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Abstract
This dissertation is a qualitative study of contemporary new play development. The foundation of the research is two case studies, one full production and one ensemble creation. Interviews with artists working in the field and literature on the topic support the findings from the case studies. Other features of the study are a taxonomy of processes currently used to develop plays and an investigation of successful development. I conclude that what has become mainstream practice in the development of new plays can benefit by adopting some of the techniques utilized during ensemble development. Other findings reveal the importance of environment and style of leadership when approaching new works for the stage. Case study methods, Small Group Communication Theory and Symbolic Convergence Theory inform the analysis.