Theatre and Film, Johnny Carson School of
Student Research and Creative Activity in Theatre and Film
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 < firstname.lastname@example.org > 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.
Le Nozze di Figaro (The Marriage of Figaro), K. 492: Lighting the Mad Day, Francisco Hermosillo III
Wolfgang Amadeus Mozart’s The Marriage of Figaro, Camille Lerner
Arthur Miller: Death of a Salesman, Paige Moeller
Death of a Salesman: A Treatise on Technical Direction Practices, Stephanie Schlosser
Death of a Salesman: Nostalgia Refracted Through the Language of Light, Abbey Lynn Smith
Stop Kiss: A Scenic Design, Taylor Walters-Riggsbee
Properties Design and Construction for William Shakespeare’s: A Midsummer Night’s Dream, Nathan Alexander
Dontrell, Who Kissed the Sea: An Exploration of Scenic Design Process, Emma Laine Hoffbauer
Dontrell, Who Kissed The Sea: An Expedition into Technical Direction, Joseph J. Shelly Jr
A Midsummer Night’s Dream – A SCENIC DESIGN, Grace Trudeau
Bright Star - A Scenic Design, Marty Wolff
The Legend of Georgia McBride: Change in Light of Passion, Bryce Bassett
The Gambler's Son – A Scenic Design, Jill Hibbard
The Glass Menagerie: Lighting Design Analysis And Reflection, Adam Jezl-Sikorski
An Act of God: A Technical Direction Analysis, Daniel d'Egnuff
An Act Of God:Let There Be Light, Jaime Mancuso
Technical Direction of Mother Courage and Her Children, Michael Strickland
Costume Design and Execution of the Nebraska Repertory Theatre's Mother Courage and Her Children By Bertolt Brecht, Translated by Dr. William Grange, Adapted by Andy Park., Heather Mae Striebel
Designing a Miracle for David Javerbaum's An Act of God, Haley Williams
AVENUE Q: AN ENDEAVOR IN TECHNICAL DIRECTION, Brendan Greene-Walsh
LORD OF THE FLIES - A SCENIC DESIGN, Lisa Haldeman
A Scenic Design for Avenue Q, Jessica Thompson
Hamlet: An Illuminating Look at Tragedy, Maxx Finn
A Fuddy Thesis: Directing David Lindsay-Abaire's Fuddy Meers, Dustin M. Mosko
Rapture. Redemption. Religion. Retail. Directing Samuel D. Hunter’s, A Bright New Boise, Chadwick R. Taylor
Dancing at Lughnasa: A Project in Technical Direction, Gregory R. Rishoi
Designing an Opera: A Wedding, Victoria Halverson
UNITY (1918): THE LIGHTING OF A MODERN DARK COMEDY WITH GOTHIC ELEMENTS, Steven J. Miller
Love's Labor's Lost: A Scenic Design, David B. Tousley III
Gender Confusion, Genocide and the Apocalypse: Directing Moira Buffini's Silence, Dennis N. Henry
SILENCE: A Technical Direction Project, Matthew Rightmire
Mrs. Mannerly: An Illuminating Look at Lighting Melodrama, Clayton Van Winkle
THE MYSTICAL AND METAPHYSICAL IN THE MUNDANE: DIRECTING MIDDLETOWN, Joshua S. Waterstone
Technical Direction of Paragon Springs, Christine Ann Donaghy
COSTUME DESIGN FOR AGRAVIO, Julie Douglass
AGRAVIO: A TECHNICAL DIRECTION PROJECT, Erica G. King
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
Costume Design for Paragon Springs, Bethany D. Skinner
Lady Windermere's Fan: The Black and White of It, Jacob L. Heger
Three Musketeers and a Rock Band, Brandi K. Kawamoto
ARTMAKING ON THE EDGE OF A CLIFF: DIRECTING IPHIGENIA 2.0, Shannon E. Cameron
Ontological Movement in Theater: An Account of the Preparation and Direction of the Play Dylan by Sidney Michaels, Aaron Sawyer
The Misanthrope: Accepting the Notions of Moliere into a Modern Society, Cristina A. Skinner
I am Regan: The Preparation, Performance and Afterthoughts on the Character of Regan in King Lear, Tiffiney C. Baker
Insight into Madness: The Rise and Fall of the Duke of Cornwall, Kyle Broussard
Becoming the Bastard: An Exploration of the Creative Process for Preparing the Role of Edmund in King Lear, Daniel Gilbert
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
Two Kings: An Account of the Preparation and Performance of the Role of Edgar in William Shakespeare's King Lear, Ryan Kathman
Goneril: Jealousy and Thirst for Power Caused by the Loss of a Father's Love, Beth L. King
The Scene Design for Macbeth, Michael Leonard
Quiet Virtue or Roaring Indignation: One Actor's Quest, and Ultimate Failure, to Reveal Complexity in Shakespeare's Cordelia, Mary Lucy Lockamy
Costume Design for You Never Can Tell, Emily S. Parker
Costume Design for Tartuffe by Molière, Shannon Paulick
A Pattern of Patience: On Providing Technical Direction for King Lear, Theron L. Seckington
Costume Design and Execution of King Lear by William Shakespeare, Cecelia Rae Sickler
Processing King Lear, Patric Michael Vendetti
How to Write Comedy for Radio, Johnny Carson