Since the end of the 19th century, musical theater has thrived and continued to grow as a prominent American artform. Though musical theater has roots in classical style singing, it quickly capitalized on the inclusion of contemporary music trends, notation, orchestration, and themes. Because of its influence from contemporary styles, musical…

As a lifelong theater artist and educator, as well as practitioner of a variety of meditative techniques, this author has been keenly interested in the potential impact of sitting meditation and other contemplative practices on acting, vocal, and movement training in college and university performing arts departments. For many years, she wondered…

This article describes a three-year collaborative affiliation between the Baltimore Theatre Project and the Department of Theatre at Towson State University (Maryland). It discusses initial encounters and connections, reasons for collaboration, difficulties finding and using time, successes, difficulties, and the effects of collaboration. (JB)

Describes an example of intergenerational theatre--the annual production at the Blue Ridge Dinner Theatre, Ferrum College, Virginia. Notes that in addition to four plays for adults, one play is for family audiences and includes area children. Suggests the program offers patrons quality entertainment, gives unique experience to area children, and…

Offers a view of Drama Education in Higher Education in Canada. Presents the reply in letter form. Discusses the complexity of the Canadian governmental and educational scene. (SG)

Considers the development of theatre programmes within war or conflict affected regions. Discusses how the practical and theoretical dilemmas, which are always apparent in applied or community theatre projects, are heightened by the dynamics of these violent situations. Touches on a few of these concerns in relation to the author's work within the…

Argues that Theatre for Development in Bangladesh practiced by Non-Governmental Organizations, which is almost entirely funded by international donor organizations, serves globalization in the name of poverty alleviation. Concludes by advocating for the necessity of exploring alternatives by which indigenous theatre performers may access directly…

Theater artists/practitioners have for many years relied on their natural creative abilities in designing makeup, lights, sound, costumes, and sets. Theater researchers believed the scenographer must create a series of dramatic physical settings that blended into a complete revaluation of the playwright's story. However, the nature of the creative…

Discusses the term Theatre for Development (TFD) by addressing the theatre practice developed by a group of women in Mundemba Sub-Division, Cameroon, which was presented in Anne Tanyi-Tang's article "Theatre for Change: An Analysis of Two Performances by Women in Mundemba Sub-Division" in an earlier issue of this journal. Considers…

Gives a personal account of the authors' experiences as ex-patriots in Malawi, using theatre for education and development at a time when art, entertainment and education may have been the last thing on their audiences' minds. Describes how they developed and rehearsed a play and had plans to take it to 10 villages. (SG)

Maynard Mack, Emeritus Sterling Professor of English at Yale, discusses his pioneering work with the oral interpretation of literature in the graduate and undergraduate English classroom, making the point that such oral techniques need not be limited to the drama or speech departments. (Author/SJL)

Since 2000, the Center for Research on Learning and Teaching (CRLT) at the University of Michigan (UM) has presented an educational theatre program for the professional development of faculty and graduate student instructors. Through the medium of interactive theatre, faculty can experience the sort of "second chance" described in the presented…

Presents a project that involved the theater and social work departments of the University of South Dakota. The program's success depended on community acceptance, training for the local school teachers, presentation of the selected play, and careful classroom follow-up. (Author/BB)

This final report describes activities and accomplishments of a 3-year project at the University of Minnesota to develop a transition program emphasizing theater for high school students "at risk" for not continuing their education. Students participated in paid internships at the Penumbra Theater, Minnesota's only African-American…

Describes the theater arts teacher education program at the University of Kansas, Lawrence. Asserts that "connected teaching," in which individual teachers and their students are colearners, forms the foundation for the program. Includes an appendix listing current Kansas standards for certification of drama teachers. (CFR)