Describes the "As If" technique, a mnemonic device that reminds actors what the action they are doing means and feels to them personally. Discusses introducing As If to students, the As If "game," and applying it to scripted scenes. (RS)

Argues that teachers and directors should teach their students how to audition. Offers tips, explanations, and observations regarding selection of material, preparation, appearance, making contact, and other advice. (SR)

Offer a strategy that can help make the work acting instructors do with their students as they prepare for college auditions as effective as possible. Looks at the process of finding an appropriate monologue. Established some ground rules for preparation and apply them to the monologue's development. Reviews suggestions to help students present…

Suggests site-specific theatrical productions can create innovative productions in nontraditional spaces. Discusses the experiences of the author as he directed a site-specific production (Wendy MacLeod's "The Shallow End," set at an indoor pool) and addresses the lessons he learned from it. Includes advice on creating site-specific productions.…

Relates experiences as a recruiter for college theater programs in Florida. Provides tips for students in finding an appropriate monologue, developing the audition, and performing the audition. (PA)

Presents a sequence of exercises that address the importance of using words effectively, and considers the insensitivity so many young actors today have regarding the words they have been given by playwrights to say. Intends to help students better connect and deepen the meaning of the words they use as actors with the objectives they choose to…

Offers tips on how to talk to actors in a rehearsal. Suggests describing rather than evaluating, speaking provisionally, encouraging collaboration, and showing enthusiasm through body language. (PRA)

Suggests that a director who remembers what it was like to be a beginner is better equipped to help students separate craft from impulse than one who has not been on stage. Discusses starting on time, playing games, teaching focus, giving notes honestly, and using resistance. (RS)

Discusses the arduous task of casting and directing untrained middle and secondary school actors in terms of auditioning, getting started, planning for the first meeting, focusing on the obvious, rehearsing, learning the lines, becoming the character, running work-through rehearsals, and doing run-throughs and performances. Notes not to forget to…

Describes how a theatre educator brought together her acting students and her playwriting students so that the playwrights could see their work performed and acting students see the relationships among performer, director, and playwright. Discusses matching plays to players, customizing scripts, "showtime," and adapting the project. (RS)