In 2007, "About Campus" published the author's article "Humble and Hopeful: Welcoming First-Generation Poor and Working-Class Students to College." It has been used as a handout in various student orientations, included as a chapter in Teresa Heinz Housel and Vickie Harvey's "The Invisibility Factor: Administrators and…

Repetition in vocal characterizations and deviant listening perceptions are two major weaknesses of American acting. That is, voices and diction usually sound the same in everything the actors do, but no one perceives it. One reason listening is so deficient is because of the uninformed or incorrect concepts of those who practice or teach acting.…

Directors of plays can make rehearsals interpretively productive, but they must first reject directorial approaches such as beginning rehearsals without analyzing the script, projecting images of the play as it is read, and using the script merely to summarize meanings, static themes, morals, and nothing more. Making rehearsals interpretively…

Describes a visit to the Moscow Art Theatre Institute, including an interview with its director, Oleg Tabakov; a comprehensive tour of the school; and attendance at plays produced by the Moscow Art Theatre. (SR)

Discusses theatre's unique contribution to a liberal arts education. (PD)

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

Discusses the foundations for and operation of a professional theatre program. (PD)

Presents the author's remarks based on her advanced reading of papers on the symposium "What is Cinderella Hiding?" and on observations of the conversations that unfolded in the course of the symposium. (SG)

Describes the relationship between a set designer and a director. Explains that set design is an integral part of every production. Compares the different fears of the set designer and the director. Relates an experience in a University of Kansas production of "Gypsy" in which the production was a collaborative effort in all respects.…

Presents a policy statement on faculty workloads for theater in higher education, developed by the Joint Task Force of the Association for Theatre in Higher Education and the United States Institute for Theatre Technology. (SR)

Offers evidence of how law pertains to the management of theater programs. Argues that to accept the common characterization of the law as an instrument of social control or as the science of social problem solving is to ignore the larger intellectual life it affords. (RS)

Dramatic theory in the past has been confused with hypothesis, hunch, manifesto, and observation. It is, in fact, a scientific activity--much like theorizing in physics, human society, or art. The current state of the art of theory in the drama classroom faces many problems. Most theatre faculty offer courses called "Theory and…

An organic approach to style in acting can lend credibility and power to performances and can enhance the clarity and extent of what is communicated to audiences about other social worlds. The organic approach is based on the following principles: mental experience and expressive behavior are inseparable and reciprocal; experience in either mode…

In a speech delivered before the Collegiate Schools, Richmond, VA, a professor of communication and theatre arts gives reasons for avoiding or going into "business of the theatre," concluding that his main reason for staying is "the magic of it all...the moment of sharing between actor and audience." (PD)

Discusses reasons why graduate programs in children's theatre are useful and valid for higher education. (PD)