Discusses ways to use older adults in high school productions, including casting senior adults in the older roles and using adults in all stages of design and production. Provides guidelines for a student-directed short play competition. (PA)

Interviews the founder of the Young Actors Guild (YAG) of Ann Arbor, Michigan. Finds that the work of YAG can be described as "high concept" or artistically daring, yet highly inclusive--casting everyone who auditions. Discusses the influences that shaped the founder/director's work. (PA)

Argues that theater is the natural art form of democracy. Defines democracy in theater as a system of popular rule that values the individual's contribution to defining, legislating, and regulating the common good--during rehearsals, all troupe members have to agree. Concludes that democracy in theater is not perfect, but it has more successes…

Points out that the concept of winning is an integral part of American culture, especially in athletics. Argues that theater programs should not be judged by the number of awards they win--theater is a cooperative venture rather than a competitive one. Recounts how a formerly competitive theater conference has now downplayed competition and…

Lists 10 things to do to make a drama program known to the public: know the newspapers; know the neighborhood; know the people; cultivate other sources; do something special; write the press release; take care of details; keep students involved; use other ways to get the word out; and never give up. (PA)

Marks on Paper, a type of popular theater developed in British Columbia, helps literacy learners change personal beliefs about themselves, generates a sense of belonging, helps them break out of isolation, and transforms them through empowerment and action. (SK)

Recounts how a delegation of 23 American theater educators took a two-week tour of Chinese theater companies and schools. Finds that although all theater takes years of training in China, there is little performance by youngsters; and that few professional companies have audience development activities or school performances. Describes traditional…

Moves educators to reflect on their practice of inclusion/exclusion and what constitutes authentic participation in theatre education classrooms. Believes that teacher education should strive to reconceive, or eliminate, the concept of "youthland" (the separation of young people from adult society) by preparing teachers who will treat students as…

Highlights the power of theatre to engage students in learning and shares the author's discoveries with heartfelt humility and self-awareness. Illustrates how a shift in her thinking led to a shift toward learner-centered instruction which led her to engaged student participation. (SG)

Discusses several educational outreach programs run by professional theater companies throughout the country, like those of Center Stage in Baltimore, the Berkeley Repertory Theatre, and the Oregon Shakespeare Festival. States that audience education is crucial--theaters need to prepare students and teachers for what they are going to see. Notes…

Recalls a personal experience in which the author allowed a 13-year old with kidney disease to participate in a show. Considers the importance of his nine-year-old "assistant." Discusses the frustrations of dealing with the young actor through his cycle of dialysis treatments and the rewarding feeling when the child appeared on stage.…

Responds to an article in the same issue of this journal describing a high school play director's use of "democratic" directing methods. Explores questions about methodology and study design and the role of the researcher in examining her own practice. Argues that the study makes a strong contribution to the field, especially for those involved in…

Discusses how the elements of ritual may be exploited to provide optimal learning experiences not only for young people but also for teachers. Describes the evocation of a framed liminoid experience (an experience of flow framed by components of a ritual process) in the context of a castle excursion for university students. (PA)

One of the primary principles of Readers Theater is to "dramatize" literature in classroom performance and to provide a visual and oral stimulus to students who are unaccustomed to using imagination to appreciate literary texts. Readers Theater may be used to enhance the critical study of language; to explore author meaning or point of view; to…

Argues that student ownership of drama/theatre work encourages an unparalleled level of commitment and collaboration. Discusses four criteria signifying student ownership; teacher reluctance towards student ownership; effective roles for the teacher; and student benefits from ownership in drama work. (SR)