Relates how several controversial plays were handled and discusses censorship in academic theatre in terms of choice. (PD)

Lists nine assertions pertaining to the field of theatre for children and youth. Spurs questions and discussion that provides useful contextualization for all of the papers presented for a symposium--papers which ranged widely over diverging ideological subjects. (SG)

Concludes that whoever selects a season of plays or a play to be performed should be aware of the prospective audience response. (PD)

Argues that theater instructors must also be artistic directors. Relates one instructor's experiences in taking over the acting and directing program at the Los Angeles High School of the Performing Arts and how his changing attitudes were reflected in his restructuring of the program. (PA)

The most efficient and pragmatic conceptual system of viewing theatre work is through a communication model. This model is opposed to two other general conceptions of theatre and drama. The first is based on the notion that drama makes aesthetic demands and has requirements of its own that the artist must meet, even though it has no existence…

Discusses the experiences of a professional and academic dramaturg as she learns how to respond to non-realist plays. Proposes that non-realism is not simply the absence of realism but is a form in itself. Presents a vocabulary for non-realist texts. Notes that to create this vocabulary the features of its style should be defined. Discusses the…

Reproduces, in outline form, the National Standards for Arts Education in Theater, as developed by the Consortium of National Arts Education Associations. Notes that the standards are intended to be used as curriculum planning guidelines by K-12 educators, school districts, and states. (RS)

Introduces and includes "The Ritz Bar or ABD: In Defense of the MFA," in which Peter Garvie defends the professionalism of the MFA degree in theatre, and "The PhD in Theatre--A Vanishing Degree?" Richard Hornby's discussion of the importance of the doctoral degree as the standard teaching degree. (PD)

Relates a middle school teacher's experiences at an ISTA (International Schools Theatre Association) conference in Budapest, including viewing or participating in short performances, small ensemble work, and workshops. Describes her activities in the movement workshop. (PA)

Notes that the 1994 Educate America Act included the arts as one of the eight core subjects, suggesting that they were no longer a curricular extra but an area of study as important as math, science, or any other subject. Asks 17 educators what they think will be the most important issue facing K-12 education during the next five years. (SG)

Discusses the importance of faculty attitude in ensuring that program evaluations have valuable and long-term effects. (PD)

Discusses the role of computers in the drama classroom, considering advantages and disadvantages. Suggests possible computer applications to achieve goals in three areas: thinking skills, creativity, and drama. (SR)

Reviews the ethical concept of individual freedom as it might be applied to theater education. Argues that ethical decisions should be examined with an understanding of the basic principles of ethics. Suggests that understanding ethical concepts can help theater educators follow the arguments and justify the professional decisions they make. (RS)

Introduces a discussion of power bases in academic setting that includes the following papers: "The Argument from Setting: Theatre in the Liberal and Fine Arts" by John Gronbeck-Tedesco; "The Practical Issues" by Vincent Angotti; and "Conservatory Training within the Academic Institution" by M. E. Comtois. (PD)

Contends that every individual should be offered the educational opportunity to develop aesthetically by exposure to the techniques, processes, and products of the arts. Discusses how, where, and by whom arts-in-education can be implemented. (PD)