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Par dissertation   •  7 Décembre 2013  •  686 Mots (3 Pages)  •  8 011 Vues

FICHE RÉSUMÉ SUR LE THÉÂTRE

1 : Introduction : Le genre théâtral compose une grande partie de la Littérature, et ce, depuis l'antiquité jusqu'à aujourd'hui. Le théâtre, qu'il soit lu ou représenté présente une spécificité : il peut être argumentatif ou polémique entre autres. Le théâtre est une forme vivante de littérature, qui se prête à défendre des idées, de par ses dialogues qui peuvent adopter une forme argumentative, et par sa double énonciation. Il permet ainsi une opposition à certaines idées de façon plus ou moins détournée et est accessible à tous. Mais le théâtre n'est pas lu ou écouté de façon assez attentive, tournée vers les arguments de l'auteur. En effet, le théâtre se présente comme un divertissement. De plus l'auteur doit faire face à la censure et aux malentendus avec les spectateurs. Les pièces mettent souvent en scène des conflits : les conflits comiques se révoltent en rires, les conflits tragiques exigent le plus souvent la mort du personnage principal.

2 : Un support idéal pour défendre des idées : Pour l'auteur le théâtre se présente comme un support idéal pour présenter et défendre ses idées par sa forme propre permettant d'utiliser le registre polémique, et la double-énonciation ( le personnage ou acteur s'adresse non seulement aux autres personnages présents sur scène, faisant avancer l'intrigue, mais aussi au spectateur ) ; à travers cette forme, il peut se permettre une opposition plus ou moins importante face à la société puisqu'il parle parle à travers un personnage. Enfin, le théâtre est accessible à tous, et permet une spectaculaire propagation des idées, par support écrit et surtout oral.

La double énonciation permet à l'auteur de s'impliquer d'avantage dans ses propos : une opposition plus ou moins importante à la société lui est permise. Il emploie un moyen détourné en impliquant ses idées dans la tirade d'un de ses personnages. Les monologues notamment permettent une réflexion plus profonde sur la société, puisque le personnage est face à lui-même ( et au spectateur ) : Longue tirade de Figaro dans le Mariage de Figaro qui conteste l'ordre sociale.

Un autre avantage du théâtre semble être sa facilité d'accès à la majorité de la population : se propageant par deux modes, et principalement par celui qui consiste à être représenté. Le théâtre s'ouvre à un public plus large. Les idées de l'auteur peuvent ainsi être mieux répandues. L'observation des pièces de Molière confirme cet aspect. Molière – grand dramaturge et comédien – a crée un grand nombre de comédies-critiques où il montre les défauts de la société. L'Avare de par son genre, une comédie classique, se rend accessible aisément et les spectateurs ont ainsi accès aux idées de Molière, à ses critiques.

3 : Un support peut être pas si idéal ? : Le théâtre n'est peut être pas un support si idéal pour exposer des idées : le spectateur peut ne pas les prendre au sérieux voire pire, ne pas les comprendre : les pièces peuvent être censurées : Les pièces de Molière comiques sont sensibles vis-à-vis du lecteur. Les rires

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• Representation of Land and the Female Body in Polish Dramatic Literature  Dulba-Barnett , Anna ( University of Oregon , 2024-03-25 ) In this dissertation, I map how the authors of canonical Polish dramas from Romanticism to the present construct and solidify the ideals of womanhood and its connection to land and nature. I analyze how the use of the ...
• Two Sides of Intelligibility: The Practice and Perception of Performed Accents Onstage  Kress, Ellen ( University of Oregon , 2022-02-18 ) The profession of voice and dialect is built upon the premise of maximum understanding for the audiences attending theatre. This maximum understanding, or intelligibility, has historically driven the practice and continues ...
• Durable Whiteness: Structural Settler Colonialism in California and Southern Oregon Theatre, 1849-1860 and 2018-2019  Lenk, Waylon ( University of Oregon , 2021-09-13 ) Theatre and Performance Studies have studied the ways in which theatre and performance act as auxiliaries of hegemonic state power at least since Boal’s Theatre of the Oppressed explored the ways in which classical Greek ...
• Interpreting the Game of History: Synthesis and Shortcomings Between Reenactment, Living History, and Roleplaying  Pointer, Mica ( University of Oregon , 2021-09-13 ) Civil War reenactors claim to be educational through the nature of their bringing the past to life. Their claims place them among heritage and cultural interpreters in how they connect the past with the audience before ...
• A Fundamental Disagreement: Ongoing Discussions Concerning the Adaptation of Augusto Boal’s Practices  Evans, Joshua ( University of Oregon , 2021-09-13 ) After Augusto Boal passed away in 2009, a significant dispute developed within the Theatre of the Oppressed community concerning whether his methods should be reimagined to combat structural oppression more effectively. ...
• The Latinx Theatre Commons: Feminist Decolonization in the Early Years of a Movement to Transform the Narrative of the American Theatre  Sanchez Saltveit, Olga ( University of Oregon , 2020-02-27 ) The Latinx Theatre Commons (LTC) emerged in 2012 in response and resistance to years of misrepresentation and erasure of Latinx artistic work and presence by the American theatre field in practice and in scholarship. This ...
• “Sisters of the Pen”: Restoring Women to Early Modern Theatre History Pedagogy and Practice  Rogers, Jessica ( University of Oregon , 2020-02-27 ) This dissertation looks at current theatre historiography in terms of pedagogy and performance practices on the topic of early modern (seventeenth century) female dramatists, via select dramatic works of Elizabeth Cary, ...
• Traversing the Rift: Cultivating Climate Change Literacy Through Theatrical Performance  Borowicz, Lydia ( University of Oregon , 2019-04-30 ) Climate change is a persistent and growing threat to the well-being of both humans and nonhuman species, and little action has been taken to halt it. It is imperative the public gains a sufficient level of climate change ...
• The Nether Worlds of Jennifer Haley — A Case Study of Virtuality Theatre  Yeadon, Michelle ( University of Oregon , 2018-09-06 ) Studies exploring the first wave of digital performance foregrounded technology by cataloging experimentation and novel interactions between liveness, projections and code. As exercises in medium, these high tech spectacles ...
• Moises Kaufman: The Search for New Forms  Brown, Rich ( University of Oregon , 2003-08 ) This study identifies and examines Moises Kaufinan's theoretical questions and rehearsal techniques from their development in initial works at New York University to their specific application during the creation of Gross ...
• Roots in the Earth and a Flag in my Hand: Rural Gender Identity in American Musical Theatre  Cuskey, Lusie ( University of Oregon , 2016-10-27 ) The integrated musical is a vehicle for the creation and communication of a national identity, created through the use of coded performances of gender and, at times, rural settings conceptualized as essentially “American.” ...
• A Home You Can’t Live in: Performances of the Black Body and Domestic Space in Contemporary Drama  Gray, Leslie ( University of Oregon , 2015-08-18 ) Theatre is often an invitation to enter the black home subject to its violations and crisis; this thesis repositions the black home and body in contemporary American and British theatre as constructed by the narratives and ...
• Practical Dramaturgy for Actors: Applying Resources of the Oregon Shakespeare Festival to the Challenges of Language and Preparation  Rodley, Patricia ( University of Oregon , 2015-01-14 ) This dissertation investigates the relationship between acting and dramaturgy. It proposes a change in the contemporary actor's work to more purposefully integrate practical dramaturgy as a preparation that parallels ...
• Amas Repertory Theatre: Passing as Black While Becoming White  Sidden, Jean ( University of Oregon , 2014-09-29 ) Amas Repertory Theatre was founded in 1969 by Rosetta LeNoire, an African American actress who pursued a mission of developing original musicals while practicing interracial casting. The company's most successful show was ...
• The Experience of Place in Performance: A Survey of Site-Specific Theatre  Rorem, Jacob ( University of Oregon , 2014-09-29 ) For practitioners and scholars of site-specific theatre, attempts to understand the relationship between a site and performance have often focused on performance. The many ways a site can inform and enhance the audience's ...
• Presenting Oregon: Formative Forces of the Oregon Unit of the Federal Theatre Project  Morris, Damond ( University of Oregon , 2013-10-03 ) During the Great Depression President Roosevelt's New Deal brought relief to Americans through the Works Progress Administration (WPA). The Federal Theatre Project (FTP) was formed in 1935 under the WPA to lift spirits, ...
• Bill Talen and Reverend Billy: A Shared Journey  Thomas, Kathleen ( University of Oregon , 2013-07-11 ) As the cultural upheaval of the `60s fought its way into the `70s, Bill Talen began his career first as a poet, hitchhiking the interstate highways from the Midwest to the Coasts eagerly engaging the literary, intellectual, ...
• Clowns Ex Machina: An Investigation of the Relationship Between Gender and Clown  Bates, Kimberly ( University of Oregon , 2012 ) Historically, women have been largely discounted from the public comedic arena, typically serving as the butt of the joke or other various comedic fodder. As a female comedian, I became interested in how gender played ...
• Sojourn Theatre Company: A Case Study in Community-Based Theatre  Madzik, Christine ( University of Oregon , 2012 ) This thesis examines contemporary community-based theatre processes and efficacy through a case study of Sojourn Theatre Company. Chapter II overviews Sojourn's production history and explores the company's style. Chapter ...
• (In)famous Angel: The Cherub Company and the Problem of Definition  Cook, Brian ( University of Oregon , 2012 ) This dissertation examines the effects of conventionally categorizing working artists and looks specifically at the Cherub Company, London, as a case study. Cherub was an alternative British theatre company whose work in ...

