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)

Describes a theater for children and youth on the island of Aruba and the celebration of the project in a youth theater festival. Outlines the goals of the theater project. Discusses the development of the festival plays, the themes expressed in terms of metaphor, and the communication through objects used in the plays. (CR)

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…

Recounts that the Dickinson Theatre Project has been active not only in the advocacy of drama in the elementary classroom, but also in the support and development of weekly one-act productions, the creation of student-produced plays, and the development of full-length productions with casts and crews as small as 25 and as large as 250. (PA)

Describes the author's experiences directing a play translated and acted in Korean. Notes that she had to get familiar with the sound of the language spoken fluently, to see how an actor's thought is discerned when the verbal language is not understood. Concludes that so much of understanding and communication unfolds in ways other than with…

Describes the author's experiences in Santa Cruz, Bolivia creating a theater program in an orphanage. Notes how Gueddy, a deaf boy, worked his way into the drama program and was very successful finding his "voice" in theater. Concludes that Gueddy is now the star of the orphanage, the talk of the town, and front page news in Bolivia. (SG)

Describes a project in Missoula, Montana, where participants create shows based on personal experiences and issues for educational purposes. Notes that although the project has an educational specialist and drama coordinator, the project belongs to the adolescents, who create policy. States that drama sessions include improvisation, role playing,…

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)

Describes an example of intergenerational theatre--the annual production at the Blue Ridge Dinner Theatre, Ferrum College, Virginia. Notes that in addition to four plays for adults, one play is for family audiences and includes area children. Suggests the program offers patrons quality entertainment, gives unique experience to area children, and…

Describes infusing a non-western form or style of theatre into a play from the traditional American or European canon. Notes that the intention was not necessarily to accurately re-create complex and beautiful cultural theatre, but to spur the interest of the audiences and encourage them to delve deeper into those cultures. (SG)

Discusses the production of an autobiographical play about the Holocaust, "Who Will Carry the Word?" by Charlotte Delbo. Notes that the play is in three acts, needs a large female cast, and was mounted by the Teen Repertory Company of the Oddfellows Playhouse of Middletown, Connecticut. Describes rehearsal techniques and audience…

Argues that linking ethics to rituals in drama lessons can promote reflection on individual responses to moral dilemmas. Describes how a group of drama teachers and theater students worked with 24 children (9 and 10 years old) from a public primary school in a process-drama in which the children worked in-role to solve a dilemma. (SR)

Discusses development of the American Alliance for Theatre and Education's Think Tanks on Theatre Teacher Education. Notes the think tanks were intended to probe important issues, move to a new level of thinking, and hopefully, effect change in individual and collective practice of theatre teacher education. (SG)

Reports on a public elementary school in Colorado that suspends all activities once or twice a year to become a children's theater. Describes how the whole community participates in the experience. Emphasizes the importance of adult-child collaboration. Relates how the collaborators construct original plays, rehearse and produce them, and finally…

Describes how a student at Stagecoach (a private arts school), by securing the lead role in the film "Billy Elliot," encouraged other British boys to enroll in ballet and dance classes as well as Stagecoach Theatre Arts Schools. Present locations and international links for Stagecoach schools. Describes how the Stagecoach schools are run…