PhD candidates: You are welcome and encouraged to deposit your dissertation here, but be aware that
1) it is optional, not required (the ProQuest deposit is required); and
2) it will be available to everyone on the Internet; there is no embargo for dissertations in the UNL DigitalCommons.

Master's candidates: Deposit of your thesis or project is required. (If an embargo, [restricted access] is necessary, you may deposit the thesis at http://digitalcommons.unl.edu/embargotheses/ — but only after getting the prior approval of your department and the Graduate Office; contact Terri Eastin).

All depositors: We try to observe a 24-hour "cooling off" period to give you opportunity to correct those "oops" issues that seem to emerge just after deposit.
Upon deposit, you will immediately receive an email that your submission has been received (and this is what you need to show the Graduate Office).
However, you can still log back in and select Revise and upload a new version with your advisor's name spelled right, or your mother thanked in the Acknowledgments, or whatever you're stressing about.
After about a day, your submission will be "published" or "posted", making it available to the Internet; you will get another email to that effect, and your submission can no longer be changed--by you.
If further changes are needed, these can be made by sending a revised file to the administrator < proyster@unl.edu > requesting replacement of the current online version. DO NOT RESUBMIT YOUR THESIS / DISSERTATION. That creates duplicate records, confusion, wasted effort, frustration, sadness, tears, and causes kittens to get sick.

Finally: Congratulations; you are almost there. Click the "Submit your paper or article" link at the bottom of the gray box at left. Follow the instructions. You should be able to copy (Ctrl-C) and paste (Ctrl-V) most fields.
You are the sole author; your advisor is not considered a co-author.
Your institution is "University of Nebraska-Lincoln" (not "at Lincoln" or ", Lincoln"). Do not leave it blank; then the administrator has to fill it in, and he is tempted to make it something silly.
You do not need to repeat your name and title in the Abstract field; just the body of the abstract.
When you reach the question "Was this submission previously published in a journal?", just skip that part.
Be sure to click the "Submit" button at the bottom. Files upload at the rate of about 5 Mb per minute, so if you have an ungodly large file, it may take a bit of time. If your file exceeds 40 Mb, think about reducing its size--there are many ways; Google "reduce pdf file size" to find some.

Okay, get started. That thesis is not going to submit itself.

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2016

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Dancing at Lughnasa: A Project in Technical Direction, Gregory R. Rishoi

2015

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Designing an Opera: A Wedding, Victoria Halverson

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UNITY (1918): THE LIGHTING OF A MODERN DARK COMEDY WITH GOTHIC ELEMENTS, Steven J. Miller

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Love's Labor's Lost: A Scenic Design, David B. Tousley III

2014

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Gender Confusion, Genocide and the Apocalypse: Directing Moira Buffini's Silence, Dennis N. Henry

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SILENCE: A Technical Direction Project, Matthew Rightmire

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Mrs. Mannerly: An Illuminating Look at Lighting Melodrama, Clayton Van Winkle

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THE MYSTICAL AND METAPHYSICAL IN THE MUNDANE: DIRECTING MIDDLETOWN, Joshua S. Waterstone

2013

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Technical Direction of Paragon Springs, Christine Ann Donaghy

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COSTUME DESIGN FOR AGRAVIO, Julie Douglass

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AGRAVIO: A TECHNICAL DIRECTION PROJECT, Erica G. King

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MARY ZIMMERMAN’S CANDIDE : A JOURNEY OF REALIZATION, COSTUME DESIGN AND PRODUCTION FOR THE 2013 REGIONAL NON- PROFESSIONAL PREMIERE AT THE UNIVERSITY OF NEBRASKA-LINCOLN, Mallory Maria Prucha

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Costume Design for Paragon Springs, Bethany D. Skinner

2012

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Lady Windermere's Fan: The Black and White of It, Jacob L. Heger

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Three Musketeers and a Rock Band, Brandi K. Kawamoto

2011

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ARTMAKING ON THE EDGE OF A CLIFF: DIRECTING IPHIGENIA 2.0, Shannon E. Cameron

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Ontological Movement in Theater: An Account of the Preparation and Direction of the Play Dylan by Sidney Michaels, Aaron Sawyer

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The Misanthrope: Accepting the Notions of Moliere into a Modern Society, Cristina A. Skinner

2010

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I am Regan: The Preparation, Performance and Afterthoughts on the Character of Regan in King Lear, Tiffiney C. Baker

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Insight into Madness: The Rise and Fall of the Duke of Cornwall, Kyle Broussard

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Becoming the Bastard: An Exploration of the Creative Process for Preparing the Role of Edmund in King Lear, Daniel Gilbert

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The Heroic Struggle of Pleasing a Mad King: An Actor’s Exploration of the Earl of Kent in William Shakespeare’s King Lear, Robie A. Hayek

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Two Kings: An Account of the Preparation and Performance of the Role of Edgar in William Shakespeare's King Lear, Ryan Kathman

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Goneril: Jealousy and Thirst for Power Caused by the Loss of a Father's Love, Beth L. King

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The Scene Design for Macbeth, Michael Leonard

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Quiet Virtue or Roaring Indignation: One Actor's Quest, and Ultimate Failure, to Reveal Complexity in Shakespeare's Cordelia, Mary Lucy Lockamy

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Costume Design for You Never Can Tell, Emily S. Parker

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Costume Design for Tartuffe by Molière, Shannon Paulick

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A Pattern of Patience: On Providing Technical Direction for King Lear, Theron L. Seckington

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Costume Design and Execution of King Lear by William Shakespeare, Cecelia Rae Sickler

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Processing King Lear, Patric Michael Vendetti

1949

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How to Write Comedy for Radio, Johnny Carson