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Dissertations and Theses

The dissertation is the culminating project for the PhD in Theatre and Performance Studies. A formal proposal for a dissertation should be submitted for the endorsement of the Graduate Faculty. See the department's  Graduate Student Handbook  for proposal instructions. The Graduate Faculty will review the proposal. Sample proposals are on file in the department or by contacting the Director of Graduate Studies.

We welcome projects that include archival research, ethnography, critical theory, literary analysis, and performance studies. Dissertation work begins in the third year of the PhD program and is typically completed in a student's fourth or fifth year in the doctoral program.

Recent Dissertations and Theses

2023 – dissertations.

" Relajo y Joteria: Reimagining Family, Devotion, and Desire through the work of Teatro Alebrijes, 2011-2022 " ( Javier Hurtado )

"Who’s That Girl?”: Women Writing Women on the Broadway Stage " ( Jess Pearson-Bleyer )

2022 – Dissertations

" Americanizing Shakespeare in Print: Nineteeth Century American Illustrated Editions of Shakespeare as Representations of National Identity " ( Hesam Sharifian )

"New Game+: Memories Made in Virtual Worlds " (Peter Spearman)

2022 – Theses

"Balancing and Bending in Bling: The Aesthetics of the Acrobatic Latina Athlete" (Amelia Estrada)

“Perform Falling: Reframing Chinese Rural “Left-Behind” Children” (Wenxuan Xue)

2021 – Dissertations

"Cosmopolitan Performance and Its Ecologies in Interwar Shanghai" (Yizhou Huang)

"Defiant Acrobatic Bodies: Gender in the Performance of Ground Acrobatic Acts from the Inception of the Modern Anglo Circus" (Amy Meyer)

"Performing History in North Tulsa: Black Wall Street and the 1921 Tulsa Race Massacre" (Tara Brook Watkins)

2021 – Theses

"Processing the Pain of Others: Witinessing Semana Santa Penitents in Taxco Through Procession" (Whitney Brady-Guzmán)

"[W]righting the Highway: Black Counter-Maps and American Interstates" (Jenny Henderson)

2020  –  Theses

"Theatre in the Time of Cholera: Health, Medicine, and The Physician's Role on the American Stage 1832-1883" (Mia Levenson)

"Phantacamp: Queer Temporal Ruptures in the Performance of Restaged Camp" (Jo Rezes)

2019 – Dissertations

"Beyond Dahomey: The Legacy and Afterlife of the Williams and Walker Company 1902-1921" (Beck Holden) (Pat King) "Directing btween the Lines: Iranian Theatre and the Aesthetics of Ambiguity" (Reza Mirsajadi) "Homing a Turkish Diaspora: Turkish-American Women's Creative Labor" (Irem Seçil Rell Sen) "Inspiration, Countercultural Aesthetics, and Dissent: The Ilklhom Theatre of Mark Weil" (Irina Yakubovskaya) "Theories for Corporate Theatre" (Michael Morris)

2019 – Theses

"'ENOUGH OF THIS I'M NOTE LATINO ENOUGH BULLSHIT' The Social Re-Evaluative Eroticisms of Afro-Latinx Identities in U.S. Pop Culture" (Stephanie Engel)

"In Solidarity: Queer Appalachia's Zine Activism and the Radical Aesthetics of Homemaking." (Harry Hoke)

2018 – Dissertations

"An obvious caricature: The Consequences of Scientific Discourse on Theatrical Madness, 1807-1895" (Katherine Swimm) Brief Deceptive Rainbows: Cultural Memory in Productions of Tennessee Williams's  The Glass Menagerie ,  A Streetcar Named Desire , and  A Cat on a Hot Tin Roof  (Daniel Ciba)

2018 – Theses

"But What if Instead We Imagine Black Life" Femininity, Performance, and the Black Lives Movement (Teri Incampo) The Man Within: Depictions of Blackness in Superhero Adaptations” (Peter Spearman)

2016 – Dissertations

"Black or Red? The Construction of Identity in Langston Hughes' Plays" (Katya Vrtis) "Forgotten Figures: The Rhetorical Function of Tecmessa, Chrysothemis, and Ismene in Tragedies of Sophocles and Selected Adaptations" (Tiffany Pounds-Williams) "Theatre of Common Sense: Ernie McClintock, Jazz Acting, and the Black Power Aesthetic (1965-2003)" (Ibby Cizmar)

2016 – Theses

"'Am I Not A Woman and A Sister?' Performance as Political Discourse in African American Women's Literary Societies" (Jenny Herron) "Staging as Youth Culture in Colonial-Modern Shanghai: Student Theatre from the 1890s-1920s" (Yizhou Huang)

2015 – Dissertations

"American Billing: Life, Liberty, and the Pursuit of Shakespeare" (Danielle Rosvally) "The American Pipe Dream: Drug Addiction on Stage 1890-1940" (Max Shulman) "Arab and Muslim American Female Playwrights: Resistance and Revision through Solo Performance" (Megan Stahl) "Freaks, Beasts, and Gadgets: Performing Order and Disorder in Early America" (Matthew DiCintio) "Constructing the Sensorium: Neoliberalism and Aesthetic Practice in Neoliberal Theatre" (Paul Masters) "Cultural Improvisations: Luigi Riccoboni and the Nouveau Theatre Italien" (Matthew McMahan) "Documenting Rehearsal for Revolution: Theory, Practice, and Praxis in Theatre of the Oppressed" (Betsy Goldman)

2015 – Theses

"'Of Thee We Sing:' Microhistories of the Northeastern United States through the Lens of American Folkloric Opera" (Christian Krenek) "Spectrums of Truth: Transcribing Reality in the Documentary Musical" (Reza Mirsajadi)

Search the Archive

Dissertations and theses by our graduate are catalogued in the  Dissertations & Theses @ Tufts University  database. In the "Advanced Search" option, search for "drama" in the "Department – DEP" category.  Dissertations & Theses @ Tufts  provides full text for:

• Most PhD dissertations issued after 1996
• Most master's theses issued after 2005

CUNY Academic Works

Home > Dissertations, Theses & Capstones Projects by Program > Theatre and Performance Dissertations

Theatre and Performance Dissertations

As of 2014, all newly submitted Graduate Center dissertations and theses appear in Academic Works shortly after graduation. Some works are immediately available to read and download, and some become available after an embargo period set by the author.

