Describes a theater for children and youth on the island of Aruba and the celebration of the project in a youth theater festival. Outlines the goals of the theater project. Discusses the development of the festival plays, the themes expressed in terms of metaphor, and the communication through objects used in the plays. (CR)

Recounts that the Dickinson Theatre Project has been active not only in the advocacy of drama in the elementary classroom, but also in the support and development of weekly one-act productions, the creation of student-produced plays, and the development of full-length productions with casts and crews as small as 25 and as large as 250. (PA)

Describes the author's experiences in Santa Cruz, Bolivia creating a theater program in an orphanage. Notes how Gueddy, a deaf boy, worked his way into the drama program and was very successful finding his "voice" in theater. Concludes that Gueddy is now the star of the orphanage, the talk of the town, and front page news in Bolivia. (SG)

Reports on a public elementary school in Colorado that suspends all activities once or twice a year to become a children's theater. Describes how the whole community participates in the experience. Emphasizes the importance of adult-child collaboration. Relates how the collaborators construct original plays, rehearse and produce them, and finally…

Discusses the 1996 edition of Montreal's Coups de Theatre. Questions whether festival productions should be juried, what criteria should be used, and how to compare new creations against established productions. Describes various festival productions, a total of 19 productions from 6 countries. Discusses what these plays say to young people. (CR)

Discusses, in poetic form, the writing of the play "Salvador" from the perspective of the author. Explains her thoughts about writing for children, including didactic relationships with children, didactic functions of art, and how adults teachers try to create a sterilized, lifeless, good-thinking, and artificial world for children when they are…

Presents an interview with Ruth Beall Heinig, author of "Creative Drama for the Classroom Teacher," about her role as a teacher of creative drama and as a teacher-educator preparing teachers to use creative drama. Describes the development of her career in creative drama. Offers information on books about the subject written by other authors. (CR)

Describes the potential that theater has to exert a positive influence on students' behavior patterns. States that positive educational experiences for African-American children may be achieved through the development of "an alternative frame of reference, positive self-concepts, a Black identity, and a commitment to their people."…

Describes the development, production, and performance of "Harvest Ceremony: Beyond the Thanksgiving Myth," a museum theatre piece performed annually at the Smithsonian's National Museum of the American Indian's Gustav Heye Center. Notes that the play gives the audience a fresh perspective on the first Thanksgiving from the Native point…

Offers a brief overview of "Curtains Up On Reading," an outreach program of the Dallas Children's Theater that places literature-based drama at the center of the curriculum. Outlines the philosophy, history, and methodology of this unique interdisciplinary language and fine arts curriculum. Describes its application in a five-day model…