Actors create theatre with and for with children in diverse theatrical, educational and therapeutic contexts but little is known about the 'artistry' of their practice. This paper analyses a theatrical encounter between a child and an actor and identifies four key qualities of 'pedagogically tactful' (van Manen 2016) actor practice: listening,…

This paper engages with the medically established view that individuals with autism are not capable of play or being imaginative. This paper resists this idea by reflecting on psychobiographical research conducted on the life of Temple Grandin. By re-witnessing creative experiences in her life, dialogue surrounding the imaginative capacities of…

Increased technology use by college-age students (millennials) has created problems for the acting classroom. Constantin Stanislavski's technique is still the standard, but students arrive to campus unready or unable to engage in his methods or with each other, so new approaches are required. Classroom exercises are provided, many inspired by…

Examines the philosophy and methods of Chekhov (1891-1955), director, teacher, and actor, whose style was devoted to awakening and inspiring the creative imagination of the actor and ultimately the audience. (PD)

In the form of engaging experiences, dramatics offer the student a better understanding of himself, of other people, of literature, and of life. (Author)

The author applies the Stanislavski theories on acting to the training of children in dramatics. She bases the book on what she terms the "magic question" that can awaken a child's imagination: "What would I do if . . .?" The opening chapters are designed to assist the student in developing an awareness of his senses for the…