This survey report relates and analyzes the results of an exhaustive survey study of the status of theater in U.S. high schools. The report is divided into six sections. Part 1 is a general description or "snapshot" of the status of educational theater. Part 2 takes a look at the people who teach theater. Part 3 is an examination of…

Relates the author's experiences, from being a high school thespian at Tigard High in Oregon, to studying at a great drama school, to being an actor and now a writer in California. Tells about his drama coach, Larry Daw, and how he influenced the author. Recounts a visit to a backstage production at the high school. (PA)

Offers ways for high school drama teachers to simplify, streamline, and lessen the uneasiness of the process of play selection, auditions, and casting. (SR)

Discusses the difficulties of costume construction for high school theater productions. Advances a plan (and provides a design) for a mobile costume shop which contains the basic needs of a functional costume facility, using only 60 square feet of space. Lists every element and implement needed. (PA)

Discusses ways to use older adults in high school productions, including casting senior adults in the older roles and using adults in all stages of design and production. Provides guidelines for a student-directed short play competition. (PA)

Describes working out an exercise in creating a character using objects bought at a rummage sale. States that the high school students used the objects creatively as a final class project. (PA)

Describes how, using moderately priced tools that can be easily stored when not in use, a mobile scene shop allows high school students to build scenery to the highest standards and provides a comprehensive theatre experience. Provides a detailed list, discusses making this investment, moving and storing the tools, advice on making the purchases,…

Discusses the necessity of clear speech in the theater, especially in this age of media "watching, not listening to." Finds that theater professionals cannot expect an audience to listen if the language is not spoken as if it mattered. (PA)

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…

Argues that theater instructors must also be artistic directors. Relates one instructor's experiences in taking over the acting and directing program at the Los Angeles High School of the Performing Arts and how his changing attitudes were reflected in his restructuring of the program. (PA)

Advocates rearranging the steps directors follow in conventional theater productions. Describes a collaboration with an artist and a group of Lake Ridge Academy (Ohio) theater students that began with the construction of a sculpture/set piece that inspired the performers to write. The company then performed these writings around the sculpture/set…

Describes the Geraldine R. Dodge Theatre Program for Teachers and Playwrights that serves New Jersey drama teachers and professional playwrights, actors, and directors. (SR)

Defines five elements needed in the construction of a sound theater program: curriculum, artistic quality, program participation, community and parental support, and administrative and faculty recognition. Discusses the importance of these elements. Concludes that, although implementing this program takes time, the effort is worth it. (PA)

Offers insights, discoveries, and practical suggestions (collected during 16 years of experience) on how to successfully direct and teach high school actors. (SR)

Outlines the structure and approach of a high school course in theater history. Includes suggestions of plays for scene work, ideas for interdisciplinary lesson plans from selected periods, and a list of books for additional reading. (SR)