Dissertations and theses from before 2014 are generally accessible only to the CUNY community, but some authors have chosen to make theirs open access.

The Ph.D. Program in Theatre and Performance was formerly known as Theatre. Dissertations submitted prior to September 2018 reflect this earlier name.

Dissertations from 2024 2024

Epistemic Theatres: The Dramaturgy of Knowledge in Twenty-First Century Theatre , Amir Farjoun

Dissertations from 2023 2023

Spectacle on the Fringe: Masks, Materiality, and Movement in South Asia , Deepsikha Chatterjee

“Here in America”: Broadway Musicals and the Making of Jewish Americans , Barrie Gelles

Political Theatre After Occupy: Participation, Interpellation, and the Search for New Subjectivities in the Theatre , Andrew J. Goldberg

“For ‘Their Own Good’”: Education, The Performing Arts, and Social Justice at the Brooklyn Academy of Music, 1915–2023 , Anna S. Harb

Transnational Ritual Poetics of Blackness in Performance , Nina A. Mercer

Indigenous Performances in Contemporary Indian Urban Public Theatres: Coloniality, Globalization, and the State , Mayurakshi Sen

Dissertations from 2022 2022

A Girl Is a Thing: Dramaturgies of Objects and Nature in Contemporary Choreography , Fidan Akinci

Staging Retro-Perspectives: Performing Age, Memory/loss, and Queer Desire in the Later Works of Split Britches (2009–2020) , Benjamin Gillespie

Banarasipan as Revelation: Immanent Utopias in the Performance of Everyday Life , Bhargav Rani

Primitivism, Performance Studies, and Modernist Time: Tracing an Alternative Genealogy of Performance Studies Through Case Studies in Modernist Cultural Appropriation , Stephanie Vella

Gay Boy and Playboy Revues: Constructing U.S. Queer Collectivities in Networks of Peripatetic Burlesque and Nightclub Drag Performers, 1933–1939 , Kalle Westerling

Dissertations from 2021 2021

Broadway in the Age of American Idol: Celebrity and the Broadway Musical, 2003–2018 , Emily E. Clark

Becoming Material: Devotional Encounters Between Humans and Objects in the European Middle Ages , Debra L. Hilborn-Davis

A Host of People in Detroit: Forging a Twenty-First Century Ensemble in the Deindustrial City , Jacob Hooker

Dramaturgies of Intellectual Property Law in Read-Write Theatre , Andrew Kircher

Baccio del Bianco at the Court of Spain: Early Modern Scenic Design in Context , Pamela Thielman

Countersexuality in Times of Neomachismo: Representations of Gender in Contemporary Spanish Performance (1988–2019) , Mara I. Valderrama

Dissertations from 2020 2020

The Argentines of Paris: Theatrical Networks and Assemblages , Stefano Boselli

Devising Complicité: Devised Theatre, Neoliberal Funding Pressures, and the Evolution of Théâtre de Complicité , Joseph Anthony Heissan Jr.

Acting Objects: Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance , Sarah Lucie

Reframing the Family Portrait: The Surrogate Mother in U.S. Theatre and Film 1939–1963 , Alison Walls

Dissertations from 2019 2019

Just a Buncha Clowns: Comedic-Anarchy and Racialized Performance in Black Vaudeville, the Chop Suey Circuit, and las Carpas , Michael Shane Breaux

Re-Defining Gender and Sexuality in West African Theatre: Women Artists, Feminist Representations, and Same-Sex Desire in the Twenty-First Century Theatre of Benin, Burkina Faso, and Togo , Heather J. Denyer

Broadway Bodies: Casting, Stigma, and Difference in Broadway Musicals Since "A Chorus Line" (1975) , Ryan Donovan

Madness and the Broadway Musical, 1940s–2000s , Aleksei Grinenko

Embodied Nostalgia: Early Twentieth Century Social Dance and U.S. Musical Theatre , Phoebe Rumsey

Dramaturgies of Democracy: Performance, Cultural Policy, and Citizenship in Chile, 1979–Present , Jennifer J. Thompson

Dissertations from 2018 2018

Under the Influence: Drinking and Immersion in New York City Theatre and Popular Entertainment, 1850 to Present , Chloë R. Edmonson

Being in Performance: A Philosophical Account of the Embodied Actor , Brad M. Krumholz

Wukongism: Monkey King, Kungfu/Jazz, and Asian/American Performance , Sissi Liu

The Theatrical King: Joseph Addison's Invention of Modern Sovereignty , Dan Poston

The Other at War: Performing the Spanish-Cuban-American War on U.S. and Cuban Stages , Juan R. Recondo

The Lines Between the Lines: Stage Directions as Fluid, Affective Collaborations Between Theatre Texts and Theatre Makers , Sarah Bess Rowen

African American Performers in Stalin’s Soviet Union: Between Political Promise and Racial Propaganda , Christopher E. Silsby

“Are They Supposed to Be Heugin ?": Negotiating Race, Nation, and Representation in Korean Musical Theatre , Ji Hyon Yuh

Dissertations from 2017 2017

Nervous Salomes: New York Salomania and the Neurological Condition of Modernité , Margaret K. Araneo

Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama , James Armstrong

One Endless Dance: Tanaka Min's Experimental Practice , John (Zack) Fuller

Twenty-First-Century Transnational Theatre Development in the Cases of Théâtre du Soleil/Aftaab and Sundance Institute East Africa: Cultural Politics, Performance Aesthetics, and Global Circulation , Julia Goldstein

Acts of Provocation: Popular Antiracisms on/through the Twenty-First Century New York Commercial Stage , Stefanie A. Jones

The Interdependence of Theatricality, Gender, and Race in Cinematic and Performative Representations of New Orleans—From Jim Crow to Hurricane Katrina , Alexandra Just

Theatre Translation as Historiography: Projections of Greek Self-Identity Through English Translations During the European Crisis , Maria Mytilinaki

Performing Human Rights in Neoliberal Asia: Artistic and Activist Engagements in Hong Kong, Malaysia, and Singapore , Melissa Wansin Wong

Dissertations from 2016 2016

Straddling Feminisms: Post-Wave Pop Politics and Experimental Performance , Jessica Del Vecchio

Performing el Rap el ʿArabi 2005-2015: Feeling Politics amid Neoliberal Incursions in Ramallah, Amman, and Beirut , Rayya S. El Zein

Theatres of Reality, Fiction, and Temporality: Vegard Vinge and Ida Müller’s Ibsen-Saga (2006 - 2015) , Andrew L. Friedman

Professional Wrestling and/as Theatre: Bodies, Labor, and the Commercial Stage , Eero Laine

Shakespeare for the Volk : Shakespeare and the Development of the Idea of German Nationhood, 1817–1867 , Daniel Rockhill Siegel Venning

Occupy Citizenry: Participatory Performance in New York City: 2009-2015 , Kenn Dixon Watt

Animal Performance in Big-Time Vaudeville , Catherine M. Young

Dissertations from 2015 2015

Economies of Touring in American Theatre Culture, 1835-1861 , Nicole Berkin

Performing (Non)Profit, Race, and American Identity in the Nation's Capital: Arena Stage, 1950-2010 , Donatella Galella

The Pulitzer Prize and Women: An Investigation into Three Decades of Winning Plays by Female Dramatists (1981-2009) , Kathleen Potts

Dissertations from 2014 2014

Cologne Carnival's "Alternative" Stunksitzung: Carnivalization? Meta-Carnival? Or Bakhtinian Restoration? , Erik Abbott

Ridiculous Geographies: Mapping the Theatre of the Ridiculous as Radical Aesthetic , Kelly Aliano

