Radio plays can provide opportunities for high school or college students to act without having to memorize scripts. Elements necessary for a well-produced radio play consist of: (1) a suitable play, which may be a simple play or an adaptation of a short story or novel; (2) a radio script which is plausible and feasible within the limitations of…

This play-choosing guide is designed to help amateur theatrical companies in matching the casting, staging, costuming, and financial resources at their disposal with the corresponding requirements of about a hundred full-length plays. The plays have been divided into three categories: farces and comedies, drama, and thrillers and mysteries, and…

A close reading of "Improvisations for the Theater" and "I and Thou" will show that there is a common ground linking the games theory of Viola Spolin and the philosophy and religious teachings of Martin Buber. Relation, to Buber, is the direct and immediate response where two people share mutually with one another. It is this…

Offered are guidelines to the development of theatre for, by, and about deaf persons. Various terms used for sign-language theatre and deaf theatre are defined and discussed in an introductory section, and the use of sign language as a theatrical medium is explained. The production of theatre is covered by sections on the history of deaf theatre,…

Offers guidelines for working with deaf actors and sign language interpreters. Contains useful information for directors wanting to cast deaf actors in roles of deaf characters and to include sign language-interpreted performances of some of their regular productions. (JD)

A speech delivered before open meeting of Yale School of Drama (New Haven, Conn., January 15, 1969) and published in Yale Alumni Magazine," April 1969; interview conducted July 14, 1969, and published in yale/theatre," Winter 1969. (Editor/RD)

Recounts the difficulties and ultimate success of a production of Chekhov's "Uncle Vanya" by fifth-and sixth-grade students. (RL)

Most performer-writers accept the writing process simply as a means to an end: the shared performance event with a live audience. While writer-performers regard a script as more important than the performance, a solo performance is, however, a showcase of the artist's talent, and creating one's own text offers the performer artistic control. Some…

The curriculum guide is an instructional package designed for beginning pre-college drama students with hearing impairments. The seven lessons emphasize work requirements in the theater as well as an understanding of drama. Each lesson includes a list of lesson objectives, materials provided, materials and equipment needed, and vocabulary…

In recent years, theatre faculty have come to understand that advanced degrees do not guarantee that a person is qualified for the subtle, complex, and dangerous job of teaching acting, and that actor training has more to do with the problems of human behavior than with the theatre. The fundamental problem with acting is the fear that controls…

The last of four related manuals describing the goals and methods of an established developmental theatre project at the University of Colorado, this manual discusses the processes involved in selecting and adapting scripts for specific audiences. The manual suggests ways to cut longer plays for school audiences, methods for organizing parts of…

A TWO-PHASE DEVELOPMENTAL CONFERENCE WAS HELD IN MINNEAPOLIS ON THE GENERAL SUBJECT OF FOSTERING MUTUALLY BENEFICIAL RELATIONS BETWEEN PROFESSIONAL AND ACADEMIC THEATERS IN AMERICA, WITH PARTICULAR ATTENTION DEVOTED TO WAYS FOR IMPROVING THE TRAINING AND EDUCATION OF ACTORS. IN THE FIRST PHASE OF THE CONFERENCE, A GROUP OF 24 REPRESENTATIVE…

The entries in this journal represent the second annual publication of selected material dealing with the topic of black theatre. Articles describe an evening with the Frank Silvera Writers Workshop in Harlem, relate an interview with Vinie Burrows, explore the thinking of black scholars and artists on the elements of the African-American theatre…

Directing and acting in television productions requires a broad technical background that differs greatly from stage productions. In addition to understanding the technical problems that are unique to television, the director and actor must be deft at script analysis, character development, and mood setting. To assist the aspiring director and…

This curriculum guide provides an introductory course in the theatre for first-year high school students. The course uses an interdisciplinary approach and includes a discussion of types and styles of drama, a brief history of drama, fundamentals of acting, and techniques of play production focusing on music, costume design, make-up, scenery,…