Explains that "counter-text" describes the results of a period of independent dramaturgical research and development and the contribution this makes to a theatrical production. Contends that the counter-text presents an alternative site of authority in performance. Describes the uses of research on a production of Iizuka's…

Notes that in rehearsals and performances, a jumble of silences are encountered. Discusses silence in the following situations: as frustration; as imposition; as invisibility; as power; as pleasure; as safety; as humility; as necessity; and as potential. Contends that when dramaturgs enter into conversation and break silence, they must carefully…

Outlines a dramaturg's process when working on three different plays. Contends that the myriad variations on the question "what will happen next?" serve as the basic architecture on which the dynamic relationship between the story/storytellers and the audience is built. Observes that the continual planning and answering of questions is…

Contains excerpts from unpublished research which illuminate aspects of the play/drama/theatre continuum--research representing over 20 years of study of college students reflecting on their own childhood performance experiences. Focuses on young performers--how children practice the adult art form of theatre through dramatic play. (PA)

This collection of monologues describes women's roles in theater in 1994 as being "ripe with possibility." The collection includes work from playwrights Gloria Naylor, Harold Prince, Tony Kushner, Terrence McNally, and Harold Pinter, among others. The collection contains 57 brief audition pieces for women to perform from the 1994…

Focusing on satisfying the theatrical feature film audience, this book provides writers with the tools necessary to successfully create and market a screenplay. It includes "scribble exercises" every few pages--specific activities and questions to stir readers' reactions. Chapters in the book are: (1) Drama Is Conflict; (2) Satisfying…

When a class of lethargic college students showed no enthusiasm for their reading assignments in English class, one instructor turned to drama. She assigned a collaborative script, and the students' enthusiasm and motivation relegated her to a "pleasant oblivion." She thought that the novelty of the play genre might enliven the class,…

Focuses on the practice of having students "perform scholarship" in the classroom. Offers a model for student in-class performances of scholarly texts and their responses to those texts. Proposes that a student's performance serves less as a singular response to an assignment and more as evidence of the student's active process of sense making.…

Discusses theatre educators' role by relating stories of the author's college theatre teacher. Notes that in order to tell stories to this generation, educators need to focus on making time for reflective thought. Concludes that theater can teach audiences to respect others, especially those who are different. (PM)

Contends that theatre has the power to induce oppressors to change their attitudes permanently towards the groups they oppress. Describes theatrical performances by women in Mundemba Sub-Division, Cameroon, which created lasting changes in men's attitudes. Concludes that theatre calls for sociocultural and economic changes and it has the power to…

This paper explores a writing-classroom pedagogy that uses dramatic literature and racially reversed roles as a springboard for discussion of diversity issues. According to the paper, the belief is that providing students with a drama that features ethnically reversed casts, performed sequentially, would allow them to recognize how powerfully skin…

College faculty who teach writing courses might find an examination of early religious literature helpful when trying to explain "writing for an audience" or "audience awareness" to their students. The Jesuit priest who preached to and wrote for the Indians in Brazil during the early colonial period, Jose de Anchieta, is a…