Dissertations from 2010 2010

Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy , Graça Corrêa

Dissertations from 2003 2003

Art or Propaganda: A Historical and Critical Analysis of African-American Approaches to Dramatic Theory, 1900–1965 , Henry D. Miller

Dissertations from 2001 2001

Blue Vaudeville: Sex, Morals, and the Mass-Marketing of Amusement, 1895-1915 , Andrew L. Erdman

Dissertations from 1999 1999

Contemporary Romanian Theatre: Artistry, Honesty, and Adaptation in the Plays of Iosif Naghiu, Dumitru Radu Popescu and Marin Sorescu , Eric Pourchot

John Brougham: The American Performance Career of an Irish Comedian, 1842–1880 , Dana Rahm Sutton

The Women of the Ten, Twent', Thirt': Popular Melodrama Theatre in Turn-of-the-Century New York , Barbara Meredith Waldinger

Dissertations from 1992 1992

Acting Hysteria: An Analysis of the Actress and Her Part , Lydia Stryk

Dissertations from 1990 1990

Improvisation for Actor Training and Performance in 20th Century America (with Special Emphasis on the Spolin and Sills Tradition) , Jeff David Brone

Influences of the Post-World War II Era on the American Political Theater, 1968–1972 , Lydia Alix Gerson

Dissertations from 1989 1989

The Theatre of Adrian Hall , Jeannie Marlin Woods

Dissertations from 1988 1988

Feminist Theory and Postwar American Drama , Gayle Austin

Dissertations from 1987 1987

Revolutions Off Off Broadway, 1959-1969: A Critical Study of Changes in Structure, Character, Language, and Theme in Experimental Drama in New York City , Alexis Greene

Dissertations from 1983 1983

The Principles of Acting According to Stella Adler , Joanna Helen Rotte

Dissertations from 1978 1978

Theatre and Drama and the Nazi Concentration Camps , Alvin Goldfarb

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How to Write a Thesis or Dissertation Introduction

Published on September 7, 2022 by Tegan George and Shona McCombes. Revised on November 21, 2023.

The introduction is the first section of your thesis or dissertation , appearing right after the table of contents . Your introduction draws your reader in, setting the stage for your research with a clear focus, purpose, and direction on a relevant topic .

Your introduction should include:

• Your topic, in context: what does your reader need to know to understand your thesis dissertation?
• Your focus and scope: what specific aspect of the topic will you address?
• The relevance of your research: how does your work fit into existing studies on your topic?
• Your questions and objectives: what does your research aim to find out, and how?
• An overview of your structure: what does each section contribute to the overall aim?

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Table of contents

How to start your introduction, topic and context, focus and scope, relevance and importance, questions and objectives, overview of the structure, thesis introduction example, introduction checklist, other interesting articles, frequently asked questions about introductions.

Although your introduction kicks off your dissertation, it doesn’t have to be the first thing you write — in fact, it’s often one of the very last parts to be completed (just before your abstract ).

It’s a good idea to write a rough draft of your introduction as you begin your research, to help guide you. If you wrote a research proposal , consider using this as a template, as it contains many of the same elements. However, be sure to revise your introduction throughout the writing process, making sure it matches the content of your ensuing sections.

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Begin by introducing your dissertation topic and giving any necessary background information. It’s important to contextualize your research and generate interest. Aim to show why your topic is timely or important. You may want to mention a relevant news item, academic debate, or practical problem.

After a brief introduction to your general area of interest, narrow your focus and define the scope of your research.

You can narrow this down in many ways, such as by:

• Geographical area
• Time period
• Demographics or communities
• Themes or aspects of the topic

It’s essential to share your motivation for doing this research, as well as how it relates to existing work on your topic. Further, you should also mention what new insights you expect it will contribute.

Start by giving a brief overview of the current state of research. You should definitely cite the most relevant literature, but remember that you will conduct a more in-depth survey of relevant sources in the literature review section, so there’s no need to go too in-depth in the introduction.

Depending on your field, the importance of your research might focus on its practical application (e.g., in policy or management) or on advancing scholarly understanding of the topic (e.g., by developing theories or adding new empirical data). In many cases, it will do both.

Ultimately, your introduction should explain how your thesis or dissertation:

• Helps solve a practical or theoretical problem
• Addresses a gap in the literature
• Builds on existing research
• Proposes a new understanding of your topic

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Perhaps the most important part of your introduction is your questions and objectives, as it sets up the expectations for the rest of your thesis or dissertation. How you formulate your research questions and research objectives will depend on your discipline, topic, and focus, but you should always clearly state the central aim of your research.

If your research aims to test hypotheses , you can formulate them here. Your introduction is also a good place for a conceptual framework that suggests relationships between variables .

• Conduct surveys to collect data on students’ levels of knowledge, understanding, and positive/negative perceptions of government policy.
• Determine whether attitudes to climate policy are associated with variables such as age, gender, region, and social class.
• Conduct interviews to gain qualitative insights into students’ perspectives and actions in relation to climate policy.

To help guide your reader, end your introduction with an outline  of the structure of the thesis or dissertation to follow. Share a brief summary of each chapter, clearly showing how each contributes to your central aims. However, be careful to keep this overview concise: 1-2 sentences should be enough.

I. Introduction

Human language consists of a set of vowels and consonants which are combined to form words. During the speech production process, thoughts are converted into spoken utterances to convey a message. The appropriate words and their meanings are selected in the mental lexicon (Dell & Burger, 1997). This pre-verbal message is then grammatically coded, during which a syntactic representation of the utterance is built.

Speech, language, and voice disorders affect the vocal cords, nerves, muscles, and brain structures, which result in a distorted language reception or speech production (Sataloff & Hawkshaw, 2014). The symptoms vary from adding superfluous words and taking pauses to hoarseness of the voice, depending on the type of disorder (Dodd, 2005). However, distortions of the speech may also occur as a result of a disease that seems unrelated to speech, such as multiple sclerosis or chronic obstructive pulmonary disease.

This study aims to determine which acoustic parameters are suitable for the automatic detection of exacerbations in patients suffering from chronic obstructive pulmonary disease (COPD) by investigating which aspects of speech differ between COPD patients and healthy speakers and which aspects differ between COPD patients in exacerbation and stable COPD patients.

Checklist: Introduction

I have introduced my research topic in an engaging way.

I have provided necessary context to help the reader understand my topic.

I have clearly specified the focus of my research.

I have shown the relevance and importance of the dissertation topic .

I have clearly stated the problem or question that my research addresses.

I have outlined the specific objectives of the research .

I have provided an overview of the dissertation’s structure .

You've written a strong introduction for your thesis or dissertation. Use the other checklists to continue improving your dissertation.

If you want to know more about AI for academic writing, AI tools, or research bias, make sure to check out some of our other articles with explanations and examples or go directly to our tools!

Research bias

• Survivorship bias
• Self-serving bias
• Availability heuristic
• Halo effect
• Hindsight bias
• Deep learning
• Generative AI
• Machine learning
• Reinforcement learning
• Supervised vs. unsupervised learning

 (AI) Tools

• Grammar Checker
• Paraphrasing Tool
• Text Summarizer
• AI Detector
• Plagiarism Checker
• Citation Generator

The introduction of a research paper includes several key elements:

• A hook to catch the reader’s interest
• Relevant background on the topic
• Details of your research problem

and your problem statement

• A thesis statement or research question
• Sometimes an overview of the paper

Don’t feel that you have to write the introduction first. The introduction is often one of the last parts of the research paper you’ll write, along with the conclusion.

This is because it can be easier to introduce your paper once you’ve already written the body ; you may not have the clearest idea of your arguments until you’ve written them, and things can change during the writing process .

Research objectives describe what you intend your research project to accomplish.

They summarize the approach and purpose of the project and help to focus your research.

Your objectives should appear in the introduction of your research paper , at the end of your problem statement .

