Since 1994, the London-based queer performance collective Duckie has produced thousands of events, from its regular Saturday club night to larger-scale immersive themed productions and, more recently, long-running projects working with specific underserved groups. In this edited interview, Duckie's three full-time employees, Simon Casson, Dicky…

Defines "applied theater" as a theater work which aims to process important social issues and which takes place in non-theatrical surroundings. Follows the evolution of one particular applied theater project about Matthew Shepard and examines the issues raised for those interested in applied theater's possibilities and constraints. (PM)

Explains that "counter-text" describes the results of a period of independent dramaturgical research and development and the contribution this makes to a theatrical production. Contends that the counter-text presents an alternative site of authority in performance. Describes the uses of research on a production of Iizuka's…

Provides a brief account of some of the philosophical, social, educational, and artistic factors that initially shaped theatre for young audiences (TYA). Examines how the rhetoric of theatre for the young has both reflected the changing nature of childhood as well as helped shape ideas of what childhood is. (PM)

Describes the author's experience working on a reader's theatre version of a radio play based on the Legend of Sleepy Hollow. Reflects on how the grade 8 students created meaning for themselves and for their audience. Notes limitations of the script and format and her work within those limitations became the structure the group needed, a container…

Presents a condensed method for involving students in the kind of theatrical problem-solving that transforms a script to a play. Describes how to incorporate a "human slide show" into the class. Notes that students must read plays not just to understand events, but to make artistic choices about how to stage the action so that an…

Notes that in rehearsals and performances, a jumble of silences are encountered. Discusses silence in the following situations: as frustration; as imposition; as invisibility; as power; as pleasure; as safety; as humility; as necessity; and as potential. Contends that when dramaturgs enter into conversation and break silence, they must carefully…

Outlines a dramaturg's process when working on three different plays. Contends that the myriad variations on the question "what will happen next?" serve as the basic architecture on which the dynamic relationship between the story/storytellers and the audience is built. Observes that the continual planning and answering of questions is…

Focuses on the practice of having students "perform scholarship" in the classroom. Offers a model for student in-class performances of scholarly texts and their responses to those texts. Proposes that a student's performance serves less as a singular response to an assignment and more as evidence of the student's active process of sense making.…

Contends that theatre has the power to induce oppressors to change their attitudes permanently towards the groups they oppress. Describes theatrical performances by women in Mundemba Sub-Division, Cameroon, which created lasting changes in men's attitudes. Concludes that theatre calls for sociocultural and economic changes and it has the power to…

The authors describe ethical issues they have encountered when teachers develop narratives about their own practice and then again when these narratives are later explored using drama techniques. Specifically, they look at the developmental process itself, both in the creation of the original narrative and the subsequent creation of a dramatic…