | Shakespeare’s Henry IV Parts One and Two on the New York Stage, 1761 - 1991 | 1999 |
| Robert Byrd | Unseen Characters in Selected Plays of Eugene O’Neill, Tennessee Williams and Edward Albee | 1998 |
| John DiPrima | Towards a Poetics of Monodrama in Performance: The History and Analysis of Critical Response to Monodramas on the Stages of New York City from 1952 – 1996 | 1998 |
| Kimberly Jew | The Theatrical Experimentation of Elmer Rice | 1998 |
| Bryna Rifkind | The Palo Alto Children’s Theatre (1932 -1997): Theatre By and For Children | 1998 |
| Rosalie Contino | Patricia Zipprodt, Costume Designer: Her Contribution to the American Stage | 1997 |
| Nefretete Rasheed | A Biographical and Critical Investigation of the Stage Plays of Joseph A. Walker | 1997 |
| Frans Rijnbout | The “New Woman” in Plays by Harley Granville Barker and his Contemporaries | 1997 |
| Joyce Sykes | Drama Therapy as a Treatment Modality for Facilitating the Completion of Unfinished Business with Terminally Ill Adult Cancer Patients in a Hospice Setting: Three Case Studies | 1997 |
| Michael Tick | Trinity Repertory Company: The First Twenty Years | 1997 |
| Gary Dawson | American Documentary Theatre: In Content, Form and Stagecraft Since Martin Duberman’s In White America : A Documentary Play | 1996 |
| John Gilvey | Gower Champion as Director: An Analysis of his Craft in Four Broadway Musicals, 1961-1968 | 1996 |
| Gabriel Gribetz | The Relationship of a Theatre Production to Students’ Attitudes Toward School Climate in an Inner City High School | 1996 |
| Dennis Holsclaw | A Comparison of the Effectiveness of a Theatre-in-Education Design and a Traditional Didactic Design in an Alcohol Prevention Program: Changes in Self-Reported Knowledge, Attitudes and Motivations | 1996 |
| Lynn Thomson | Magnificent Irreverence: Strategies for Satire in the Plays and Librettos of George S. Kaufman | 1996 |
| Robin Levenherz | Creating a One-Woman Dramatic Autobiographical Monologue: Theoretical Principles and a Sample Work | 1996 |
| Jane Gangi | An Examination of Interpretive Discourse in Selected Theories of Media Ecology and Educational Theatre | 1995 |
| Charles Knott | Archetypal Enactment in Drama Therapy | 1995 |
| Jane O’Niell | The Glass Menagerie on the Broadway Stage (1945-1983) Major Interpretations and Critical Responses | 1995 |
| Alma Villegas | The Origin, Development and Processes of Teatro Escambray in Cuba from 1968 1985 | 1995 |
| Dale Byam | Zact: Re-Thinking Community Theatre for Development in Africa | 1995 |
| Robert Boccardi | An Examination of Selected American Plays Produced in New York City Between 1984 and 1983 Relating to the Issue of AIDS | 1994 |
| Kathleen Cioffi | Alternative Theatre in Poland | 1994 |
| Tillie Gross | The Relationship Between George Devine’s English Stage Company and New York’s Off Off Broadway Movement | 1994 |
| Diane Holub | The Actor Training Legacy of Samford Meisner | 1994 |
| Jinsook Kim | An Exploration of “Roles” in “Naerim Kut”, The Korean Shaman Initiation Rite | 1994 |
| Barbara Knott | A Study of Sandplay as a Drama Therapy Technique | 1994 |
| Patricia Lindberg | Theatre for Young Audiences at Emerson College: A Historical Perspective of Contributions to the Field of Educational Theatre | 1994 |
| Maryam Habibian | Iranian Theatre in Exile: An Examination of Gholamhoseyn Sa’edi’s Plays in Iran and Abroad | 1993 |
| Joni Jones | The Development of an African Based Dramatic Structure | 1993 |
