1.  Study a particular scenario tradition: different versions of Dom Juan; different versions of  Le Médecin volant. 

2.  A study of staging at the Comédie-Italienne (stage space, sets, costumes, special effects,  etc.).

3.  Theoretical question of the textual marks of performance.  Show through a close reading of  a Molière play and a Marivaux play (written for the Italians) that we can obtain an idea  of two different performance codes.  Or, if you disagree, show how the available textual  "markers" are not sufficient to gain differing views of distinct performances.

4.  The relationship between written French scenes and scenarios.

5.  Attempt to reconstruct the configuration of types at certain given moments in either the old  or new Italian companies.  To what end?  See "Règlement" of 1684, dividing up the 12  actors into set roles.  Assess the changes.

6.  "The psychology of Marivaux's characters always has a choreographic foundation; it writes  itself in the form of figures projected onto the acting space." (P. Pavis, 46).  Analyze the  spatial references in a Marivaux play (suggestion: La Double Inconstance) to verify this  assertion.

7.  Attempt the notation of a scenario (or part of a text), using Jansen's model.  Evaluate the  results.  Is this particular theorisation useful, or not?  Can more general conclusions be  drawn?

8.  Compare differing reconstitutions of Commedia performances by Moureau, Attinger and  Pavis.