The present investigation demonstrates the relevance of cooperative components in teacher-student interaction during the assessment of students' vocal performance from a social-behavioural perspective. It is proposed that, during the assessment of this performance, a social-behavioural interaction with cooperative components between teacher and…

An artists' residency in a primary school in regional Victoria Australia staged a production of Shakespeare's "King Lear" in a local theatre. A qualitative, reflective practitioner research study into this project collected and analysed data from participating children and their community audience that gave some insight into their…

Clarifying for both the playgoer and the playmaker the concept of theater as an institution for game-playing, this book analyzes the identifiable urges common to all theatergoers and deals with their immediate emotional experiences. Directing its discussion primarily to playwrights and directors and only secondarily to actors and scenic artists,…

This directory presents the findings of a national survey of community theatres. The following information is provided for each responding community theatre, listed alphabetically by State: (1) Name and address of theatre, (2) year activated, (3) name and address of contact individual, (4) affiliations with theatre organizations, (5) type of…

One of the rhetorical dimensions on which theatre exists is the rhetoric of production. This implies that the production, through examples, takes and urges an attitude toward the text. This argument provides a foundation for both the nature and the implications of interpreters theatre productions that advocate social issues. Theatrical…

Argues that an audience is real rather than abstract and is necessary to the art of the theater. Demonstrates that audiences are too diverse to be described by an abstraction; audiences affect performances; and interchange occurs between actors and audiences. (See CS 705 537.) (PD)

Refutes several of Campbell's arguments that the audience is abstract rather than real. (JMF)

Defends the notion of the abstract audience. Questions Gillespie's concept of audience adaptation and the relationship among play, actor, and audience. (JMF)

The conference reported here was attended by educators and theater professionals from 24 countries, grouped into five discussion sections. Summaries of the proceedings of the discussion groups, each followed by postscripts by individual participants who wished to amplify portions of the summary, are presented. The discussion groups and the editors…

Develops the argument that considering theatrical performances to be rhetorical transactions between actors and audiences is both inappropriate and critically unprofitable. (See EJ 240 170-173.) (PD)

Argues that theater is aimed at and presented to an ideal or abstract audience. Discusses the implications of performing for an actual audience, adaptation to various audiences, and the concept of the audience as an evaluative device. (See CS 705 536.) (JMF)

Describes a Florida childrens theater group led by Dr. Moses Goldberg that specializes in improvisational theater with dialogue that motivates children into taking an active and imaginative part in the play. (Author/GB)

Suggestions for improving the teaching of performance by actively involving the classroom audience. (CH)

The best art experience has often been characterized as a kind of balance between the familiar and the unfamiliar, the expected and the unexpected, the easy and the hard. Good directors and actors have the artistry to be able to play on the orientation reactions of the audience. They know how to structure a production or performance so that it…