Performing arts curricula, specifically theatrical role-play, have aided in enhancing life skills of secondary education students throughout the past. This continues to be the case in the present education climate. However, the performing arts are still not viewed by some education policymakers at a level that helps those programs flourish and thereby be accessible to students. Despite the empirical evidence of life skill enhancement, both academically and socially, that can be applied in an interdisciplinary manner and to life outside of the school setting, the arts are often not considered as important as core content areas. These programs are subject to elimination to a greater extent compared to other education programs. This action research study sought to examine the ways in which high school theatre programs impact life skills, defined in this study by both academic and social contexts, learned by secondary education students. The innovation intervention consisted of theatrical role-play applied in an interdisciplinary manner. The innovation occurred over the course of two weeks in a senior English class at a southwest public high school. The likelihood of the English teacher using theatrical role-play in future lesson plans was also studied. The action research utilized a mixed-methods approach with a theoretical framework consisting of Experiential Learning Theory (ELT) and Academic Risk-Taking (ART). Results indicated assertions related to the enhancement of the social skills of empathy and public speaking in student participants, as well as the English teacher planning on utilizing the innovation in future lesson planning. The academic skill of text analysis was possibly affected, however results were inconclusive.

Inclusive education has been impeded by deficit-oriented policies and practices that promote standardization and lead to student segregation by ability/disability labels. Deficit perspectives are maintained across separate programs (i.e., general, special, gifted) through distinct sets of practices and extend into higher education and academia. In response to this issue, this dissertation used strengths-based strategies for collaboratively rethinking and reimagining educational practices, perspectives, and interactions towards inclusivity. The purpose of this research was to study unexpected moments in learning events (i.e., micromoments), explore educators’ responses to these events, and develop strategies for inclusive education professional learning (PL). Diverse educators and neurodivergent adults responded to task invitations based on the research questions: How might micromoments move in/with/through emergent learning events? And, how might attunement to micromoment assemblages be developed? Additional questions explored how conceptualizations of micromoment movement and attunement might transform inclusive education PL and qualitative inquiry. The neurodiversity paradigm, activist philosophy, post-oppositional transformation theory, and creative learning concepts supported an embodied, multiple, emergent, and inter-relational study of the micromoment. Methodological-poly-experiments formulated as invitations to tasks were used as initial enabling constraints for this research-creation. Documentation from several small Zoom group meetings was used in data-weaving, which included collective speculative fabulations (i.e., storying), post-qualitative cartography in the forms of fiber art sculpture mappings, and a moving content analysis. The neurodiversity-inspired educational perspective developed in this study supported a PL shift away from student labels toward the study and design of learning events. Attunement to micromoment movement in learning events was practiced by following micromoment dimensions, elements, and flows. This led to the development of a framework for the study of micromoments for educator PL. This study merged creativity studies, disability studies in education, and educational research. Furthermore, this project extended post-qualitative and research-creation methodologies, offered suggestions for redefining various methodological concepts and neurotypical expectations, and introduced several new concepts for qualitative inquiry. In conclusion, creative professional learning/unlearning strategies, including reflection on underlying educational perspectives and learning event interactions, were part of a meaningful process in cultivating inclusive education for neurodiverse teachers, students, and research participants.

This research scrutinizes theatre teaching practice through a teacher perspective to find mechanisms that enable health promotion and quality theatre-making skills for students. The critical investigations conducted are twofold. First, I examine the intersection of my 18 years of experience teaching high school drama for connections to theatre and health research. I employ a narrative inquiry method to analyze lived experience to create an initial health promotion framework. And second, I interrogate that framework investigating the experience of a focus group of other high school drama teachers, a high school counselor, and a psychologist. This study reveals that drama teachers perceive their drama programs as psychologically, socially, and emotionally health-promoting for involved students. Furthermore, this study identifies the complex processes, relationships, and components of the theatre-making that the teachers pinpoint as preconditions and mechanisms that enhance and enable student flourishing. The teachers describe themselves as key to health promotion by modeling the artistry of theatre and the art form's social and emotional skills. Their narratives demonstrate that flexible time, their students, and the relationships they build with them as preconditions to maximize health promotion. Specifically, they identify the creation of a safe, supportive environment as foundational to the process.

