Discusses the future of child drama from the perspective of one who has left the field. (MS)

Describes the author's personal thoughts about drama, television, and theatre, and about the importance of artists having integrity. (MS)

Discusses the historical foundations of children's theatre and drama/theatre education. Raises questions and suggests challenges for the future of the field. (MS)

Recounts the author's personal experiences in the field since winning the Winifred Ward Scholarship. (MS)

Discusses the need for drama in preschool education and for students with learning disabilities. Suggests that theatre professionals with disabilities be hired as actors, in production, and elsewhere. (MS)

Responds to Catherine Dezseran's call for children's plays with "serious" subject matter, approves of her ideas, and suggests that more pointed criticism of the contemporary plays she mentions would be helpful to writers of children's plays. (JC)

Asserts that there is a need for more empirical research in the area of theatre for young audiences. Discusses myths about empirical research. (MS)

Summarizes documents from the ERIC database that provide suggestions for integrating disabled students into elementary and secondary school drama activities, as well as information about programs and activities that encourage understanding and appreciation of school children with physical and mental disabilities. (MS)

Discusses the plays of Wendy Kesselman. Analyzes the plays in light of the special demands they make upon young audiences. (MS)

Describes the author's directing experiences in Lima, Peru, and in San Migual de Allende, Mexico. Includes insights gained through work in both Spanish-spoken theater and bilingual Spanish-English theater. (SR)

Lists 29 research projects in progress within the field of theater, drama, and education. Provides the researcher's name, research title, school/organization affiliation, type of research, and estimated date of completion. (MM)

Examines problems that both professional and university youth theatre programs share, namely, concerns about finances, personnel, facilities, artistic quality, and public relations. Discusses how all of these problems may, in reality, be financial problems. (JD)

Presents the statistical results for the theater for children component of the ASU Longitudinal Study, utilizing Dr. Patricia Goldberg's interview instrument, which categorizes the free responses of a child audience after viewing a theatrical production. (JC)

Attempts to bridge the gap between theater professionals and classroom teachers by annotating some books about theater, including "Scenes: The Unseen People Who Make Theatre Work," which may be used with children of various ages. (MM)

Examines, through interviews with two prominent Israeli theatre teachers, the status of children's theatre in Israel at the present, and notes the problems with the types of children's theatre being produced, including the fact that children's plays are too didactic, and that there is little funding to produce them. (JC)