Presents excerpts from a workshop that actively explores four instructional activities to illuminate the let's-put-on-a-show myth. Notes that the workshop illustrates the National Theatre Standards in action by integrating several aspects of the art form: script writing, acting, designing, directing, researching, comparing art forms, analyzing and…

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)

Discusses development of the American Alliance for Theatre and Education's Think Tanks on Theatre Teacher Education. Notes the think tanks were intended to probe important issues, move to a new level of thinking, and hopefully, effect change in individual and collective practice of theatre teacher education. (SG)

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…

Defines "guided imagery" as an experience/exercise led by a teacher/facilitator that allows participants to more fully use their imaginations. Discusses some important dimensions of guided imagery, including safety issues, building skills, respecting individual response, dissent, debriefing, emotion and imagination, scripting, pacing,…

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)

Reports on a public elementary school in Colorado that suspends all activities once or twice a year to become a children's theater. Describes how the whole community participates in the experience. Emphasizes the importance of adult-child collaboration. Relates how the collaborators construct original plays, rehearse and produce them, and finally…

Discusses expressive movement, a rudimentary, exploratory, and process-oriented way of movement that is appropriate for and beneficial to the training of actors, and that can be employed as a mode of kinesthetic/dramatic expression by theatre educators. Notes reasons for using expressive movement in theatre education; discusses teacher's role;…

Describes the use of "open scenes" to meet state-mandated educational goals, such as those in Kentucky's Education Reform Act. Discusses how open scenes can be an effective pedagogical technique to develop acting skills and help students meet the goals of current educational reform. Discusses the use of a GOTE sheet (goals, other,…

Presents an interview with theater director Jeff Church. Discusses difficulties encountered and accomplishments realized as a director of youth theater. Describes the goals of learning more about one's field, being open to new insights, and selecting materials. Offers suggestions about knowing the community. (CR)

Discusses complex struggles that occurred when attempting to negotiate a development agenda for a drama workshop involving people with mental health problems. Notes that the context of the intervention was "highly problematic." Suggests that for substantial change to take place the project worker and participants need an agenda of…

States that whenever people interact, they use labels to interpret the actions of others within a social context. Reviews data gathered in a previous study as to perceptions of labeling by a black student in a white school. Discusses the use of "raceless" labels. Concludes that discussion is necessary to fully implement the ideas of…

Describes how a student at Stagecoach (a private arts school), by securing the lead role in the film "Billy Elliot," encouraged other British boys to enroll in ballet and dance classes as well as Stagecoach Theatre Arts Schools. Present locations and international links for Stagecoach schools. Describes how the Stagecoach schools are run…

Moves educators to reflect on their practice of inclusion/exclusion and what constitutes authentic participation in theatre education classrooms. Believes that teacher education should strive to reconceive, or eliminate, the concept of "youthland" (the separation of young people from adult society) by preparing teachers who will treat students as…