States that although many theater producers assume that child audiences empathize and identify with stage heroes during performances, some do not believe children can or should verbalize their private empathetic experiences. Presents results from a study of grade school children that challenges theoretical assumptions about emotional learning…

While several developmental models of aesthetic understanding, experience, and appreciation exist in the realms of visual art and music education, few examples have been proposed in regard to theatre, particularly for child audiences. This author argues that children gaze upon theatre in differential ways by including age as a variable…