Argues that the leading professional children's theaters should commit themselves to a group of proven professional playwrights as the surest way to nurture the feasibility and aesthetic sensibility of children's theater. (SR)

Presents an interview with children's playwright Aurand Harris, who shares thoughts about his work, advises playwrights, and offers a cautionary note on the future of children's theater. (SR)

Argues that a stronger impact may be gained by using drama to advocate drama. Offers vignettes of notable advocacy programs that help colleagues become advocates and that help parents and students become advocates. (SR)

Explores the distance all dramatists travel to one extent or another and in their own ways to arrive at a play for children--the questions asked, the ideas sparked, the progression followed. (SR)

Describes the process of putting together a historical play leading to a final product. Describes the inspirations, resources, and options available to theater educators when producing classic drama, as illustrated by the production of a futuristic "Antigone" by the Interlochen Arts Academy. (SR)

Describes a visit to the Moscow Art Theatre Institute, including an interview with its director, Oleg Tabakov; a comprehensive tour of the school; and attendance at plays produced by the Moscow Art Theatre. (SR)

Discusses the author's life experiences that led her to synthesize a statement supporting Theatre in Our Schools Month. (RS)

Presents an interview with director, teacher, performer, and author of the ground-breaking "Story Theater" Paul Sills. Discusses his unique style of storytelling and improvisation. (RS)

Argues that, by not engaging the community in an exploration of the many ways the arts, including theater, can nurture personal and intellectual growth, teachers may have contributed to the failure to name the arts as a critical area of concern. (SR)

Presents a conversation with five theater practitioners and artists about advocacy for theater. (SR)

Asks theater educators to articulate and defend a moral position regarding the overall direction of society. Asks that teachers, like great theater, foretell a direction that will lead to a better world. (SR)

Maintains that, in children's theater, it is the responsibility of an individual theater to engage and educate its community, enact policies detailing its moral and ethical standards, and let the community know (via brochures, displays, etc.) what type of children's theater it produces. (SR)

Describes how the Honolulu Theatre for Youth and Very Special Arts Hawaii developed the annual THEATREFEST, a successful program celebrating the work of young playwrights and performers. Discusses how the project came about and how it is yearly put together. (SR)

Discusses some of the reasons Shakespeare should remain at the center of culture, not as a museum relic, but as an active contemporary. Focuses on Shakespeare's writings in relation to questions of language, culture, and identity. (SR)

Argues that secondary school theater teachers need to become activists and address the lack of minorities and the economically disadvantaged in their productions, classrooms, and their own ranks. Argues that the survival of arts education hinges not merely on funding but on what is taught to whom and that the arts are all about widening the human…