Date of Award

Spring 4-16-2026

Access Restriction

Thesis

Degree Name

Master of Fine Arts

Department

Theatre Arts

School or College

College of Communication and Fine Arts

First Advisor

Katharine Noon

Second Advisor

Stacey Cabaj

Abstract

This paper proposes an emerging approach to actor training that deepens imaginative engagement by integrating Ignatian Spirituality into theatrical practice. It argues that an Ignatian‑inspired method—The Imagination Exercises, rooted in the Spiritual Exercises in Daily Life (SEEL)—effectively enhances the actor’s capacity for empathy, character investment, and emotional truth. Drawing on scholarship in acting, performance studies, and Catholic spiritual tradition, the study outlines a step‑by‑step application of these exercises within an undergraduate acting course. The method is implemented through lecture, rehearsal, and performance labs, culminating in a staged reading of The Last Days of Judas Iscariot. The paper demonstrates how the Imagination Exercises align with established theatre and performance pedagogies, including the embodied emotional exploration found in Rasa Boxes. A comparative analysis of Constantin Stanislavski’s actor‑centered philosophy and Ignatius of Loyola’s contemplative practices provides the theoretical foundation for the methodology. Both systems emphasize attentive observation, imaginative entry into another’s experience, and disciplined reflection—principles that support the actor’s artistic and personal formation. Student journals, rehearsal observations, and a post‑performance reflection serve as qualitative data, revealing how the exercises foster deeper imaginative responsiveness and more nuanced character interpretation. Participants reported increased clarity in objectives, stronger emotional connection to text, and a heightened sense of interiority consistent with Ignatian contemplative practice. Ultimately, the study concludes that integrating SEEL‑inspired Imagination Exercises into actor training offers a valuable contribution to contemporary theatre pedagogy. By bridging Catholic spiritual tradition with performance practice, the approach cultivates both artistic rigor and reflective self‑awareness. The findings suggest that this method enriches actor education by strengthening the interplay between imagination, empathy, and embodied storytelling—core elements of meaningful performance.

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