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 a theater for children and youth on the island of Aruba and the celebration of the project in a youth theater festival. Outlines the goals of the theater project. Discusses the development of the festival plays, the themes expressed in terms of metaphor, and the communication through objects used in the plays. (CR)

Describes the history and the recent transformation of The New Victory Theatre in New York City with plans to make it into the city's first performing arts institution devoted exclusively to young people and family audiences. Lists plans for various programs, including educational programs for teachers and students. (CR)

Describes a theater course which engages senior high school students, through a series of units, in the creation and staging of an original script for young children. Lists the units: (1) creation of the script; (2) rehearsal and pre-production; and (3) production. Enumerates the students' responsibilities and reflects on the collaborative…

Summarizes 2 theater exercises for grades 8 and 11 respectively. States that the goal of the first exercise is to improve directing by organizing rehearsals for improvised and scripted scenes. Notes that the second exercise improves directing by interpreting dramatic texts and organizing and condensing rehearsals for informal or formal…

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)

Presents annotations of two books and five scholarly articles of interest to theater educators on out-of-field research. (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…

Recounts that the Dickinson Theatre Project has been active not only in the advocacy of drama in the elementary classroom, but also in the support and development of weekly one-act productions, the creation of student-produced plays, and the development of full-length productions with casts and crews as small as 25 and as large as 250. (PA)

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)

Presents an annotated bibliography of six journal articles to promote a "research connection" for theatre education. Notes two journals with applicable research and articles. (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)

Describes a project to help student actors "get into character" thoroughly and empathetically. Notes that 10th, 11th, and 12th graders interviewed many people in a conflict-ridden school community, recorded and transcribed the interviews, took notes on interviewees' gestures and characteristics, and represented those people as faithfully…