Looks at the responsibilities of a director of young performers as an artist/educator. Maintains that production work with young people should be an extension of a theater curriculum, develop young people as artists and human beings, and be guided by individuals who understand how to teach theater as well as direct plays. (SR)

Compares the goals and methods of drama in education as they are made manifest around the world. Notes the greater interest on the part of European educators in controversial social and political content. (SR)

Suggests that educational drama has its genesis in an alternative, globalized aesthetic performance tradition which complements, rather than excludes, the Euro-American theater tradition. Discusses the influence of performance theory and poststructuralism, the alternative tradition, and drama as the art of the moment. (SR)

Offers a compilation of the thoughts and opinions of five drama/theater practitioners (from various geographical areas, ethnic backgrounds, and professional expertise) on subjects such as ethnicity, cultural pluralism, political correctness, and exclusion/inclusion. (SR)

Discusses the passionate philosophy of Robert Alexander, founder and director of living stage theater company and his views of art, creativity, the entire process of learning, politics, philosophy, and hope. Presents several excerpts from Alexander's presentations for artists and teachers during Living Stage residencies in cities around the…

Discusses the author's techniques of incorporating storytelling and playwriting in the early childhood classroom. Includes responses to questions concerning her pioneering research on storytelling in the classroom. (RS)

Presents guidelines for general and theater specialist K-12 teacher certification developed by the American Alliance for Theatre Education and the Speech Communication Association. Advocates that all teachers have preparation in arts and communication and that theater and communication specialists continue to be trained. (SR)

Describes the author's experiences developing drama productions in collaboration with his high school students, most of whom were new to the United States and new to English, and from a wide variety of countries. Discusses how the author's involvement with the HERALD project helped him to use cooperative student-centered learning and…

Argues that the assessment of theater abilities should come from careful thought about the heart of theatre work. Discusses online assessment, portfolio culture, and the company model. Argues that students should be welcomed into discussions and provided with problem-solving and decision-making skills. (SR)

Presents a drama-in-education project for middle school students to experience the dilemmas and choices of immigration to America. Offers four lesson plans and prelesson work which include dramatic techniques, culminate in projects, and promote problem solving, accountability, creative thinking, and group cooperation. (SR)