This booklet offers guidelines for theater directors, activities directors, club sponsors, and school administrators to ensure the production of "bias-sensitive" performances that avoid presentation of bias based on gender, race, ethnicity, national origin, age, disability, or sexual orientation. The booklet: (1) discusses the issue of…

This study guide/bibliography is intended to help the English language reader find materials for the study of Asian theatre. Containing 1,348 entries, the guide is the most extensive bibliography published to date. The guide is organized by geographical area: an initial chapter on Asia is followed by chapters on each of 16 countries: Burma,…

Lists both general and specific objectives of the National Association of Schools of Theatre (NAST) Constitution. Describes the NAST accreditation processes. (MS)

Considers the similarities between teaching and directing and offers suggestions for evaluating play directors. (PD)

Discusses the difficulties inherent in evaluating the director's work since it combines teaching and artistic aspects. (PD)

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

Describes incorporating a community outreach program. Notes that it is a smart and reliable strategy that theatre artists - onstage and backstage alike - can use to engage their audiences and build stronger ties to the community in which they work that go beyond just filling seats. (SG)

Considers how Joe Winston's article, "Drug Education through Creating Theatre in Education" (RIDE, 6[1]) provides a useful evaluation of an aspect of Catalyst Theatre in Health Education's work. Outlines the ways in which Catalyst has placed the arts at the center of the health promotion process. (SG)

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)

Relates experiences as a recruiter for college theater programs in Florida. Provides tips for students in finding an appropriate monologue, developing the audition, and performing the audition. (PA)

Discusses the management of a school theater facility. Discusses the role of the theater manager at Smoky Hill High School. Discusses the creation of the plan to oversee the operation and scheduling of the theater facility. Includes a copy of the contract form for using the theater. (SR)

Provides some background on the idea of K-12 teacher portfolios which emerged from the educational reform movement. Notes their use for theater education in particular. Suggests what might be common inclusions in a portfolio. Suggests that those who aspire to work in higher education should create a curriculum vitae portfolio. (PA)

Offers decision-making tips when choosing auditorium seating for both indoor and outdoor use. Tips for outdoor seating include deciding on weather-resistant options, permanent or temporary bleachers, seating materials, colors, and ease maintenance. Indoor seating selection tips include overall comfort and quietness, their adaptive features to…

Prepared as an aid to implementing a theatre production course for grades 9 through 12, this guide is designed to enable students who are participating in play production activities to receive recognition and academic credit for their many hours of creative and educational endeavor. The first portion of the guide answers questions frequently asked…

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…