Scope of research is determined at the beginning of your research process , prior to the data collection stage. Sometimes called “scope of study,” your scope delineates what will and will not be covered in your project. It helps you focus your work and your time, ensuring that you’ll be able to achieve your goals and outcomes.

Defining a scope can be very useful in any research project, from a research proposal to a thesis or dissertation . A scope is needed for all types of research: quantitative , qualitative , and mixed methods .

To define your scope of research, consider the following:

• Budget constraints or any specifics of grant funding
• Your proposed timeline and duration
• Specifics about your population of study, your proposed sample size , and the research methodology you’ll pursue
• Any inclusion and exclusion criteria
• Any anticipated control , extraneous , or confounding variables that could bias your research if not accounted for properly.

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Theater and Dance

Theater thesis & honors thesis guidelines.

2019 Production of “ We Are Proud to Present… ” Photo Credit: Phyllis Graber-Jensen

The Department of Theater and Dance offers multiple options for the culminating experience for Theater majors.   Please see the Academic Requirements as listed in the catalog for more details: Theater Academic Program .

Below is a guide to choosing capstone or thesis options for Theater Makers and Theater Studies/Dramaturgy students with the specific requirements and expectations related to each.

Thesis Options:  

• A portfolio/website focused on a culminating creative project (Theater Makers)
• A written thesis focused on a culminating creative project (Theater Makers)
• A written thesis focused on a scholarly interest in the field of theater focus (Theater Studies/Dramaturgy 
• Double Majors Only who are completing their W3 requirements elsewhere: a website portfolio focusing on your four year experience as a theater major  (Theater Makers)
• No credit thesis (Theater Makers)
• Honors Thesis (Theater Makers & Theater Studies/Dramaturgy)

Theater Makers Thesis-Creative Project & Portfolio

Theater makers thesis-creative project & website/portfolio.

Sukanya Shukla ‘20 Acting Thesis/Capstone – Nina in Stupid F#@king Bird . Photo Credit: Phyllis Graber-Jensen

This practitioner-focused option allows students to work on a thesis in acting, directing, playwriting or design and complete a specific project designated by the department. It is by invitation of the departmental faculty only and involves one or two semesters of original research culminating in a creative project and accompanying website/portfolio focused on the artistic process .  

For acting, the student will portray a designated role in a specific production. For directing, a student will direct a specific play. For playwriting, the student will write an original play and have a staged reading.  For design, the student will accomplish the design for an appropriate project as discussed by the student and their advisor.

Supporting this creative project, this thesis experience includes a substantive website or portfolio examining the process and product of creative research.  It also represents the students’ understanding of contemporary and/or historical theater practice, its theoretical and cultural context and connection to contemporary best practices.  This portfolio could be the foundational work that students continue to develop as they apply to professional theater internships or Graduate Program MFA, MA, (post Bates)  programs post-Bates.

Theater Makers Thesis Requirements

The requirements below are the minimum expectations which must be fulfilled to be eligible for a capstone experience in these fields.

Acting Thesis Requirements:

All of the following: DN/TH 202. Devising Performance. THEA 263. Voice and Speech. THEA 361. Advanced Acting. DN/TH 290. Performance/Production. (Performance in one production prior to thesis; half-credit course). One and a half additional credits chosen in consultation with the major advisor.

Design Thesis Requirements:

1) Design courses. One of the following: THEA 231. Scene Design. THEA 232. Lighting Design. THEA 233. Costume Design. At least one of the following additional design courses: THEA 231. Scene Design. THEA 232. Lighting Design. THEA 233. Costume Design. THEA 235. Fashion: A Survey of Western Culture. THEA 236. Pattern Drafting and Draping. THEA 295. Stage Management for the Performing Arts. Three additional design-related courses, at least one in art and visual culture, that support the design concentration in consultation with the major advisor.

Directing Thesis Requirements:

DN/TH 202. Devising Performance THEA 250. Beginning Directing. THEA 350. Advanced Directing. THEA 360 B. Independent Study – Assistant Director One additional course chosen in consultation with the major advisor.

Playwriting Thesis Requirements:

All of the following: THEA 223. Dramaturgy: An Introduction. THEA 240. Playwriting. THEA 339. Advanced Playwriting.

One of the following: DANC 151. Making Dance. DANC 262. Embodying Activism: Performing a Living Definition. Two half-credit courses in DN/TH 290. Performance/Production, or DANC 270. Studio Dance.

Production work: THEA 360 C. Independent Study-Production Dramaturgy

Guidelines for Thesis Assessment

Creative project & process:  70% (35% process/35% presentation).

A substantial theater project in acting, directing, playwriting, or design with an emphasis on the process. 

Website or Portfolio:  30%

This can be done in a variety of creative formats. 

Proposal & Website/Portfolio Guidelines

Proposal and portfolio specifications for the following fields can be found by clicking the link below:

PLAYWRITING

Ali Greene ‘20 Directing Thesis/Capstone – The Gap with playwright Emma Goidel. Photo Credit: Tim Dugan

Theater Studies/Dramaturgy Written Thesis

Dana Professor of Theater, Martin Andrucki directs Brady Chilson ’23 in Love/Sick . Photo credit Phyllis Graber Jensen

This option focused on scholarly research and writing, offers Theater Studies/Dramaturgy students the opportunity to explore topics in dramatic literature, theater history, the theoretical and social dimensions of performance, or other appropriate areas of scholarly interest.  The traditional senior thesis involves one or two semesters of original research and writing, culminating in a substantial paper on a research topic of the student’s design.

Dramaturgy, History, Literature, Criticism Requirements

Course work: THEA 101, THEA 200, THEA 220, THEA 223 2 additional courses in Dramatic Literature or Theory Production work: THEA 360 C. Independent Study-Production Dramaturgy

Written Portion: 100% This should be 40 – 70 pages in length.

Theater Makers Thesis-Creative Project & Written Component

Rebecca Berger ‘19 Directing Thesis – The Wolves . Poster Design: Rachel Forcillo ’18

Theater Maker students who elect this option will structure their written work and scholarly research around a creative project designated by the department in acting, directing, playwriting, or design.  

The project process and written portion of the thesis represents the students’ independent original research based on an understanding of contemporary and/or historical theater practice, its theoretical underpinnings, cultural context, and research methodology.

The requirements below are the minimum expectations that must be fulfilled to be eligible for a thesis experience in these fields.

Acting Thesis Requirements

Course work: THEA 261, THEA 263, THEA 361 Production work: Two major roles in productions at Bates.

Design Thesis Requirements

Course work: THEA 130, THEA 231, THEA 232, THEA 233 Production work: One of the following: THEA 360 E. Independent Study – Assistant Design in the Area of Focus THEA 360 F. Independent Study – Design

Directing Thesis Requirements

Course work: THEA 261, THEA 350 Production work: After successfully completing THEA 350: THEA 360 A. Independent Study – Stage Management THEA 360 B. Independent Study – Assistant Director THEA 360 D. Independent Study – Directing

Playwriting Thesis Requirements

Course work: ENTH 289, THEA 223, THEA 240, THEA 340 Additional work: One completed script Production work: THEA 360 C. Independent Study-Production Dramaturgy https://www.bates.edu/theater/academic-program/thesis/

Creative Project & Process: 70% (35% process/35% presentation) A substantial theatre project in acting, directing, playwriting, or design with an emphasis on both the scholarly research and the process.

Written Portion: 30% This portion of the creative thesis project should be 35 – 60 pages in length.

Proposal & Thesis Guidelines

Jack Willis ‘19 Acting Thesis, Michael Driscal ‘19, Ethan Winglass Acting Thesis ’19 – We Are Proud to Present… Photo Credit: Phyllis Graber-Jensen

Honors Thesis

Hope French ‘18 Honors Thesis Acting – Harper Pitt in Angels in America Photo Credit: Phyllis Graber-Jensen

Honors Thesis involves two semesters of original research and writing either focusing on a creative project and/or a research topic approved by your advisor.  It culminates in a substantial paper on a research topic of the student’s design and also requires an oral examination by faculty members and an outside evaluator.

