Discusses the management of a school theater facility. Discusses the role of the theater manager at Smoky Hill High School. Discusses the creation of the plan to oversee the operation and scheduling of the theater facility. Includes a copy of the contract form for using the theater. (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)

Outlines a basic approach to "Readers Theatre," the communication of literature in a theatrical context. Contains the exercises "Sardines Today!" which promotes awareness of poetic setting, and "Dress Up Day!" which presents an opportunity to explore the role of suggestive costuming. (PRA)

Describes the festival marking the twentieth anniversary of the founding of the National Association for the Preservation and Perpetuation of Storytelling. Suggests that storytelling is undergoing a renaissance. Suggests that not only is storytelling at the roots of drama/theater education, it is alive and well in practice. Discusses several…

Describes the effect of first-year directing students using short, abstract poems rather than scenes from classic plays as the basis of their productions. Notes that the images in these poems speak loudly and intensely to the audience, in contrast to the usual "talking heads" result of producing scenes from classics. (RS)

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…

Discusses changes that have taken place in children's theater in the United States during the past 25 years. Describes a few persistent problems that, despite striking and positive shifts, have attached themselves to the achievements and have refused to go away. (SR)

Describes playwright Suzan Zeder's collaboration with playwright David Saar and director Carol Evans on the development of a script for young audiences which deals with the AIDS virus. (SR)

Describes a performance art project conceived and carried out over several weeks with ninth grade students at San Francisco School of the Arts, relocated in a building without an equipped theater space. (SR)

Discusses a teacher in the middle of completely changing the way she teaches drama and beginning again--by having children teach her. Summarizes what she has learned so far about child-centered drama leadership. (RS)

Offers a statement on freedom of artistic expression in educational theater by the American Alliance for Theatre and Education. Deals with issues, responsibility, process, strategies for teachers and directors. Offers a bibliography and two sample process forms (describing procedures for challenging materials and procedures for requesting a…

Describes a seminar for middle school and junior high school teachers held in March 1989 subtitled "Education through Drama, the Dorothy Heathcote Way" in which the ideas and methods of well-known British drama educator Dorothy Heathcote were presented. (SR)

Describes the Orange Summer Shakespeare Festival, which offers teenagers from New Jersey (most of them African American) the opportunity to perform Shakespeare for their community and to cocreate an exemplary piece of theater that serves as a forum for the cast to transmute their stories and express their dreams, fears, rage, and joy. (SR)

Discusses how a drama teacher's life and teaching were changed during a summer course. Suggests that the role of the drama teacher is to give students the tools they need for active learning (the ability to concentrate, focus, and listen) and the tools they need for living (the ability to communicate, relate, and empathize). (RS)