Details the following thoughts on directing for the theater: select the play, read the play, read the play again, ask questions, discover the spine, form a concept, cast the play, listen to the actors, make it move, make it spontaneous, make it real, look for obstacles, make it relevant, and make it important. (PRA)

Discusses how to use movement to make a point in theater. Offers guidelines for approaching blocking. Details the definition of blocking, its purpose, decisions, kinds of movements, using movement, types of composition, and elements of composition, such as body position, placement of characters, and eye focus. (PRA)

This curriculum guide is intended for a course to provide high school students with a unified study of the production staff that makes a play possible: theatre management and set design, make-up, lights, and sound staff. The activities suggested in the course may be used as a laboratory and taught in correlation with the actual production of a…

Answers questions drama teachers ask on funding drama programs, motivating apathetic students, rehearsal schedules, publicizing school plays, and set construction/design techniques with limited facilities and finances. (PD)

Describes the process of putting together a historical play leading to a final product. Describes the inspirations, resources, and options available to theater educators when producing classic drama, as illustrated by the production of a futuristic "Antigone" by the Interlochen Arts Academy. (SR)

Examines what complexity theories might offer to drama and theatre education, as an alternative method of "mapping" and describing complex aesthetic experiences. Attempts to weave the complex "microworlds" of drama into the typical linear "scope and sequence" and "clock time" structures of the classroom.…

Bibliographies of ERIC and other resource materials in secondary school drama. (CH)

Observes that class plays still exist in many schools. Discusses reasons why all-school-type productions are superior to class plays in terms of educational opportunities, overall morale, and continued growth of quality theater programs. (PD)

Defines "tableaux vivant" as the three-dimensional enactment of still pictures. Describes its use in the theater and as a tool in theater study. Presents a series of warm-up and tableaux exercises for use in the classroom. (JMF)

Describes how many technical and casting problems in young adult theater may be solved by using a Greek chorus. Defines a Greek chorus and its role. Discusses applications of Greek choruses to conventional scripts, including representation of abstract images and characterization. Concludes that incorporating a Greek chorus into a traditional…

Describes a study which found that, although teachers are required to have studied theater in college to get certification in 32 states, there are no such requirements in the rest of the country. (PRA)

Profiles GeVa Theatre's (a regional theater based in Rochester, New York) education programs, which offer student matinees to 5,000 students a year. (SR)

Discusses how school theater companies can improve the quality of their photography. Offers tips regarding the photographer, the gear, film, the photo call, shooting procedures, and processing. (SR)

Discusses performance art and how it explores traces of emotions, objects, place, and memory in a collage involving all of the arts. Argues that its impact depends upon performers rather than actors and things rather than plots. Discusses performance art as an educational theater activity with young people. (SR)