Argues that good directors are not as autocratic and individualistic as they are often portrayed. Suggests that theater is much more of an ensemble effort. States that good theater grows out of the performers' desire to reach the audience. Articulates guidelines for the teacher or theater director who wishes to change "I" to…

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)

Discusses ways theater educators can connect with at-risk students and persuade them that learning about theater can make a difference in their lives. (SR)

Relates a middle school teacher's experiences at an ISTA (International Schools Theatre Association) conference in Budapest, including viewing or participating in short performances, small ensemble work, and workshops. Describes her activities in the movement workshop. (PA)

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

Discusses the activities of the Education Department at the John F. Kennedy Center for the Performing Arts, including the local education outreach program and the Partners in Education program promoting school-community partnerships. (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)

Examines the idea of developing a play through a group effort. Draws on personal experiences of seeing this kind of work since the 1970s. Details techniques that have been used with various groups in a series of drama workshops over the years. (PA)

Notes that the 1994 Educate America Act included the arts as one of the eight core subjects, suggesting that they were no longer a curricular extra but an area of study as important as math, science, or any other subject. Asks 17 educators what they think will be the most important issue facing K-12 education during the next five years. (SG)

Presents essays entitled "Safe Spaces,""This Is Our Part,""Theatre and Community,""Real People Performing in Real Time,""Express One's Heart,""The Lessons of Popular Culture,""The Context of a Play,""The Human Condition,""A Need for New Tools,""Defiantly…

Describes the experiences of Highland High School (Salt Lake City, Utah) as they produced Gilbert and Sullivan's "Pirates of Penzance." Discusses the theatre director's role, the music director's role, and production techniques. Concludes the experience was rewarding and enjoyable. (RS)

Notes that for prospective theater majors, the choice between pursuing the Bachelor of Fine Arts or the Bachelor of Arts degree is crucial to the student's chances of success in college. Discusses how the degrees differ and how to advise students. Includes some questions that prospective students should ask of theatre programs, and notes answers…

Presents a sequence of exercises that requires students to think about telling their stories in terms of physicalization. Requires students to think about their blocking: their chosen movements on stage, the gestures they use to communicate their stories, and the business they must create to keep their stories believable and clear. (SC)

Describes students' experiences in examining different theatrical interpretations of the same work. Discusses how comparing different videos of the same script can demonstrate how there is often more than one way to solve a production problem. Considers teaching experiences involved in studying different theatrical presentations on video. (SC)

Emphasizes the importance of proper planning during rehearsals by breaking it down into five separate paths: (1) learning lines (blocking), music, and choreography; (2) integrating musical numbers and dance sequences into acting scenes; (3) putting completed scenes into sequence; (4) integrating technical elements into completed parts of the show;…