“The program encourages students to achieve mastery of a specific topic within the context of a major. The program gives qualified students an opportunity to conduct extensive independent study and research in their majors.”   Such an effort requires that the student possess an excellent understanding of the subject area, its theoretical underpinnings, and its research methodology .  The student must also be able to think critically and comprehensively about the topic, and must be able to advance a well-formulated argument. 

Participation in the Bates Honors Program is by invitation of the theater faculty.  The following are minimum objective criteria for such an invitation:

Overall grade-point average: 3.30 – Departmental average: 3.70

Honors in Acting

Major roles in at least two Bates productions, at least one of which must have been faculty-directed; distinguished work in THEA 261, THEA 361 & THEA  362

Honors in Directing

Distinguished work in THEA 350, THEA 360 A, THEA 360 B  & THEA 360 D.

Honors in Design

Distinguished work in the relevant design courses, and design work on at least two productions at Bates, at least one of which must have been faculty-directed.

Honors in Dramaturgy, History, Literature, And Criticism

Distinguished work in the relevant courses at Bates, including a demonstrated ability to write vivid, coherent English.

Honors in Playwriting

Successful completion of at least two one-act plays, or one full-length play before senior year.

All Honors Theses

A substantial section of the written portion must address scholarly, historical, and theoretical questions.

Guidelines for Honors Thesis Assessment 

The Bates College honors guidelines state that the thesis counts for 60% of the honors award, while the oral examination counts for 40% .

Thus, the written portion of the honors thesis counts for 25% of 60%—i.e. 15% overall .

Proposal and thesis specifications can be found by clicking the link below:

How To Write A Dissertation Introduction Chapter:

The 7 essential ingredients of an a-grade introduction.

By: Derek Jansen (MBA). Reviewed By Dr Eunice Rautenbach (D. Tech) | March 2020

If you’re reading this, you’re probably at the daunting early phases of writing up the introduction chapter of your dissertation or thesis. It can be intimidating, I know. 

In this post, we’ll look at the 7 essential ingredients of a strong dissertation or thesis introduction chapter, as well as the essential things you need to keep in mind as you craft each section. We’ll also share some useful tips to help you optimize your approach.

Overview: How To Write An Introduction Chapter

• Understand the purpose and function of the intro chapter
• Craft an enticing and engaging opening section
• Provide a background and context to the study
• Clearly define the research problem
• State your research aims, objectives and questions
• Explain the significance of your study
• Identify the limitations of your research
• Outline the structure of your dissertation or thesis

A quick sidenote:

You’ll notice that I’ve used the words dissertation and thesis interchangeably. While these terms reflect different levels of research – for example, Masters vs PhD-level research – the introduction chapter generally contains the same 7 essential ingredients regardless of level. So, in this post, dissertation introduction equals thesis introduction.

Start with why.

To craft a high-quality dissertation or thesis introduction chapter, you need to understand exactly what this chapter needs to achieve. In other words, what’s its purpose ? As the name suggests, the introduction chapter needs to introduce the reader to your research so that they understand what you’re trying to figure out, or what problem you’re trying to solve. More specifically, you need to answer four important questions in your introduction chapter.

These questions are:

• What will you be researching? (in other words, your research topic)
• Why is that worthwhile? (in other words, your justification)
• What will the scope of your research be? (in other words, what will you cover and what won’t you cover)
• What will the limitations of your research be? (in other words, what will the potential shortcomings of your research be?)

Simply put, your dissertation’s introduction chapter needs to provide an overview of your planned research , as well as a clear rationale for it. In other words, this chapter has to explain the “what” and the “why” of your research – what’s it all about and why’s that important.

Simple enough, right?

Well, the trick is finding the appropriate depth of information. As the researcher, you’ll be extremely close to your topic and this makes it easy to get caught up in the minor details. While these intricate details might be interesting, you need to write your introduction chapter on more of a “need-to-know” type basis, or it will end up way too lengthy and dense. You need to balance painting a clear picture with keeping things concise. Don’t worry though – you’ll be able to explore all the intricate details in later chapters.

Now that you understand what you need to achieve from your introduction chapter, we can get into the details. While the exact requirements for this chapter can vary from university to university, there are seven core components that most universities will require. We call these the seven essential ingredients . 

The 7 Essential Ingredients

• The opening section – where you’ll introduce the reader to your research in high-level terms
• The background to the study – where you’ll explain the context of your project
• The research problem – where you’ll explain the “gap” that exists in the current research
• The research aims , objectives and questions – where you’ll clearly state what your research will aim to achieve
• The significance (or justification) – where you’ll explain why your research is worth doing and the value it will provide to the world
• The limitations – where you’ll acknowledge the potential limitations of your project and approach
• The structure – where you’ll briefly outline the structure of your dissertation or thesis to help orient the reader

By incorporating these seven essential ingredients into your introduction chapter, you’ll comprehensively cover both the “ what ” and the “ why ” I mentioned earlier – in other words, you’ll achieve the purpose of the chapter.

Side note – you can also use these 7 ingredients in this order as the structure for your chapter to ensure a smooth, logical flow. This isn’t essential, but, generally speaking, it helps create an engaging narrative that’s easy for your reader to understand. If you’d like, you can also download our free introduction chapter template here.

Alright – let’s look at each of the ingredients now.

#1 – The Opening Section

The very first essential ingredient for your dissertation introduction is, well, an introduction or opening section. Just like every other chapter, your introduction chapter needs to start by providing a brief overview of what you’ll be covering in the chapter.

This section needs to engage the reader with clear, concise language that can be easily understood and digested. If the reader (your marker!) has to struggle through it, they’ll lose interest, which will make it harder for you to earn marks. Just because you’re writing an academic paper doesn’t mean you can ignore the basic principles of engaging writing used by marketers, bloggers, and journalists. At the end of the day, you’re all trying to sell an idea – yours is just a research idea.

So, what goes into this opening section?

Well, while there’s no set formula, it’s a good idea to include the following four foundational sentences in your opening section:

1 – A sentence or two introducing the overall field of your research.

For example:

“Organisational skills development involves identifying current or potential skills gaps within a business and developing programs to resolve these gaps. Management research, including X, Y and Z, has clearly established that organisational skills development is an essential contributor to business growth.”

2 – A sentence introducing your specific research problem.

“However, there are conflicting views and an overall lack of research regarding how best to manage skills development initiatives in highly dynamic environments where subject knowledge is rapidly and continuously evolving – for example, in the website development industry.”

3 – A sentence stating your research aims and objectives.

“This research aims to identify and evaluate skills development approaches and strategies for highly dynamic industries in which subject knowledge is continuously evolving.”.

4 – A sentence outlining the layout of the chapter.

“This chapter will provide an introduction to the study by first discussing the background and context, followed by the research problem, the research aims, objectives and questions, the significance and finally, the limitations.”

As I mentioned, this opening section of your introduction chapter shouldn’t be lengthy . Typically, these four sentences should fit neatly into one or two paragraphs, max. What you’re aiming for here is a clear, concise introduction to your research – not a detailed account.

PS – If some of this terminology sounds unfamiliar, don’t stress – I’ll explain each of the concepts later in this post.

#2 – Background to the study

Now that you’ve provided a high-level overview of your dissertation or thesis, it’s time to go a little deeper and lay a foundation for your research topic. This foundation is what the second ingredient is all about – the background to your study.

So, what is the background section all about?

Well, this section of your introduction chapter should provide a broad overview of the topic area that you’ll be researching, as well as the current contextual factors . This could include, for example, a brief history of the topic, recent developments in the area, key pieces of research in the area and so on. In other words, in this section, you need to provide the relevant background information to give the reader a decent foundational understanding of your research area.

