Suggests that a special quality of reinforced learning can take place by use of the preshow workshop, which plants the seeds of thought and actions. Illustrates the method by discussing two practical but utterly different models for preshow workshops. (RS)

Describes three exercises used at the Oregon Shakespeare Festival in workshops for students and teachers to get participants on their feet, speaking Shakespeare's language, giving them a kinesthetic experience Shakespeare, and deepening their intellectual appreciation of the language. (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)

Describes a drama workshop designed to teach English as a Second Language. Offers specific exercises which were used to help students learn to introduce themselves, use body language and inflection, use formal and informal language, and speak with conviction. (PRA)

Describes the planning, implementation, evaluation, and implications of a "Drama Day"--a one-day middle school festival centered on creating theater. Discusses plans for "Drama Day II." (RS)

Describes some exploratory and discovery methods which capture interest, stimulate curiosity, and kindle enthusiasm of students as they approach Shakespeare and decide how it should be acted, interpreted, and staged. (SR)

Describes the methods employed in a series of 10 3-hour drama workshops out of which came a theatre-in-education (TIE) program (delivering an antidrug message) performed at the National Chinese Theatre Association. Notes that educational theater and theater in education were virtually unknown and never before performed in Taiwan. (RS)