Offers advice for theater directors on how to take and give rehearsal notes that will enhance the casts' trust in the director and will help each rehearsal to build productively on the lessons of the previous one. (SR)

Defines a stage director's rehearsal note as a written reminder to tell an actor (or technical person) something seen during a rehearsal when there was no time to stop the action. Finds a note can contain a suggestion, a correction, or a compliment. Presents examples from play rehearsals of when a note was needed. (PA)

Presents a rehearsal plan that not only keeps everyone on task but also produces stronger scenes. Suggests techniques such as: reading to the wall (suggests having no audience), sit in a circle (recite lines simultaneously), present a teaser, and blocking (find lines where the actors should move). Outlines a rehearsal worksheet. (SC)

Presents some guidelines and suggestions on things to know when considering renting a backdrop for a show. Discusses backdrop basics, types of backdrops, where to find drops, and how to rent the drops. (SG)

Relates the speech which Graham Down, the executive director of the Council for Basic Education, gave at the Theatre Education Association Director's Seminar. Argues against confusing skills for education, training for education, and knowledge for wisdom. Recommends that drama teaching be interdisciplinary. (PRA)

Details the following thoughts on directing for the theater: select the play, read the play, read the play again, ask questions, discover the spine, form a concept, cast the play, listen to the actors, make it move, make it spontaneous, make it real, look for obstacles, make it relevant, and make it important. (PRA)

Discusses how to use movement to make a point in theater. Offers guidelines for approaching blocking. Details the definition of blocking, its purpose, decisions, kinds of movements, using movement, types of composition, and elements of composition, such as body position, placement of characters, and eye focus. (PRA)

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)

Explores production ideas for plays other than works by Shakespeare, including medieval plays such as the "Wakefield Noah" by the Wakefield Master. Lists some questions to consider when deciding to perform a medieval play. (PA)

Describes the relationship between a set designer and a director. Explains that set design is an integral part of every production. Compares the different fears of the set designer and the director. Relates an experience in a University of Kansas production of "Gypsy" in which the production was a collaborative effort in all respects.…

Describes a study which found that, although teachers are required to have studied theater in college to get certification in 32 states, there are no such requirements in the rest of the country. (PRA)

Profiles GeVa Theatre's (a regional theater based in Rochester, New York) education programs, which offer student matinees to 5,000 students a year. (SR)

Discusses how school theater companies can improve the quality of their photography. Offers tips regarding the photographer, the gear, film, the photo call, shooting procedures, and processing. (SR)

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