Let’s look at an example to make this a little more concrete.

If we stick with the skills development topic I mentioned earlier, the background to the study section would start by providing an overview of the skills development area and outline the key existing research. Then, it would go on to discuss how the modern-day context has created a new challenge for traditional skills development strategies and approaches. Specifically, that in many industries, technical knowledge is constantly and rapidly evolving, and traditional education providers struggle to keep up with the pace of new technologies.

Importantly, you need to write this section with the assumption that the reader is not an expert in your topic area. So, if there are industry-specific jargon and complex terminology, you should briefly explain that here , so that the reader can understand the rest of your document.

Don’t make assumptions about the reader’s knowledge – in most cases, your markers will not be able to ask you questions if they don’t understand something. So, always err on the safe side and explain anything that’s not common knowledge.

#3 – The research problem

Now that you’ve given your reader an overview of your research area, it’s time to get specific about the research problem that you’ll address in your dissertation or thesis. While the background section would have alluded to a potential research problem (or even multiple research problems), the purpose of this section is to narrow the focus and highlight the specific research problem you’ll focus on.

But, what exactly is a research problem, you ask?

Well, a research problem can be any issue or question for which there isn’t already a well-established and agreed-upon answer in the existing research. In other words, a research problem exists when there’s a need to answer a question (or set of questions), but there’s a gap in the existing literature , or the existing research is conflicting and/or inconsistent.

So, to present your research problem, you need to make it clear what exactly is missing in the current literature and why this is a problem . It’s usually a good idea to structure this discussion into three sections – specifically:

• What’s already well-established in the literature (in other words, the current state of research)
• What’s missing in the literature (in other words, the literature gap)
• Why this is a problem (in other words, why it’s important to fill this gap)

Let’s look at an example of this structure using the skills development topic.

Organisational skills development is critically important for employee satisfaction and company performance (reference). Numerous studies have investigated strategies and approaches to manage skills development programs within organisations (reference).

(this paragraph explains what’s already well-established in the literature)

However, these studies have traditionally focused on relatively slow-paced industries where key skills and knowledge do not change particularly often. This body of theory presents a problem for industries that face a rapidly changing skills landscape – for example, the website development industry – where new platforms, languages and best practices emerge on an extremely frequent basis.

(this paragraph explains what’s missing from the literature)

As a result, the existing research is inadequate for industries in which essential knowledge and skills are constantly and rapidly evolving, as it assumes a slow pace of knowledge development. Industries in such environments, therefore, find themselves ill-equipped in terms of skills development strategies and approaches.

(this paragraph explains why the research gap is problematic)

As you can see in this example, in a few lines, we’ve explained (1) the current state of research, (2) the literature gap and (3) why that gap is problematic. By doing this, the research problem is made crystal clear, which lays the foundation for the next ingredient.

#4 – The research aims, objectives and questions

Now that you’ve clearly identified your research problem, it’s time to identify your research aims and objectives , as well as your research questions . In other words, it’s time to explain what you’re going to do about the research problem.

So, what do you need to do here?

Well, the starting point is to clearly state your research aim (or aims) . The research aim is the main goal or the overarching purpose of your dissertation or thesis. In other words, it’s a high-level statement of what you’re aiming to achieve.

Let’s look at an example, sticking with the skills development topic:

“Given the lack of research regarding organisational skills development in fast-moving industries, this study will aim to identify and evaluate the skills development approaches utilised by web development companies in the UK”.

As you can see in this example, the research aim is clearly outlined, as well as the specific context in which the research will be undertaken (in other words, web development companies in the UK).

Next up is the research objective (or objectives) . While the research aims cover the high-level “what”, the research objectives are a bit more practically oriented, looking at specific things you’ll be doing to achieve those research aims.

Let’s take a look at an example of some research objectives (ROs) to fit the research aim.

• RO1 – To identify common skills development strategies and approaches utilised by web development companies in the UK.
• RO2 – To evaluate the effectiveness of these strategies and approaches.
• RO3 – To compare and contrast these strategies and approaches in terms of their strengths and weaknesses.

As you can see from this example, these objectives describe the actions you’ll take and the specific things you’ll investigate in order to achieve your research aims. They break down the research aims into more specific, actionable objectives.

The final step is to state your research questions . Your research questions bring the aims and objectives another level “down to earth”. These are the specific questions that your dissertation or theses will seek to answer. They’re not fluffy, ambiguous or conceptual – they’re very specific and you’ll need to directly answer them in your conclusions chapter .

The research questions typically relate directly to the research objectives and sometimes can look a bit obvious, but they are still extremely important. Let’s take a look at an example of the research questions (RQs) that would flow from the research objectives I mentioned earlier.

• RQ1 – What skills development strategies and approaches are currently being used by web development companies in the UK?
• RQ2 – How effective are each of these strategies and approaches?
• RQ3 – What are the strengths and weaknesses of each of these strategies and approaches?

As you can see, the research questions mimic the research objectives , but they are presented in question format. These questions will act as the driving force throughout your dissertation or thesis – from the literature review to the methodology and onward – so they’re really important.

A final note about this section – it’s really important to be clear about the scope of your study (more technically, the delimitations ). In other words, what you WILL cover and what you WON’T cover. If your research aims, objectives and questions are too broad, you’ll risk losing focus or investigating a problem that is too big to solve within a single dissertation.

Simply put, you need to establish clear boundaries in your research. You can do this, for example, by limiting it to a specific industry, country or time period. That way, you’ll ringfence your research, which will allow you to investigate your topic deeply and thoroughly – which is what earns marks!

Need a helping hand?

#5 – Significance

Now that you’ve made it clear what you’ll be researching, it’s time to make a strong argument regarding your study’s importance and significance . In other words, now that you’ve covered the what, it’s time to cover the why – enter essential ingredient number 5 – significance.

Of course, by this stage, you’ve already briefly alluded to the importance of your study in your background and research problem sections, but you haven’t explicitly stated how your research findings will benefit the world . So, now’s your chance to clearly state how your study will benefit either industry , academia , or – ideally – both . In other words, you need to explain how your research will make a difference and what implications it will have.

Let’s take a look at an example.

“This study will contribute to the body of knowledge on skills development by incorporating skills development strategies and approaches for industries in which knowledge and skills are rapidly and constantly changing. This will help address the current shortage of research in this area and provide real-world value to organisations operating in such dynamic environments.”

As you can see in this example, the paragraph clearly explains how the research will help fill a gap in the literature and also provide practical real-world value to organisations.

This section doesn’t need to be particularly lengthy, but it does need to be convincing . You need to “sell” the value of your research here so that the reader understands why it’s worth committing an entire dissertation or thesis to it. This section needs to be the salesman of your research. So, spend some time thinking about the ways in which your research will make a unique contribution to the world and how the knowledge you create could benefit both academia and industry – and then “sell it” in this section.

#6 – The limitations

Now that you’ve “sold” your research to the reader and hopefully got them excited about what’s coming up in the rest of your dissertation, it’s time to briefly discuss the potential limitations of your research.

But you’re probably thinking, hold up – what limitations? My research is well thought out and carefully designed – why would there be limitations?

Well, no piece of research is perfect . This is especially true for a dissertation or thesis – which typically has a very low or zero budget, tight time constraints and limited researcher experience. Generally, your dissertation will be the first or second formal research project you’ve ever undertaken, so it’s unlikely to win any research awards…

Simply put, your research will invariably have limitations. Don’t stress yourself out though – this is completely acceptable (and expected). Even “professional” research has limitations – as I said, no piece of research is perfect. The key is to recognise the limitations upfront and be completely transparent about them, so that future researchers are aware of them and can improve the study’s design to minimise the limitations and strengthen the findings.

