An interview with Shawn Kinley, teacher and performer of improvisational theatre, whose work has taken him to 52 countries across five continents over a 30-year career. His diverse teaching experience includes working with scientists, opera companies, the military, family therapists, and more. Shawn shares his thoughts about the need for the…

Teaching is strenuous enough without requiring educators to be entertaining as well. (LH)

States that instructors of theatrical design are forced to adapt their teaching methods to suit new circumstances and situations. Points out that the controversy over the apparent decline of education has spread to the teaching of theatrical design. Describes some of the paradoxical theories being discussed. Presents ideas to…

Discusses expressive movement, a rudimentary, exploratory, and process-oriented way of movement that is appropriate for and beneficial to the training of actors, and that can be employed as a mode of kinesthetic/dramatic expression by theatre educators. Notes reasons for using expressive movement in theatre education; discusses teacher's role;…

Presents an interview with theater director Jeff Church. Discusses difficulties encountered and accomplishments realized as a director of youth theater. Describes the goals of learning more about one's field, being open to new insights, and selecting materials. Offers suggestions about knowing the community. (CR)

States that the teacher's ultimate responsibility is to assist individuals to continue to appreciate Shakespeare's plays in later life. Discusses (1) the play as a live process, (2) methods of play appreciation, and (3) the play experience as an integrated whole. (EL)

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…

Contends that every individual should be offered the educational opportunity to develop aesthetically by exposure to the techniques, processes, and products of the arts. Discusses how, where, and by whom arts-in-education can be implemented. (PD)

In order to sustain student interest in learning teachers must develop and exercise personality, communication, and performance skills as well as academic expertise. (LH)

Offers guidelines for working with deaf actors and sign language interpreters. Contains useful information for directors wanting to cast deaf actors in roles of deaf characters and to include sign language-interpreted performances of some of their regular productions. (JD)

A director recounts his thoughts about choosing a difficult play and describes how well the students finally cooperated. (CRH)

In recent years, theatre faculty have come to understand that advanced degrees do not guarantee that a person is qualified for the subtle, complex, and dangerous job of teaching acting, and that actor training has more to do with the problems of human behavior than with the theatre. The fundamental problem with acting is the fear that controls…

A faculty mentor is that person in the university theatre department who initiates students into not only the world of subject matter but also the world of scholarly and academic action. A mentor trains a "thinker of the theatre" to take a place in the intelligentsia that is responsible for producing art and retaining the stewardship of artistic…

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)

The decline of manners prevalent in American audiences can be reversed only by finding and addressing the causes for poor behavior. One theory suggests that social stresses have a ripple effect, eroding generosity and spawning a meanness of spirit that is eventually reflected in audience behavior. A related theory suggests that audience rudeness…