Humans use emotions to communicate social cues to our peers on a daily basis. Are we able to identify context from facial expressions and match them to specific scenarios? This experiment found that people can effectively distinguish negative and positive emotions from each other from a short description. However, further research is needed to find out whether humans can learn to perceive emotions only from contextual explanations.

The past two and a half semesters have been extremely difficult for college students. Due to the COVID-19 pandemic, student motivation has been slipping. I felt my own productivity slowly diminishing shortly after March 2020, and a number of students that I have spoken with share a similar mentality. In addition, the social lives of students have taken a toll. Social distancing, event cancellations and online classes have led to a serious lack of social interaction with their peers. I felt as though the theatre community, in particular, was suffering, because of how much of our lives are centered around social interaction. Not only is social interaction recreational for us theatre students, but it’s integral for our careers as well. We are very conditioned to getting together multiple times a week just to experience emotion with each other, and this was all taken away very abruptly in March 2020. The remaining theatrical events last season were cancelled, and the events this season were mostly moved to an online setting. I began to think that the theatre community at ASU needed some way to stay connected despite these unfortunate circumstances, and that is when I found out about Alpha Psi Omega. Alpha Psi Omega is a National Theatre Honors Society which used to have a chapter here at ASU, so I took it upon myself to reactivate the chapter.

Theatre for social change, or more generally, theatre that addresses political issues in a community, often leans on participation as a way of democratizing the theatrical space and opening the conversational floor to more than just the traditional creative team. In practice, participatory theatre nonetheless can and has been used as a tool of propaganda rather than a tool for democratic social change. These seemingly-incompatible applications of participation in political theatre present a problem for those who want to use it: what versions of participatory theatre provide a space for other voices, and what versions of participatory theatre ostensibly appear to, but ultimately only function as tools to justify an ideology? To explore this question I examine a common form of participatory theatre: interactive theatrical trials. Specifically, I analyze the agitation trials of post-revolutionary and early Soviet Russia using Augusto Boal's frameworks from his devlopment of Theatre of the Oppressed.

The SolarSPELL is an offline, ruggedized, digital library, created by Dr. Laura Hosman for the U.S. Peace Corps. It has thousands of pieces of educational content that can be accessed through a self-contained Wi-Fi hotspot on the device itself. Currently, there are more than 200 deployed in several Pacific Island nations. After visiting one of these nations, Tonga, in December of 2016, I learned that almost all of the Peace Corps volunteers stationed around the Pacific Islands suffered from a lack of resources due to a variety of reasons. While the SolarSPELL helps to remedy that, the device is lacking classroom activities and resources for creative work and educational drama. Furthermore, for many students in these environments, schools are for learning information and producing high scores on exams, not for learning about creative strengths and identity. After researching curriculum development and the use of drama in an educational setting, I compiled over 50 pieces of content to include on the SolarSPELL involving art, drama, music, movement, and most importantly, imagination. These resources will allow Peace Corps volunteers to explore additional ways to teach English in their schools, while also creating a classroom environment that allows for creative expression. All the content is compiled into one folder as "Teaching Resources", and is then broken down into seven sub- categories. In the first sub-category, Art Projects, there is a collection of several hands-on projects, many of which involve recyclable or readily available materials. These projects will allow for a greater understanding of conservation and "green" living, concepts that are crucial to the stability of these island nations. The next 5 categories are Drama Readings, Music, Movement, and Video, Group Exercises, Creative Writing, and Worksheets. The second sub- category is a collection of beginner-level "Reader's Theater" scripts. The third sub-category involves music and video to engage students in movement activities. The fourth sub-category is a compilation of group games and activities to help students express themselves and learn social skills. The fifth sub-category includes a collection of activities such as fill-in-the-blank story worksheets and journal prompts which will aid in creative thinking and the practice of the English language. The sixth sub-category involves a collection of worksheets that mainly focus on self-reflection and identity. The seventh and final sub-category, Content Guide and Information, works to explain the benefits of using of drama and creative play in the classroom, as well as strategies teachers can implement in order to further engage their students in dramatic learning and play. Overall, these pieces of content are meant to be used as resources for the Peace Corps volunteers in order to provide alternative ways to practice reading, writing, and speaking the English language, a critical part of education in the Pacific Islands.