Generally, you’ll want to consider at least the following four common limitations. These are:

• Your scope – for example, perhaps your focus is very narrow and doesn’t consider how certain variables interact with each other.
• Your research methodology – for example, a qualitative methodology could be criticised for being overly subjective, or a quantitative methodology could be criticised for oversimplifying the situation (learn more about methodologies here ).
• Your resources – for example, a lack of time, money, equipment and your own research experience.
• The generalisability of your findings – for example, the findings from the study of a specific industry or country can’t necessarily be generalised to other industries or countries.

Don’t be shy here. There’s no use trying to hide the limitations or weaknesses of your research. In fact, the more critical you can be of your study, the better. The markers want to see that you are aware of the limitations as this demonstrates your understanding of research design – so be brutal.

#7 – The structural outline

Now that you’ve clearly communicated what your research is going to be about, why it’s important and what the limitations of your research will be, the final ingredient is the structural outline.The purpose of this section is simply to provide your reader with a roadmap of what to expect in terms of the structure of your dissertation or thesis.

In this section, you’ll need to provide a brief summary of each chapter’s purpose and contents (including the introduction chapter). A sentence or two explaining what you’ll do in each chapter is generally enough to orient the reader. You don’t want to get too detailed here – it’s purely an outline, not a summary of your research.

Let’s look at an example:

In Chapter One, the context of the study has been introduced. The research objectives and questions have been identified, and the value of such research argued. The limitations of the study have also been discussed.

In Chapter Two, the existing literature will be reviewed and a foundation of theory will be laid out to identify key skills development approaches and strategies within the context of fast-moving industries, especially technology-intensive industries.

In Chapter Three, the methodological choices will be explored. Specifically, the adoption of a qualitative, inductive research approach will be justified, and the broader research design will be discussed, including the limitations thereof.

So, as you can see from the example, this section is simply an outline of the chapter structure, allocating a short paragraph to each chapter. Done correctly, the outline will help your reader understand what to expect and reassure them that you’ll address the multiple facets of the study.

By the way – if you’re unsure of how to structure your dissertation or thesis, be sure to check out our video post which explains dissertation structure .

Keep calm and carry on.

Hopefully you feel a bit more prepared for this challenge of crafting your dissertation or thesis introduction chapter now. Take a deep breath and remember that Rome wasn’t built in a day – conquer one ingredient at a time and you’ll be firmly on the path to success.

Let’s quickly recap – the 7 ingredients are:

• The opening section – where you give a brief, high-level overview of what your research will be about.
• The study background – where you introduce the reader to key theory, concepts and terminology, as well as the context of your study.
• The research problem – where you explain what the problem with the current research is. In other words, the research gap.
• The research aims , objectives and questions – where you clearly state what your dissertation will investigate.
• The significance – where you explain what value your research will provide to the world.
• The limitations – where you explain what the potential shortcomings and limitations of your research may be.
• The structural outline – where you provide a high-level overview of the structure of your document

If you bake these ingredients into your dissertation introduction chapter, you’ll be well on your way to building an engaging introduction chapter that lays a rock-solid foundation for the rest of your document.

Remember, while we’ve covered the essential ingredients here, there may be some additional components that your university requires, so be sure to double-check your project brief!

Psst… there’s more (for free)

This post is part of our dissertation mini-course, which covers everything you need to get started with your dissertation, thesis or research project. 

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42 Comments

Thanks very much for such an insight. I feel confident enough in undertaking my thesis on the survey;The future of facial recognition and learning non verbal interaction

Glad to hear that. Good luck with your thesis!

Thanks very much for such an insight. I feel confident now undertaking my thesis; The future of facial recognition and learning non verbal interaction.

Thanks so much for this article. I found myself struggling and wasting a lot of time in my thesis writing but after reading this article and watching some of your youtube videos, I now have a clear understanding of what is required for a thesis.

Thank you Derek, i find your each post so useful. Keep it up.

Thank you so much Derek ,for shedding the light and making it easier for me to handle the daunting task of academic writing .

Thanks do much Dereck for the comprehensive guide. It will assist me queit a lot in my thesis.

thanks a lot for helping

i LOVE the gifs, such a fun way to engage readers. thanks for the advice, much appreciated

Thanks a lot Derek! It will be really useful to the beginner in research!

You’re welcome

This is a well written, easily comprehensible, simple introduction to the basics of a Research Dissertation../the need to keep the reader in mind while writing the dissertation is an important point that is covered../ I appreciate the efforts of the author../

The instruction given are perfect and clear. I was supposed to take the course , unfortunately in Nepal the service is not avaialble.However, I am much more hopeful that you will provide require documents whatever you have produced so far.

Thank you very much

Thanks so much ❤️😘 I feel am ready to start writing my research methodology

This is genuinely the most effective advice I have ever been given regarding academia. Thank you so much!

This is one of the best write up I have seen in my road to PhD thesis. regards, this write up update my knowledge of research

I was looking for some good blogs related to Education hopefully your article will help. Thanks for sharing.

This is an awesome masterpiece. It is one of the most comprehensive guides to writing a Dissertation/Thesis I have seen and read.

You just saved me from going astray in writing a Dissertation for my undergraduate studies. I could not be more grateful for such a relevant guide like this. Thank you so much.

Thank you so much Derek, this has been extremely helpful!!

I do have one question though, in the limitations part do you refer to the scope as the focus of the research on a specific industry/country/chronological period? I assume that in order to talk about whether or not the research could be generalized, the above would need to be already presented and described in the introduction.

Thank you again!

Phew! You have genuinely rescued me. I was stuck how to go about my thesis. Now l have started. Thank you.

This is the very best guide in anything that has to do with thesis or dissertation writing. The numerous blends of examples and detailed insights make it worth a read and in fact, a treasure that is worthy to be bookmarked.

Thanks a lot for this masterpiece!

Powerful insight. I can now take a step

Thank you very much for these valuable introductions to thesis chapters. I saw all your videos about writing the introduction, discussion, and conclusion chapter. Then, I am wondering if we need to explain our research limitations in all three chapters, introduction, discussion, and conclusion? Isn’t it a bit redundant? If not, could you please explain how can we write in different ways? Thank you.

Excellent!!! Thank you…

Thanks for this informative content. I have a question. The research gap is mentioned in both the introduction and literature section. I would like to know how can I demonstrate the research gap in both sections without repeating the contents?

I’m incredibly grateful for this invaluable content. I’ve been dreading compiling my postgrad thesis but breaking each chapter down into sections has made it so much easier for me to engage with the material without feeling overwhelmed. After relying on your guidance, I’m really happy with how I’ve laid out my introduction.

Thank you for the informative content you provided

Hi Derrick and Team, thank you so much for the comprehensive guide on how to write a dissertation or a thesis introduction section. For some of us first-timers, it is a daunting task. However, the instruction with relevant examples makes it clear and easy to follow through. Much appreciated.

It was so helpful. God Bless you. Thanks very much

I thank you Grad coach for your priceless help. I have two questions I have learned from your video the limitations of the research presented in chapter one. but in another video also presented in chapter five. which chapter limitation should be included? If possible, I need your answer since I am doing my thesis. how can I explain If I am asked what is my motivation for this research?

Thank you guys for the great work you are doing. Honestly, you have made the research to be interesting and simplified. Even a novice will easily grasp the ideas you put forward, Thank you once again.

Excellent piece!

I feel like just settling for a good topic is usually the hardest part.

Thank you so much. My confidence has been completely destroyed during my first year of PhD and you have helped me pull myself together again

Happy to help 🙂

I am so glad I ran into your resources and did not waste time doing the wrong this. Research is now making so much sense now.

Gratitude to Derrick and the team I was looking for a solid article that would aid me in drafting the thesis’ introduction. I felt quite happy when I came across the piece you wrote because it was so well-written and insightful. I wish you success in the future.

thank you so much. God Bless you

Thank you so much Grad Coach for these helpful insights. Now I can get started, with a great deal of confidence.

It’s ‘alluded to’ not ‘eluded to’.

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