Presents the author's remarks based on her advanced reading of papers on the symposium "What is Cinderella Hiding?" and on observations of the conversations that unfolded in the course of the symposium. (SG)

Asserts that there is a need for more empirical research in the area of theatre for young audiences. Discusses myths about empirical research. (MS)

Synthesizes teachers' evaluations of university productions of theater for children from 1977 to 1995 by analyzing emergent themes and common factors among teachers' perceptions across play content. Compares teachers' interpretations of their students' experiences with children's responses to selected plays to help explain similar and discrepant…

Notes that the data for this study come from a focused inquiry into the hopes and fears of seven university theatre students who anticipated becoming teachers. Concludes that as they explored their past and present experiences, and their future positions as teachers, self-reclamation was at the heart of their stories. (SG)

Defines ideology and representation as manifested in the field of theatre for youth. Discusses these theoretical constructs as they relate to practice in the field. Concludes that the field of theatre for young audiences is under-theorized. Hopes that the symposium has made participants more aware of the role of ideology, representation, and…

Proposes that a spirit of cooperation between the adult theatre world and children's theatre would be very helpful to both. (MS)

Discusses ethnographic performance texts (sometimes called ethnotheatre or ethnodrama), which employ traditional techniques to mount a performance event as an alternative mode of research representation, with actors portraying actual research participants. Discusses ethnodrama's rationale, content and structure, participants and characters,…

Notes that in academic theatre there is a deep division between those individuals who consider themselves practitioners and those who consider themselves theorists. Considers the role of ideology in theater practice. Discusses the author's experience teaching drama with an idealistic view. (SG)

Presents a 54-page index to the journal "Children's Theatre Review," covering the years 1976-86. (SR)

Reports on a study which interviewed children (fourth, fifth, and sixth graders) on the following issues: who should play child protagonists in children's theatre (adults or children); which actor in a particular production was most believable and realistic; and casting advice for directors of children's theatre. (SR)

Intends to show how the unique ideological perspectives of theory and practice in theatre/drama education can lead to a productive tension that furthers research questions and challenges artists to create better products. Concludes that the performance/workshop/discussion piece "Wearing the Secret Out" uses a dramatic form to challenge current and…

Explores the story of "Peter Pan." Considers its creation, its role on the stage, and its impact on society. Considers how "Peter Pan" is about the inability to have make-believe and the true stick together: it dramatizes an artistic failure, the failure to make the vision of the play successful. (SG)

Surveys four-year college and university theater departments on the status of child drama programs in the U.S., including child drama academic programs and children's theater productions. Includes specific responses of schools offering degrees or emphases in child drama. (SR)

Lists 29 research projects in progress within the field of theater, drama, and education. Provides the researcher's name, research title, school/organization affiliation, type of research, and estimated date of completion. (MM)

Looks at the differing production choices and dramatic methods endorsed by two settlement workers, Alice Minnie Hets and Lillian Wald, as witnessed in the opening productions of their settlement houses, where the dramatic arts were among the tools used by social workers to help fledging citizens adopt American ways. (SR)