| Barbara Vojita | In Praise of African American Women: Female Images in the Plays of Alice Childress | 1993 |
| You Jin Hong | Catharsis in Ritual and Theatre | 1992 |
| Margaret Mar | Eugene O’Neill and George Jean Nathan: Playwright and Critic | 1992 |
| Howard Menikoff | The Relationship Between the Bread and Puppet Theater and The Community of Clover: As Exemplified by the Annual Domestic Resurrection Circus | 1992 |
| John Osisek | Black Humor in the Farces of Joe Orton: Redefinition of a Classic Genre | 1992 |
| Vincent Pellegrino | The Mask as a Means of Supporting Health Professionals Who Work With People With AIDS | 1992 |
| Philip Taylor | Our Adventure of Experience: Drama Structure and Action Research in a Grade Seven Social Studies Classroom | 1992 |
| John Tolley | The Development of the Ministry of Drama at First Presbyterian Church, Fort Wayne, Indiana, 1968 to 1998 | 1992 |
| Roger Danchik | An Explication and Resolution for the Problem of the Written Dramatic Text and Performed Dramatic Text from the Perspective of the Philosophical Construct of Susanne Langer | 1991 |
| James Mirrione | An Examination of the Writing Process in Theatre in Education Plays | 1991 |
| Francine Weston | A Comparison of Computerized Stage Lighting Memory Systems With Non-Computerized Systems | 1991 |
| Claudia Wischner | The Storytelling Experience: How Selected Contemporary Storytellers Perceive Their Art | 1991 |
| Ruis Woertendyke | The Character of Abraham Lincoln as He Has Been Portrayed in the American Theatre From 1861-1987 | 1991 |
| Victoria Brown | Integrating Drama and Sign Language: A Multi-sensory Approach to Language Acquisition and its Effect on Disadvantaged Preschool Children | 1990 |
| Anne Corey | Susan Glaspell. Playwright of Social Consciousness | 1990 |
| Elisa DeLaRoche | Hispanic Theater in New York City: A Study of the Companies – Intar, Puerto Rico Traveling Theater, Pepertorio Espanol | 1990 |
| Spencer Gates | Angry Young People: The Working Class Adolescent in Contemporary English Drama as Portrayed in Selected Plays by Peter Terson, Barrie Keeffe, Nigel Williams and Stephen Poliakoff | 1990 |
| Eugene Huber | Stephen Sondheim and Harold Prince: Their Collaborative Contributions to the Development of the Modern Concept Musical, 1970 - 1981 | 1990 |
| Paul McCarren | Several Teaching Manuals for Stage Acting Reinterpreted with the Help of the Spiritual Exercises of Ignatius Loyola | 1990 |
| Deborah McEniry | NYU Summer Musical Theatre Program | 1990 |
| Judith York | New York City’s Arts Partners: Teachers and Artists as Effective Partners for Arts in Education | 1990 |
| Eliran Eliaz | Transference in Drama Therapy | 1989 |
| Carol Banks | Playwriting for Different Age Levels | 1988 |
| John Newhouse | An Examination of Closed-Circuit Television Integrated into Avant-Garde Theatre Performance | 1988 |
| Charles Tichy | The First Seventy Years of Professional Theatre in Omaha Nebraska | 1988 |
| Jean Warfield | Christina’s Opera: A Full-Length Ballad Opera About Christina, Queen of Sweden | 1988 |
| Dan Barto | Owen Davis: From Melodrama to Realism | 1987 |
| Robert Hulton-Baker | Tibetan Buddhist Drama | 1987 |
| Nancy Key | A Narrative History of the Lake Charles Little Theatre, Lake Charles, Louisiana from 1927 to 1982 | 1987 |
| Joseph Lesser | From Street Comedian to Minsky’s Burlesque: The Evolution of Burlesque Comedian Joey Faye | 1987 |
