Since 1994, the London-based queer performance collective Duckie has produced thousands of events, from its regular Saturday club night to larger-scale immersive themed productions and, more recently, long-running projects working with specific underserved groups. In this edited interview, Duckie's three full-time employees, Simon Casson, Dicky…

The Theatre Company Blah Blah Blah (the Blahs) have been working in youth centres since 1985 and over that time the Blahs have experimented with ways to make theatre for young people in this environment. A youth centre can be a hostile place to take a piece of theatre. Many of the youth centres the Blahs have visited have been in areas of social…

This collection of three articles represents the "Points and Practices" section of this month's issue of "Research in Drama Education." The first article, "'Fitting the Bill' for 'Helping Them.' A Response to 'Integrated Popular Theatre Approach in Africa' and 'Commissioned Theatre Projects on Human Rights in…

Describes the work of Edith de Nancrede in developing theater programs for youth at Chicago's Hull-House during the early part of the twentieth century. Describes how her intense dedication to theater and education contributed to the success of Hull-House and to the achievements of its leader, Jane Addams. (PRA)

Describes ASSITEJ (Association Internationale de Theatre pour l'Enfance et la Jeunesse) which has provided influential stimuli for changes in children's theater since 1965. Provides additional support for the establishment of ASSITEJ as a significant force behind changes in children's theater, focusing on the International Congress of ASSITEJ held…

The Young Playwrights' Festival is a project of the Dramatists Guild, New York City, for young writers aged 8-18. This article discusses the Festival of 10 plays written by children and presented professionally at New York City's Circle Rep Theatre and the playwriting workshops for children taught by project director Gerald Chapman. (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)

Describes the Orange Summer Shakespeare Festival, which offers teenagers from New Jersey (most of them African American) the opportunity to perform Shakespeare for their community and to cocreate an exemplary piece of theater that serves as a forum for the cast to transmute their stories and express their dreams, fears, rage, and joy. (SR)

Considers why educators should teach theater arts to kids, what educators want kids to get out of it, and whether the art itself should be subordinated to how it can support other subjects. Argues that both school arts programs and outreach companies should reconnect with their communities. (SR)

Describes a workshop approach to plays (especially Shakespearean) that included the academic study of the text, a theatrical presentation, and an exploratory workshop. (HOD)

This paper will make a critical comparison between the stages of the Hero's Journey as presented by Christopher Vogler and the taxonomy of personal engagement as articulated by Educational Drama theorists. Both Vogler's journey and the taxonomy describe how a person travels from one world into another and back again, combining the two results in a…

This paper discusses the impact that teaching and research on African theatre in the Workshop Theatre of the University of Leeds' School of English may have had in Africa and elsewhere. After surveying the productivity and influence of the Workshop Theatre to the present, the authors ask if they have contributed meaningfully to the development,…

Argues that by acting out, rather than only reading Shakespeare's plays, they can be better interpreted and appreciated. (SRT)

To encourage the advancement of the arts in education, the article describes a form of interactive television that focuses on the use of creative drama techniques by the classroom teacher. (JD)

Argues that canonical plays must be critically engaged rather than "handed down," with students discovering much about themselves and each other through their own engagement. Describes how a high-school acting class examined the dramatic work of Latino/a playwrights for their in-class scene work, and used student experiences to create their own…