Repetition in vocal characterizations and deviant listening perceptions are two major weaknesses of American acting. That is, voices and diction usually sound the same in everything the actors do, but no one perceives it. One reason listening is so deficient is because of the uninformed or incorrect concepts of those who practice or teach acting.…

An organic approach to style in acting can lend credibility and power to performances and can enhance the clarity and extent of what is communicated to audiences about other social worlds. The organic approach is based on the following principles: mental experience and expressive behavior are inseparable and reciprocal; experience in either mode…

Charles Dickens was not only a master novelist but was also a master in the art of performance. His distinctive reading style was in marked contrast to the standard practices of mid-nineteenth century elocution, but his unique readings and performance philosophy closely resemble the text-centered approach of modern oral interpretation. Considered…

Clara Tree Major, the first producer to provide professional touring plays exclusively for children's audiences (from 1925 until 1954), not only produced these plays but also wrote the scripts by adapting children's stories for the theatre. This paper investigates Major's playwriting principles and techniques, examines Major's philosophy in play…

Successful approaches to a more theatrical classroom performance of literature initially depend on a student performer's critical ability to analyze literature and the creative ability to ultimately give voice and body to a literary character. An imaginative Reader's Theater classroom exercises blueprint is also an essential ingredient in…

The theatre curriculum at Montgomery College in Rockville, Maryland teaches acting techniques used in film and television in order to take students into the world of performance via the media they appreciate first. While a large number of students do not attend the theatre and have learned little about the cultural heritage of the theatre in their…

The major problem with Shakespeare for the woman performer is that he treats women as the "Other." Therefore, his women characters lack the completeness of the men; the women become iconistic forces by means of which the men shape themselves, mirrors in which the men more or less accurately see themselves and their desires and fears. If…

Most performer-writers accept the writing process simply as a means to an end: the shared performance event with a live audience. While writer-performers regard a script as more important than the performance, a solo performance is, however, a showcase of the artist's talent, and creating one's own text offers the performer artistic control. Some…

The skills of playwriting are correctable, the craft of playwriting is teachable, and the art of playwriting is encourageable. In the area of craft, students can learn through models how accomplished playwrights deal with plot, characterization, dialogue, and theme. For the first element, plot development, students can look at written models to…

The precision and poetic logic of the language used by Anton Chekhov in his plays, particularly "The Sea Gull," can be explored through an analysis of his use of dialogue, characterization, and imagery. Measuring the nature of a relationship, rather than providing a direct literal interchange, the dialogue is both social, when individual…

The five plays most frequently produced in high schools--"Our Town,""Harvey,""Arsenic and Old Lace,""You Can't Take It with You," and "The Curious Savage"--perpetuate an image of women that is no longer tolerated in most educational materials. An analysis of these plays shows that they include many more male than female roles and that female…

The full power of drama as both a teaching and learning medium can be realized only when the inner world of meaning is harnessed to the outer world of expressive action. The teacher has available a number of techniques that can involve the students in the vital interaction of both frames. To involve the students in the expressive frame, the…