| Robin Schraft | An Investigation of Computer Aided Theatrical Scenic and Lighting Design | 1987 |
| Richard Curry | A Practical Philosophy of Theater Education for the Disabled | 1986 |
| Vere Drakeford | Play Wishes Manifested in Children’s Theatre | 1986 |
| Elisabeth Gay | Gert Schattner’s Drama Sessions for Short – Term Patients: A Video Tape and Report of the Methods of a Founder of Drama Therapy in the United States | 1986 |
| James Hoffman | A Biographical and Critical Investigation of Stage Plays of George Ryga | 1985 |
| Rebecca Ray | An Abstract of a Stage History of Tom Taylor’s Our American Cousin | 1985 |
| Ronda Winderl | New York Professional Productions Depicting the Gospel, 1970 - 1982 | 1985 |
| Jeanette Cocchi | Lehman Engel’s Criteria for Libretti as Applied to Four Musical Adaptations of Shakespeare’s Plays on the Broadway Stage | 1983 |
| Doris Hart | An Historical Analysis of Three New York Productions of Eugene O’Neill’s Long Day’s Journey into Night | 1982 |
| Ellen Rodman | Edith King and Dorothy Colt and The King Colt School and Children’s Theatre | 1980 |
| Robert Boyle | The End of Elizabethan Theatre: The Interaction of Cultural Conditions And Theatrical Productions In London 1632-1642 | 1979 |
| Nancy Bowen Tadie | A History at Gallaudet College: 1864 to 1969 | 1979 |
| Muriel Fleit | He Application of Interaction Process Analysis to Selected Plays of Tennessee Williams | 1978 |
| Thomas Garret | A History of Pleasure Gardens in New York City, 1700-1865 | 1978 |
| Leslie Okin | The Dramatic Cristicism of Ludwig Lewisohn: A Critical Study | 1977 |
| Michael Gamble | Clare Tree Major: Children’s Theatre, 1923-1954 | 1976 |
| Stephen Graff | The Evolution of the American Military Spy Play from the Beginning to 1900 | 1976 |
| James Taliaferro | The Emergence of the Political Female Character as Revealed in Selected American Plays From1762 TO 1860 | 1976 |
| David Guthrie | The Innovations of Steele Mackaye in Scenic Design and Stage Practice as Contributions to the American Theatre | 1974 |
| Coleman Jennings | The Dramatic Contributions of Aurand Harris to Children’s Theatre in the United States | 1974 |
| Patricia Conway Ryan | John Golden: American Theatrical Producer | 1972 |
| Helen Yalof | British Military Theatricals in Philadelphia During the Revolutionary War | 1972 |
| Elaine Fenton | Philip Barry and his Critics | 1971 |
| Frank Galassi | The Absurd Theatre of Joe Orton and N. F. Simpson | 1971 |
| Arthur Liebman | The Works of W.S. Gilbert: A Study of Their Aristophanic Elements and their Relationship to the Development of the Nineteenth and Twentieth Century British Theatre | 1971 |
| Martin Allan Gardner | Thee Marx Brothers: An Investigation of their Films as Satirical Social Criticism | 1970 |
| Anita White | Tommaso Salvini: Nineteenth Century Actor | 1970 |
| Andrew Drummond | Dramatic Elements in the Librettos of American Opera Performed by the New York City Opera Company from 1948 to 1966 | 1969 |
| Samuel Leiter | The Legitimate Theatre in Brooklyn, 1861-1898 | 1968 |
| Rodney Earl Sheratsky | The Off-Broadway Theatre, 1945-1962 1967 | 1967 |
| James McGlone | The Figure of the Fool on the Broadway Stage from 1944-1945 to 1963-1964 | 1967 |
|
Paula Campbell Langsam
|
A Study of the Major Characters in Selected Plays of Tennessee Williams | 1966 |
| Roy Waldau | The Theatre Guild’s Middle Years - 1928-1939 | 1966 |
| William Wegner | The Representative of the American Civil War on the New York Stage1860-1900 | 1966 |