Offers advice for theater directors on how to take and give rehearsal notes that will enhance the casts' trust in the director and will help each rehearsal to build productively on the lessons of the previous one. (SR)

Defines a stage director's rehearsal note as a written reminder to tell an actor (or technical person) something seen during a rehearsal when there was no time to stop the action. Finds a note can contain a suggestion, a correction, or a compliment. Presents examples from play rehearsals of when a note was needed. (PA)

Explores production ideas for plays other than works by Shakespeare, including medieval plays such as the "Wakefield Noah" by the Wakefield Master. Lists some questions to consider when deciding to perform a medieval play. (PA)

Describes the relationship between a set designer and a director. Explains that set design is an integral part of every production. Compares the different fears of the set designer and the director. Relates an experience in a University of Kansas production of "Gypsy" in which the production was a collaborative effort in all respects.…

Discusses mask building as a theatrical exercise. Provides a simple method for building masks. Outlines a format for the classes that follow mask construction, in which a character is gradually built to suit the finished mask, including the birthing process, physical character and voice development, getting to know the character, and what happens…

Argues that teachers and directors should teach their students how to audition. Offers tips, explanations, and observations regarding selection of material, preparation, appearance, making contact, and other advice. (SR)

Suggests site-specific theatrical productions can create innovative productions in nontraditional spaces. Discusses the experiences of the author as he directed a site-specific production (Wendy MacLeod's "The Shallow End," set at an indoor pool) and addresses the lessons he learned from it. Includes advice on creating site-specific productions.…

Relates experiences as a recruiter for college theater programs in Florida. Provides tips for students in finding an appropriate monologue, developing the audition, and performing the audition. (PA)

Ponders what students might learn from a course in playwriting: the ability to think in vivid instances and moments; the habit of close observation of the details of human behavior; the ability to think through and see through cliches; making hard choices; sympathy; dreaming within limits; and concision. (SR)

Lists 10 things to do to make a drama program known to the public: know the newspapers; know the neighborhood; know the people; cultivate other sources; do something special; write the press release; take care of details; keep students involved; use other ways to get the word out; and never give up. (PA)

States that instructors of theatrical design are forced to adapt their teaching methods to suit new circumstances and situations. Points out that the controversy over the apparent decline of education has spread to the teaching of theatrical design. Describes some of the paradoxical theories being discussed. Presents ideas to…

Reviews some of the qualities that theater studies and production experience contribute to a student's education. Suggests that theater students learn to enjoy the learning process, engage in active (not passive) learning, learn creative expression and problem solving, and learn self-discipline and leadership skills. (SR)

Continues a discussion of script analysis for actors. Focuses on specific scenes and how an eventual scene-by-scene analysis will help students determine a "throughline" of a play's action. Uses a scene from "Romeo and Juliet" to illustrate scene analysis. Gives 13 script questions for students to answer. Presents six tips for…

Argues that good directors are not as autocratic and individualistic as they are often portrayed. Suggests that theater is much more of an ensemble effort. States that good theater grows out of the performers' desire to reach the audience. Articulates guidelines for the teacher or theater director who wishes to change "I" to…

Examines the idea of developing a play through a group effort. Draws on personal experiences of seeing this kind of work since the 1970s. Details techniques that have been used with various groups in a series of drama workshops over the years. (PA)