Explores the extent to which the scholarship of interpretation-in-performance parallels the knowledge of written literary criticism and contends that solo and group performance is a form of "published scholarship". (MH)

The interrelationship of performers, text, and audience in reader's theater may be better understood through philosopher Martin Buber's key concepts of polarity, dialogue, and inclusion. These concepts operate within four polar tensions identified by Buber: that between the performer and the character represented; that between the performer and…

Defines metaphorical staging as group interpretation that gives a ritual or symbolic stage form to literature and illustrates this concept by describing the staging of D. H. Lawrence's story "The Horse Dealer's Daughter". (MH)

One of the most influencial teachers of oral interpretation is examined in light of the history, theory, tools, and famous teachers of interpretation. (CH)

This book brings new life to the study of social studies by integrating the tools of creative drama and theater tools like pantomime, movement, improvisation, scripted drama, oral interpretation, debate, public speaking, readers theater, storytelling, and the many other ways the body or voice can be used to creatively communicate ideas to others.…

This book contains papers presented at an "Interactive Research Conference" held in June 1996 at the University of Central England. The conference focused on the pioneering work of Professor Dorothy Heathcote in the field of drama in education. Twenty-three different countries were represented at the conference. The book has three…

This document presents a rationale for using reader's theatre in the classroom. It briefly discusses some of the conventions that distinguish reader's theatre from traditional theatrical productions, including direction of voice and action to the audience, and the use of scripts. The major portion of the paper offers seven exercises on the…

The author states that because of recent interest in readers theatre, or concert readings, some objective methods of assessing audience response should be developed. In the first section of the paper, she provides a rationale for a critical suggestions form. The author's guidelines for an evaluation form include the use of expert judges, an…

This book provides teachers, children, and parents with knowledge about children's literature and the oral interpretation of it. The procedures, suggestions, and resources in the book are intended to develop oral interpretation skills in the young reader and to assist the adult reader in improving his own skills. The content is divided into five…

Drama in the classroom is the theme of the 14 articles in this issue, which can be used as resource material for teachers concerned with incorporating drama into the English curriculum. Titles and authors are as follows: "All the World is a Stage--Except the American Classroom" (Charles R. Duke); "A Drama Program for All Seasons" (Paul Cervoni and…

Three performance problems encountered in storytelling are: subordinating the perspective of individual characters to that of the storyteller; the role of the audience; and the undefined boundary between reader and audience. The concept of "Gestus" as espoused in the dramatic theory of Bertolt Brecht offers an approach to the performance…

The eight articles in this booklet suggest activities designed to help students see drama as an active, engaging pursuit. The first article uses excerpts from Harold Pinter's "The Caretaker" to illustrate how improvisation can be used to help students discover meaning in a play. The second and third articles provide suggestions for…

This collection of abstracts is part of a continuing series providing information on recent doctoral dissertations. The 15 titles deal with a variety of topics, including the following: (1) creative dramatics and theatre arts among socially and emotionally handicapped inner-city adolescents; (2) The Toone Marionette Theater of Brussels; (3)…

During the 1950s, when it first began, Readers Theatre was textual in its emphasis; it involved the group reading of literature and the staging of poems and poets' stories, essays, and scenes. In its second stage, during the sixties, Readers Theatre became a directors' art; it was the director who adapted and arranged the literature and whose…

In an attempt to make poetry interesting to high school students, a teacher tried a "Dramatic Readings Assembly," which was planned, written, and produced by students. Four students were selected to plan the theme and structure of the production, read and research the program material, and write the final script. The plan chosen for the program…