Illustrates the author's experiences as a director for a young adult production of Dickens's "A Christmas Carol." States that this was the first time she had directed in five years. Describes how the actors were unused to her collaborative style of directing, and how the author had to modify her methodology to suit her troupe. (PA)

Describes how many technical and casting problems in young adult theater may be solved by using a Greek chorus. Defines a Greek chorus and its role. Discusses applications of Greek choruses to conventional scripts, including representation of abstract images and characterization. Concludes that incorporating a Greek chorus into a traditional…

Reviews John Lithgow's career in theatre, his work in the television show "3rd Rock from the Sun," his family background, and his views concerning art in education. (NH)

Uses a dialogue between two aspects of the same person (playwright/director) to answer the question posed in the title. States that initial productions of a new play are important for rewriting and reshaping the material and that performance confirms what is healthy and alive about the play. Concludes that the time for enjoying the performance…

Notes a resurgence of interest and practice in participational theater. Explains that playwrights, directors, and theater educators have begun to ask questions and seek information about available scripts and guidelines for creating new works. Includes edited remarks by six practitioners who talked about their experiences with participation…

Pays tribute to Barbara Reed, a leader in both children's drama and storytelling. Notes Barbara Reed's life accomplishments and many contributions to the field of theatre and performing arts education. (SC)

Summarizes the author's understandings with applications and further questionings to: (1) Rights TO drama/theatre experiences; (2) Rights IN drama/theatre; and (3) Rights THROUGH drama/theatre. Asks for responses to her ideas regarding children's rights in theatre. (SC)

Discusses the potential technology has for playwrights today, especially "technology as special effects" and "technology as subject matter." Finds it curious that very little science fantasy has found its way into the theater, and even less science fiction. Advocates exploring the world of technology through theater. (PA)

Interviews the founder of the Young Actors Guild (YAG) of Ann Arbor, Michigan. Finds that the work of YAG can be described as "high concept" or artistically daring, yet highly inclusive--casting everyone who auditions. Discusses the influences that shaped the founder/director's work. (PA)

Reproduces a conversation among playwrights, directors, and dramaturges participating in the Bonderman/IUPUI (Indiana University Purdue University at Indianapolis) experience. Features their answers to six questions regarding new play development, its focus, and influence on the world of theater for young audiences. (PA)

Examines ideological implications of the term "outreach" and explores the author's personal reflections and dilemmas regarding the ideological underpinnings of educational outreach around productions of theater. (SR)

Recounts how attendance at an international theater festival in Scotland brought unexpected stimulation for one teacher. Cites several examples of imaginative productions with minimal sets and lighting but in which the actors brought the texts to life and provided inspiration for festival attendees. (PA)

Reveals the journey of a new teacher of theatre. Takes readers on her journey of self-discovery from student to student teacher to bi-lingual theatre teacher. Raises timely questions about the boundaries and barriers felt as drama is taught in unfamiliar settings. (SG)

Considers several categories in which theatre teachers can incorporate the concept of belonging, and encourages educators to question their individual efforts toward "belongingness." Hopes to provoke thought and conversation among theatre teachers and teacher educators. Concludes that belongingness and community occurs when teachers…

Relates an interview with the actor Tony Randall, 1995's Honorary Chairman for Theater in Our Schools Month. Chronicles his decision to act at 12 years of age, his acting studies, and his professional life to the present. Presents his opinions--for example, that the arts in schools are important, in accordance with the Goals 2000 Act. (PA)