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…

Describes one school's experience taking a production on tour. Tells what happened during their preparation period, the choices that they made, and the answers to the statement "If I had to do over again...." Presents 11 lessons learned from their experience. Notes that touring a show teaches students invaluable lessons. (SG)

Ponders what students might learn from a course in playwriting: the ability to think in vivid instances and moments; the habit of close observation of the details of human behavior; the ability to think through and see through cliches; making hard choices; sympathy; dreaming within limits; and concision. (SR)

Discusses the use of "Commedia," a way of performing inspired by the historical "Commedia dell' Arte." Notes that it has proved a fertile source of inspiration for all types of physical and stylized theatre and a useful training tool for performers in many fields. Presents a series of exercises designed to introduce the student to Commedia…

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…

Lists 10 things to do to make a drama program known to the public: know the newspapers; know the neighborhood; know the people; cultivate other sources; do something special; write the press release; take care of details; keep students involved; use other ways to get the word out; and never give up. (PA)

States that instructors of theatrical design are forced to adapt their teaching methods to suit new circumstances and situations. Points out that the controversy over the apparent decline of education has spread to the teaching of theatrical design. Describes some of the paradoxical theories being discussed. Presents ideas to…

Discuses mainstreaming students into drama classes. Suggests ways to determine whether a student is ready to be mainstreamed, the importance of age and interest-appropriate mainstreaming, and casting scenes and plays. (RS)

Reproduces, in outline form, the National Standards for Arts Education in Theater, as developed by the Consortium of National Arts Education Associations. Notes that the standards are intended to be used as curriculum planning guidelines by K-12 educators, school districts, and states. (RS)

Reviews some of the qualities that theater studies and production experience contribute to a student's education. Suggests that theater students learn to enjoy the learning process, engage in active (not passive) learning, learn creative expression and problem solving, and learn self-discipline and leadership skills. (SR)

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

Suggests a framework of six steps that can be used as a starting point to improve a secondary theater program to meet mandated standards: define motivation, study the standards, analyze the present program, create a planning team, determine student goals, and revise the curriculum. (PA)

Continues a discussion of script analysis for actors. Focuses on specific scenes and how an eventual scene-by-scene analysis will help students determine a "throughline" of a play's action. Uses a scene from "Romeo and Juliet" to illustrate scene analysis. Gives 13 script questions for students to answer. Presents six tips for…

Describes an effective scene study class including the sequential tasks of: analyzing the script independently; collaborating with a scene partner and finding common ground; developing the throughline of action; and working the moments, the beats, and the overall scene until each moment flows into the next. Considers ways to set up classroom…

Suggests that improvisation is an excellent catalyst for getting a scene jump-started or back on track. Presents two specific examples of how the author used improv in his own scene study classes. Notes the fundamental task teachers must master prior to improv work is how to isolate the essential dynamics of the scene. (RS)