Discusses theatre's unique contribution to a liberal arts education. (PD)

Relates how several controversial plays were handled and discusses censorship in academic theatre in terms of choice. (PD)

Presents a policy statement on faculty workloads for theater in higher education, developed by the Joint Task Force of the Association for Theatre in Higher Education and the United States Institute for Theatre Technology. (SR)

Raises numerous questions concerning ethical dilemmas faced by theater educators from the point of view of higher education as big business. Presents four categories of questions: philosophy, pedagogy, production, and administration. (RS)

Summarizes some general observations on the issue of power. Distinguishes three approaches to the question of power: the origins of power; the methods by which power is exercised; and the consequences of power. Considers the process by which power is legitimated in the ecology of theater activity. (RS)

Concludes that whoever selects a season of plays or a play to be performed should be aware of the prospective audience response. (PD)

Presents the perspective of a private church-related college on censorship in academic theatre. (PD)

Discusses the need for theater education at all levels, including a bachelor's degree in theater education. (MM)

Introduces and includes "The Ritz Bar or ABD: In Defense of the MFA," in which Peter Garvie defends the professionalism of the MFA degree in theatre, and "The PhD in Theatre--A Vanishing Degree?" Richard Hornby's discussion of the importance of the doctoral degree as the standard teaching degree. (PD)

Focuses on the issue of deciding whether or not to place theatre specialists on tenure track, non-tenure track, guest artist, or staff lines. Lists factors which require analysis, such as type of institution, departmental mission, departmental size, and requirements for promotion and tenure. (MS)

Discusses the uses and misuses of teacher evaluations. Opposes their use in a statistical way to evaluate promotion and tenure decisions and their awkwardness for the evaluation of theater artists. (SR)

Defines "cross-cultural,""multicultural,""cultural diversity," and "cultural pluralism." Maintains that theater administrators and artists must begin preparing their responses to the realities of cultural change. (SR)

Discusses the importance of faculty attitude in ensuring that program evaluations have valuable and long-term effects. (PD)

Introduces a discussion of power bases in academic setting that includes the following papers: "The Argument from Setting: Theatre in the Liberal and Fine Arts" by John Gronbeck-Tedesco; "The Practical Issues" by Vincent Angotti; and "Conservatory Training within the Academic Institution" by M. E. Comtois. (PD)

Discusses four questions to be considered when graduate students in theater are considering whether to pursue the Master of Fine Arts degree or the doctoral degree. (SR)