Armstrong, Eric2019-07-022019-07-022019-02-282019-07-02http://hdl.handle.net/10315/36273A compelling, authentic and dynamic actor must strip away all of their armour and allow them self to see and be seen. They must be open, curious, all consumed by the present moment, spontaneous, and free. Free from judgement, self-criticism and shame. They must be vulnerable. This thesis is a multi-modal investigation which seeks to explore my artistic vulnerability in rehearsals and creation and develop my physical practices and range when creating characters. The work of social scientists Bren Brown and Kristin Neff was used to strengthen my self-compassion so that I was able to take the necessary risks to allow myself to fail, and to see those valuable failures as moments of growth and learning rather than shame and ridicule. Through continued research into authentic movements practices, embodied practice and Jacques Lecoq movement pedagogy, I fused this artistic vulnerability with dynamic physical range to create five vastly contrasting and compelling characters in the play Middletown by Will Eno.enAuthor owns copyright, except where explicitly noted. Please contact the author directly with licensing requests.Performing artsElectronic Thesis or Dissertation2019-07-02MFATheatreVulnerabilityMovementSelf-CompassionLecoq