Relates five methods that San Francisco's American Conservatory Theater used to get through financial setbacks and the 1989 earthquake, which damaged its building. (PA)

Illustrates the author's experiences as a director for a young adult production of Dickens's "A Christmas Carol." States that this was the first time she had directed in five years. Describes how the actors were unused to her collaborative style of directing, and how the author had to modify her methodology to suit her troupe. (PA)

Addresses issues of power and diversity, and describes how the production team for Houston's play about Amerasian experience wrestled with the problem of "what is represented and who is authorized to represent it." Explains the reasons for the close attention to detail, and cites examples in which authenticity had to be sacrificed for…

One of the rhetorical dimensions on which theatre exists is the rhetoric of production. This implies that the production, through examples, takes and urges an attitude toward the text. This argument provides a foundation for both the nature and the implications of interpreters theatre productions that advocate social issues. Theatrical…

Answers questions drama teachers ask on funding drama programs, motivating apathetic students, rehearsal schedules, publicizing school plays, and set construction/design techniques with limited facilities and finances. (PD)

Describes the process of putting together a historical play leading to a final product. Describes the inspirations, resources, and options available to theater educators when producing classic drama, as illustrated by the production of a futuristic "Antigone" by the Interlochen Arts Academy. (SR)

In a review of dramaturgy (the collective techniques of dramatic composition), the concept of structuralism holds promise for treating many of the traditional problems in dramatic theory, criticism and production. Traditional attitudes toward intentions, influences, style, and interpretation have long been dominated by a historical approach,…

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.…

Describes how many technical and casting problems in young adult theater may be solved by using a Greek chorus. Defines a Greek chorus and its role. Discusses applications of Greek choruses to conventional scripts, including representation of abstract images and characterization. Concludes that incorporating a Greek chorus into a traditional…

Presents an interview with director, teacher, performer, and author of the ground-breaking "Story Theater" Paul Sills. Discusses his unique style of storytelling and improvisation. (RS)

Notes that in drama education programs, students are routinely given responsibility in the real world of theatre. Relates the author's experience as an intern at a theatre in New York City, serving as the assistant stage manager, and failing at his job. Concludes that the playwright deserved a crew who showed initiative and solved problems--a crew…

Shows how qualities of M. Sendak's works make it adaptable to the stage, using such works as "Where the Wild Things Are" and "Higglety Pigglety Pop!" as examples. (EL)

Examines Federal Theatre productions of Pinocchio (1935-1939) as examples of children's theater presented with a high degree of professionalism and concern for the child audience. Discusses the philosophy of director Yasha Frank, the visual elements of the productions, and audience reaction. (PD)

Argues that theater is aimed at and presented to an ideal or abstract audience. Discusses the implications of performing for an actual audience, adaptation to various audiences, and the concept of the audience as an evaluative device. (See CS 705 536.) (JMF)

Suggests that theatre's capacity to educate is often overstated. Notes theatre created by and for teenagers is especially guilty of proselytizing. Argues the real danger is that the cumulative, subliminal message is that theater is medicine. Suggests that playwrights, directors, and artistic directors leave the education for the classroom and take…