Provides the history of the Sundance Institute, which has grown to help many artists in hopes of contributing unique and original voices to the culture of the country. Describes the present structure of the institute and details the work of the 2002 lab. Notes that as the Sundance Theatre Lab continues to bring theatre artists of all disciplines…

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…

Offers impressions and reflections engendered by a trip to Reykjavic on similarities and differences in youth drama and theater in Iceland and the United States. Describes classes in creative drama, plays for young audiences, teachers, actors, directors, and the ASSITEJ/Iceland. (PRA)

Describes an effective secondary school theatre program. Covers values, curriculum, production, audiences, class operations, standards, student directors, and pressures. (PD)

Examines the making and redesigning of the romance stories (in comic-book form) in drama in education workshops conducted in a rural South African high school. Brings together practice and theory that were independently conceived, so that they can mutually inform one another. Analyses the narrative outline which kick-started the comic development…

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)

Suggests that a special quality of reinforced learning can take place by use of the preshow workshop, which plants the seeds of thought and actions. Illustrates the method by discussing two practical but utterly different models for preshow workshops. (RS)

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 three exercises used at the Oregon Shakespeare Festival in workshops for students and teachers to get participants on their feet, speaking Shakespeare's language, giving them a kinesthetic experience Shakespeare, and deepening their intellectual appreciation of the language. (SR)

Discusses complex struggles that occurred when attempting to negotiate a development agenda for a drama workshop involving people with mental health problems. Notes that the context of the intervention was "highly problematic." Suggests that for substantial change to take place the project worker and participants need an agenda of…

A teacher in the high school drama club recounts the experience of producing a controversial play about teenagers, "Sometimes I Wake Up in the Middle of the Night." Reports initial apprehensions and eventual satisfaction of actors, the drama coach, and audience members. (JG)

Describes the following features of the Cutler Playwrights Festival: (1) the contest, which involves publicity and choosing a play; (2) the workshop, in which the play's content, expert, release time, size, and follow-up are decided; and (3) the production, which determines the cast and crew and the final performance. (JD)

Explains the creation of the New Visions/New Voices festival which focuses attention on developing new scripts for young audiences. Notes that unlike other playwriting programs, New Visions does not require a complete script for application. Outlines the selection, casting, rehearsal process, dramaturg involvement, and post-reading discussions of…

Describes an academic discussion on assessment in which 35 teachers and administrators from New Jersey took part. States that three panelists brought to life the educational concept of teaching the "whole person" through the arts. Describes the exercises in which the participants joined, including dance, and an improvisational scene.…